I have not over the course of my life been a great admirer of Didion's writing, but here is a sequence I found entirely arresting (these should be regular indented sentence/paragraphs, with no space in between):
"What we need here is a montage, music over. How she: talked to her father and xxxx and xxxxx---
"xx," he said.
"xxx," she said.
"How she did this and why she did that and what the music was when they did x and x and xxx---
"How he, and also she---"
The above are notes I made in 1995 for a novel I published in 1996, The Last Thing He Wanted. I offer them as a representation of how comfortable I used to be when I wrote, how easily I did it, how little thought I gave to what I was saying until I had already said it. In fact, in any real sense, what I was doing then was never writing at all: I was doing no more than sketching in a rhythm and letting that rhythm tell me what it was I was saying. Many of the marks I set down on that page were no more than "xxx," or "xxxx," symbols that meant "copy tk," or "copy to come," but do notice: such symbols were arranged in specific groupings. A single "x" different from a double "xx," "xxx" from "xxxx." The number of such symbols had a meaning. The arrangement was the meaning.