If you have a story that seems worth telling, and you think you can tell it worthily, then the thing for you to do is to tell it, regardless of whether it has to do with sex, sailors or mounted policemen.
Interpretation
This quote encourages individuals to share their stories, no matter the subject, if they believe they can do so effectively.
Dashiell Hammett's quote emphasizes the importance of storytelling, suggesting that anyone who feels their narrative is significant should share it, irrespective of its content. The mention of various topics like sex, sailors, and mounted policemen illustrates that all stories, regardless of their nature, can have value when told with sincerity and skill.
In practice
A writer might use this quote at a workshop to encourage participants to share their personal experiences.
We didn't exactly believe your story.' Then --?' 'We believed your two hundred dollars.' 'You mean --' She seemed not to know what he meant. 'I mean that you paid us more than if you'd been telling the truth,' he explained blandly, 'and enough more to make it all right.
She grinned at me. 'You got types?' 'Only you darling - lanky brunettes with wicked jaws.
What I try to do is write a story about a detective rather than a detective story. Keeping the reader fooled until the last, possible moment is a good trick and I usually try to play it, but I can't attach more than secondary importance to it. The puzzle isn't so interesting to me as the behavior of the detective attacking it.
The people who lie the most are nearly always the clumsiest at it, and they're easier to fool with lies than most people, too. You'd think they'd be on the look-out for lies, but they seem to be the very ones that will believe almost anything at all.
I think what's really the most ideal thing is for the player themselves, within their own imagination, to carve out what they view as being the essence of the character.
A piece of sculpture can have a hole through it and not be weakened if the hole is of a studied size, shape, and direction.
The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you'll do yourself a service.
Some of the songs come so fully, it's like they are pre-packaged. There have been a couple that came in the middle of the night. And I thought, jeez, I'll never forget that. And went back to sleep, and it was gone. You'll hear something years later that another songwriter that you respect writes, and you go, jeez, I think that was the remnants of that song that got sent to me.
I think all creative people are operating from the fear that, of the best of what they did, will anybody remember it? Will anybody tell stories about them? Will anybody keep those pictures on the mantle long after they are gone? It's why people write stories. It's peoples' grave markers.
Thanks to art, instead of seeing one world only, our own, we see that world multiply itself and we have at our disposal as many worlds as there are original artists, worlds more different one from the other than those which revolve in infinite space, worlds which, centuries after the extinction of the fire from which their light first emanated, whether it is called Rembrandt or Vermeer, send us still each one its special radiance.
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