Ivanov: Once I worked hard and thought a lot but I never got tired; now I do nothing and think of nothing, but I'm tired in body and spirit. My conscience aches day and night, I feel deeply guilty but I don't understand where I am actually at fault. And add to that my wife's illness, my lack of money, the constant bickering, gossip, unnecessary conversations, that stupid Borkin... My home has become loathsome to me and I find living there worse than torture.
Common hypocrites pass themselves off as doves; political and literary hypocrites pose as eagles. But don't be fooled by their eagle-like appearance. These are not eagles, but rats or dogs.
I will begin with what in my opinion is your lack of restraint. You are like a spectator in a theatre who expresses his enthusiasm so unrestrainedly that he prevents himself and others from hearing. That lack of restraint is particularly noticeable in the descriptions of nature with which you interrupt dialogues; when one reads them, these descriptions, one wishes they were more compact, shorter, say two or three lines.
You've only got to begin to do anything to find out how few honest, honourable people there are. Sometimes, when I can't sleep, I think: "Oh Lord, you've given us huge forests, infinite fields, and endless horizons, and we, living here, ought really to be giants.
These people have learned not from books, but in the fields, in the wood, on the river bank. Their teachers have been the birds themselves, when they sang to them, the sun when it left a glow of crimson behind it at setting, the very trees, and wild herbs.
Only those young people can be accepted as healthy who refuse to be reconciled with the old order and foolishly or wisely struggle against it - such is the will of nature...
In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations! Be sure not to discuss your hero's state of mind. Make it clear from his actions. Nor is it necessary to portray many main characters. Let two people be the center of gravity in your story: he and she.
There will come a time when everybody will know why, for what purpose, there is all this suffering, and there will be no more mysteries. But now we must live ... we must work, just work!
I am writing a play which I probably will not finish until the end of November. I am writing it with considerable pleasure, though I sin frightfully against the conventions of the stage. It is a comedy with three female parts, six male, four acts, a landscape (view of the lake), lots of talk on literature, little action and tons of love.
[Six principles that make for a good story:] 1. Absence of lengthy verbiage of a political-social-economic nature; 2. total objectivity; 3. truthful descriptions of persons and objects; 4. extreme brevity; 5. audacity and originality: flee the stereotype; 6. compassion.