Steven Pressfield

Sinai 1956

By Steven Pressfield |

The following is from The Sinai Campaign by Moshe Dayan. Dayan had been Chief of Staff of the Israeli Defence Forces and in overall military command during this campaign of 1956—fifty-five years ago and only eight years after the founding of the state of Israel. The Sinai clash became inevitable after Egypt’s president Gamal Abdul Nasser nationalized the Suez Canal, closed it to Israeli shipping and then blockaded the straits of Tiran, bottling up the critical Israeli port of Eilat. The situation rapidly devolved into an international boondoggle as the armed forces of Britain and France became involved, seeking a pretext to force…

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To Propose or Not to Propose

By Steven Pressfield |

Posted from the road, Jacksonville NC: I’m reading Shawn’s Friday posts about book proposals in our “What It Takes” series. I love ‘em. They’re educational for me too. Until I read Shawn’s first post, I didn’t know what a book proposal was. Until he showed me one a couple of months ago, I had never seen one. Reading this, you may think, “How can that be? How can Pressfield have a 15-year book career and not know what a book proposal looks like?” The answer is simple: You don’t need a book proposal for fiction. That’s good news and bad…

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Death in the Afternoon

By Steven Pressfield |

The following doesn’t really fit under the heading of War Stories, but it’s so great I’m compelled to make it today’s post anyway. I’m copying this piece now from a yellowing, typewriter-pecked page I’ve kept with me for years. If technically it isn’t about war, it’s certainly from a man who wrote masterfully about that subject and who struggled, suffered and bled to fight the internal “war of art.” From Ernest Hemingway, Death in the Afternoon: When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there…

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On Research, Part Two

By Steven Pressfield |

I got an e-mail a few weeks ago from Jeff Wills, who is writing an historical novel and was curious about how I did research. I promised I would answer in this space as soon as the launch of The Profession was over. So … here goes: JW: My question is about your method of research and writing. I know your position is do “as little research as possible” and jump in, but I guess I’m interested in some of the details of how YOU jump in. SP: First, Jeff, though I do advocate plunging in on the work even…

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Hector and Andromache

By Steven Pressfield |

Here is one of the most poignant and tragic scenes (at least in its outcome, foretold but unstated here) in all of epic poetry. From Homer’s Iliad, in the Richmond Lattimore translation from the University of Chicago Press, this is the moment on the battlements of Troy, when the Trojans’ great hero Hector has left the fighting momentarily; his wife Andromache comes to speak with him, accompanied by a nurse and their infant son, Astyanax. First Andromache, foreseeing Hector’s death, pleads with him to withdraw from the fighting. “Dearest, your own great strength will be your death, and you have…

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Publication Day

By Steven Pressfield |

I have a recurring dream. In the dream I’m invited to climb into the back seat of a limo that’s about to drive off to someplace fabulous (sometimes the dream is about a fancy home or a fantastic restaurant). The dream always ends badly. It’s trying to tell me something. Publication day—which was yesterday for The Profession—is like getting into the back seat of that dream limo. Publication day gets our hopes up. We’re human. We’re prey to the folly of anticipating rave reviews; we’re itching to check sales on Amazon. I’ve been up and down with these expectations through…

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The Pain of Being Human

By Steven Pressfield |

The Gnostics believed that exile was the psychological condition of the human being. It certainly feels that way to me. We’ve been talking about artists and addicts for the past couple of weeks. Not every artist is an addict, and certainly not every addict is an artist. But it seems to me that both share an acute, even excruciating sensitivity to the pain of being human—and both actively seek ways to overcome it, transcend it, or at least make it go away. What is the pain of being human? To me, it’s the condition of being suspended between two worlds…

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“The Sea! The Sea!”

By Steven Pressfield |

Xenophon was an Athenian nobleman, warrior and writer from the fourth century B.C. Here’s a story: When Xenophon was a young man, he chanced to enter a narrow lane from one end at the same time that Socrates was entering from the other. It was just the two of them walking toward each other. Though Athens was a big city, its citizens interacted constantly in the Assembly and the agora; it’s a safe bet that the philosopher (who was probably about sixty at the time) recognized the young aristocrat by sight, even if the two had never been formally introduced.…

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The Artist and the Addict

By Steven Pressfield |

The artist and the addict are not very far apart, are they? Often they’re one and the same. A blues musician or a painter can be an addict one minute and an artist the next. He can be an artist and an addict at the same time. On Tuesday you’re rocking the casbah; on Wednesday you’re checking in to Betty Ford. Why is that? “It may be the devil or it may be the Lord, But you’re gonna have to serve somebody.” If Bob Dylan is right in Gotta Serve Somebody (and I think he is), we all do have to…

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This Week and Next

By Steven Pressfield |

Thus endeth our series, The Warrior Ethos. To read the full book for free, click here. A “lightbox” will open. For those (like me) who are not 100% hip to lightboxes, they’re like e-books except you don’t need a Kindle or an iPad; you can read them on your regular laptop or desktop. Once you’re in the lightbox, open the window wide till you see PREVIOUS | NEXT in the lower left hand corner; then just “turn the pages.” Clicking on a page also turns it. There’s a CLOSE button in the lower right when you want to quit. The…

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