Is it harder?” This is a question no one has ever asked the artists in question, and it’s easy to understand why. Because even professional writers, if they are even partially self-aware (and it often takes more than just self-awareness to write well, and even more than self-awareness to become a professional), are at their best when writing fiction.
Here are some examples:
A writer writes to fill in the gaps in his life, to convey emotional truths.
But then there are writers who write so much so that they almost become a separate entity. They start to separate themselves from their characters, and start to distance themselves from the world—all because they want the reader to feel like they understand the characters too. Or, in the case of Harry Potter, the reader feels like the character is “special,” that he/she can understand them, that the universe is their own and they have no idea what’s going on.
You’re not alone. When I was writing The Hobbit, I felt more like one than I did when writing The Lord of the Rings, a few hours into the process. And that was before I was allowed to go off and write the first episode of Veep (“Yes, Veep!” I told myself).
So, even if you decide to turn the page early…if you’re an author, and you feel like you’re missing something, or you want to put something in your story that’s missing from the world that exists in the book you’re reading, make the conscious choice—even if you do it unconsciously: to paint a scene or a person with your own feelings in mind instead of just filling it up with some other characters you’re familiar with (that will be a problem later).
But don’t confuse this with “painting too little.” Sometimes you might need the painting of some scene or person that you know you’re going to fill in later. You might even be working on it already at the time, or maybe you just do it out of curiosity. But what if, over time, you end up painting too much?
And this is where the question of “what is painting easier than writing?” comes in.
So the answer: painting easier.
Let’s start with some simple rules that work in the long run:
You don’t paint a man with a beard, a woman with a beard, or an old couple, even one you’ve seen before. You paint a person
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