If you stop to consider the matter, you will realize that self-expression is one of the laws of life; you do express yourself day after day, whether you will or not. Hence, the more quickly you learn that successful self-expression is the source of one of the greatest pleasures in life, the more readily will you be able to turn your energy in the right direction, and the more fun will you get out of the process. The kind of delight that comes through self-expression of the body, through the play of the muscles in running or hurdling, through the play of muscles and mind together in football or baseball or tennis or golf, comes also through the exercise of the mind alone in talk or in writing.
Remember always throughout this course, that you have something to say--something peculiar to yourself that should be contributed to the sum of the world's experience, something that cannot be contributed by anyone but yourself. It may be much or it may be little: with that you are not concerned at present; your business now is to find out how to say it; how to clear away the obstacles that clog self-expression; how to give your mind free swing; and how to get all the fun there is in the process.
The initial problems in learning to write are: How can you get at this store of material hidden within you? and how can you know when you have found it? Your experience, however interesting, is as yet very limited. How can you tell which phases of it deserve expression, and which are mere commonplace? The quickest way to answer this question is by reading. Reading will tell you which phases of experience have been commonly treated and which have been neglected. Moreover, as you read you will be surprised to find that very often the features of your life which seem to you peculiarly interesting are exactly those that are commonly--and even cheaply--written about, while those which you have passed over as not worth attention may be aspects of life that other people too have passed over; they may therefore be fresh and well worth writing about. For instance, within the last twenty-five years we have had two writers, Joseph Conrad and John Masefield, writing of the sea as it has never been written of before. Both have been sailors; and both have utilized their experience as viewed through the medium of their temperaments in a way undreamed of before. Again, within the last ten years we have had Algernon Blackwood, using his imagination to apply psychology to the study of the supernatural, and so developing a field peculiar to himself. Still again, H. G. Wells, who began his career as a clerk and continued as a teacher of science, has found in both these phases of his experience a mine of literary wealth; and Arnold Bennett, born and educated in the dreariest, most unpicturesque, apparently least inspiring, part of England, has seen in the very prosiness of the Five Towns untouched material, and has given this an enduring place in literature. In your imagination there may lie the basis of fantasies as yet unexpressed; or in your experience, aspects of life that have not as yet been adequately treated. As you read you will find that until recently the one phase of life most exploited in literature was the romantic love of youth; this was the basis of nearly all novels and of most short stories; its presence was demanded for either primary or secondary interest in the drama; and it was the chief source of inspiration for the lyric. But within the last thirty years all sorts of other subjects have been opened up. To-day the writer's difficulty is, not that he is restricted by literary convention in his choice of material, but that he is so absolutely unrestricted that he may be in doubt where to make his choice. He is, to be sure, conditioned in two ways: To do the best work, he must keep within the bounds of his own temperament and experience; and he should as far as possible avoid phases of life already written about, unless he can present them under some new aspect.
With these conditions in mind, you are ready to ask yourself: What have I to write about? Let us put the question more concretely: Have you lived, for instance, in a little mining town in the West? Such a little town, with its saloons and automatics and flannel-shirted hero, stares at us every month from the pages of popular magazines. But perhaps your little mining town is dry, perhaps there has not been a shooting fray in it for ten years, and all the young men go to Bible class on Sunday. Well, here is something new; let us have it. Is New York your home? The magazines tell you that New York is parceled out among a score of writers: the Italian quarter, the Jewish quarter, the Syrian quarter, the boarding-houses, Wall Street. What is there left? The suburbs? Surely not; and yet have you ever seen a story of just your kind of street and just the kind of people that you know? If not, here is your opportunity.
You have read about sailors, fishermen, farmers, detectives, Italian fruit-peddlers, Jewish clothes-merchants, commercial travelers, financiers, salesmen and saleswomen, doctors, clergymen, heiresses, and men about town, but have you often read a thrilling romance of a filing clerk? How about the heroism of a telephone collector? the humors of a street-car conductor? The seeing eye will find material in the street car, in the department store, in the dentist's waiting room, in college halls, on a lonely country road--anywhere and everywhere. And the seeing eye is cultivated by a perpetual process of comparing life as it is with life as it is portrayed in literature and in art. In other words, to get material to write about, you must cultivate alertness to the nature and value of your own life-experience, and to the nature and value of all forms of life with which you come into contact; but this you can never do with any degree of success unless you at the same time learn how to read.
You may say that you know how to read. It is almost certain that you do not. If by reading you mean that you can run your eye over a page, and, barring a word here and there, get the general drift of the sense, you may perhaps qualify as able to read. If you are set the task of interpreting fully every phrase in an article by a thoughtful writer, the chances are that you will fail. When only a small part of a writer's meaning has passed from his mind to yours, you can hardly be said to have read what he has written. On the other hand, no one can get out of written words all that was put into them. What was written out of one man's experience must be interpreted by another's experience; and as no two people ever have exactly the same experience--no two people are exactly alike--it follows that no interpretation is ever entirely what the writer had in mind. The ratio between what goes into a book and what comes out of it varies in two ways. Granted the same reader, he will take only to the limit of his capacity from any book set before him: he may get almost all from a book that contains but little, a good share of a book that contains much, but very little of a book that is far beyond the range of his experience. Granted the same book, one reader will barely skim its surface, another will gain a fair idea of the gist of it, a third will almost relive it with the author.
The main point is that this varying ratio depends upon the amount of life-experience that goes into the writing of a book and the amount of life-experience that goes into the reading of it. For as writing is the expression of life, so reading is vicarious living--living by proxy, reliving in imagination what the author has lived before he was able to write it. Hence, we grow up to books, grow into them, grow out of them. Our growing experience of life may be measured by the books that we read; and conversely, as we cannot have all experience in our own lives, books are necessarily one of the most fruitful sources of growth in experience.
This is true, however, only of what may be called vitalized reading--reading, not with the eyes alone, nor with the mind alone, but with the stored experiences of life, with the emotions that it has brought, with the attitudes toward men and things and ideas that it has given--in a word, with imagination. To read with imagination, you must be, in the first place, active; in the second place, sensitive, and, because you are sensitive, receptive. Instead, however, of being merely passively receptive of the stream of ideas and images and sensations flowing from the work you are reading, you must be alert to take all that it has to give, and to re-create this in terms of your own experience. Thus by making it a part of your imaginative experience, you widen your actual experience, you enrich your life, and you increase the flexibility and vital power of your mind.
In order, then, to tap the sources of your imagination, you must learn to experience in two ways: first, through life itself, not so much by seeking experiences different from those that naturally come your way, as by becoming aware of the value of those that belong naturally to your life; and second, through learning to absorb and transmute the life that is in books, beginning with those that stand nearest to your stage of development. In the process of reading you will turn more and more to those writers who have a larger mastery of life, and who, by their skill in expressing the wisdom and beauty that they have made their own, can admit you, when you are ready, to some share in that mastery.