All my life and all my experience, the events that have befallen me, the people I have known, all my memories, dreams, fantasies, everything I have ever read, all of that has been chucked onto the compost heap, where over time it has rotted down to a dark, rich, organic mulch. The process of cellular breakdown makes it unrecognizable. Other people call it the imagination. I think of it as a compost heap. Every so often I take an idea, plant it in the compost, and wait. It feeds on the black stuff that used to be a life, takes its energy for its own. It germinates,. Takes root. Produces shoots. And so on and so forth, until one fine day I have a story, or a novel....Readers are fools. They believe all writing is autobiographical. And so it is, but not in the way they think. The writer's life needs time to rot away before it can be used to nourish a work of fiction. It must be allowed to decay.

As a child, I read because books–violent and not, blasphemous and not, terrifying and not–were the most loving and trustworthy things in my life. I read widely, and loved plenty of the classics so, yes, I recognized the domestic terrors faced by Louisa May Alcott’s March sisters. But I became the kid chased by werewolves, vampires, and evil clowns in Stephen King’s books. I read books about monsters and monstrous things, often written with monstrous language, because they taught me how to battle the real monsters in my life.And now I write books for teenagers because I vividly remember what it felt like to be a teen facing everyday and epic dangers. I don’t write to protect them. It’s far too late for that. I write to give them weapons–in the form of words and ideas-that will help them fight their monsters. I write in blood because I remember what it felt like to bleed.

In older myths, the dark road leads downward into the Underworld, where Persephone is carried off by Hades, much against her will, while Ishtar descends of her own accord to beat at the gates of Hell. This road of darkness lies to the West, according to Native American myth, and each of us must travel it at some point in our lives. The western road is one of trials, ordeals, disasters and abrupt life changes — yet a road to be honored, nevertheless, as the road on which wisdom is gained. James Hillman, whose theory of 'archetypal psychology' draws extensively on Greco–Roman myth, echoes this belief when he argues that darkness is vital at certain periods of life, questioning our modern tendency to equate mental health with happiness. It is in the Underworld, he reminds us, that seeds germinate and prepare for spring. Myths of descent and rebirth connect the soul's cycles to those of nature.

Well, Betsy," he said, "your mother tells me that you are going to use Uncle Keith's trunk for a desk. That's fine. You need a desk. I've often noticed how much you like to write. The way you eat up those advertising tablets from the store! I never saw anything like it. I can't understand it though. I never write anything but checks myself. ""Bob!" said Mrs. Ray. "You wrote the most wonderful letters to me before we were married. I still have them, a big bundle of them. Every time I clean house I read them over and cry.""Cry, eh?" said Mr. Ray, grinning. "In spite of what your mother says, Betsy, if you have any talent for writing, it comes from family. Her brother Keith was mighty talented, and maybe you are too. Maybe you're going to be a writer."Betsy was silent, agreeably abashed."But if you're going to be a writer," he went on, "you've got to read. Good books. Great books. The classics.

Intercourse with resuscitated wife for particular number of days, superstitious act designed to insure safe operation of household machinery. Electricity mourns the absence of the energy from (wife) within the household’s walls by stalling its flow to the outlets. As such, an improvised friction need to take the place of electricity, to goad the natural currents back to their proper levels. This is achieved with the dead wife. She must be found, revived, and then penetrated until heat fills the room, until the toaster is shooting bread onto the floor, until she is smiling beneath you with black teeth and grabbing your bottom. Then the vacuum rides by and no one is pushing it, it is on full steam. Days flip past in chunks of fake light, and the intercourse is placed in the back of the mind. But it is always there, that moving into a static-ridden corpse that once spoke familiar messages in the morning when the sun was new.

The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through? I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself it is all right as a story. I mean, once you go saying to yourself, "This is a pretty weak plot as it stands, but if I'm such a hell of a writer that my magic touch will make it okay," you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them."(Interview, The Paris Review, Issue 64, Winter 1975)

A skillful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no words written, of which the tendency, direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the tale has been presented unblemished because undisturbed: and this is an end unattainable by the novel. Undue brevity is just as exceptionable here as in the poem; but undue length is yet more to be avoided.

In most books, the I, or first person, is omitted; in this it will be retained; that, in respect to egotism, is the main difference. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Unfortunately, I am confined to this theme by the narrowness of my experience. Moreover, I, on my side, require of every writer, first or last, a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land; for if he has lived sincerely, it must have been in a distant land to me. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits.

And George Farr had the town, the earth, the world to himself and his sorrow. Music came faint as a troubling rumor beneath the spring night, sweetened by distance: a longing knowing no ease. (Oh God, oh God!) At last George Farr gave up trying to see her. He had 'phoned vainly and time after time, at last the telephone became the end in place of the means: he had forgotten why he wanted to reach her. Finally he told himself that he hated her, that he would go away; finally he was going to as much pains to avoid her as he had been to see her. So he slunk about the streets like a criminal, avoiding her, feeling his his very heart stop when he did occasionally see her unmistakable body from a distance. And at night he lay sleepless and writhing to think of her, then to rise and don a few garments and walk past her darkened house, gazing in slow misery at the room in which he knew she lay, soft and warm, in intimate slumber, then to return to home and bed to dream of her brokenly.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day....To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

In our modern world, this elemental quality of storytelling is denied. We live today in a world in which everything has its place and function and nothing is left out of place. Storytelling is thus at a discount and like everything else in a world ruled by the laws of exchange value, literature is required to submit itself to the requirements of the market and must learn, like any other commodity, to adapt and serve needs that lie outside of itself and its concrete value. It is forced to stand not for itself but for an ideological cause of one sort or another, whether it be political, social or literary. It cannot exist for itself: like everything else it has to be justified. And for this very reason the power of storytelling is automatically devalued. Literature is reduced to the status of complimentary utilitarian functions: as a pastime to provide distraction and entertainment, or as a heightened activity that would claim to explore 'great truths' about the human condition.

J. R. R. Tolkien, the near-universally-hailed father of modern epic fantasy, crafted his magnum opus The Lord of the Rings to explore the forces of creation as he saw them: God and country, race and class, journeying to war and returning home. I’ve heard it said that he was trying to create some kind of original British mythology using the structure of other cultures’ myths, and maybe that was true. I don’t know. What I see, when I read his work, is a man trying desperately to dream.Dreaming is impossible without myths. If we don’t have enough myths of our own, we’ll latch onto those of others — even if those myths make us believe terrible or false things about ourselves. Tolkien understood this, I think because it’s human nature. Call it the superego, call it common sense, call it pragmatism, call it learned helplessness, but the mind craves boundaries. Depending on the myths we believe in, those boundaries can be magnificently vast, or crushingly tight.

If through no fault of his own the hero is crushed by a bulldozer in Act II, we are not impressed. Even though life is often like this—the absconding cashier on his way to Nicaragua is killed in a collision at the airport, the prominent statesman dies of a stroke in the midst of the negotiations he has spent years to bring about, the young lovers are drowned in a boating accident the day before their marriage—such events, the warp and woof of everyday life, seem irrelevant, meaningless. They are crude, undigested, unpurged bits of reality—to draw a metaphor from the late J. Edgar Hoover, they are “raw files.” But it is the function of great art to purge and give meaning to human suffering, and so we expect that if the hero is indeed crushed by a bulldozer in Act II there will be some reason for it, and not just some reason but a good one, one which makes sense in terms of the hero’s personality and action. In fact, we expect to be shown that he is in some way responsible for what happens to him.

I'm a writer by profession and it's totally clear to me that since I started blogging, the amount I write has increased exponentially, my daily interactions with the views of others have never been so frequent, the diversity of voices I engage with is far higher than in the pre-Internet age—and all this has helped me become more modest as a thinker, more open to error, less fixated on what I do know, and more respectful of what I don't. If this is a deterioration in my brain, then more, please."The problem is finding the space and time when this engagement stops, and calm, quiet, thinking and reading of longer-form arguments, novels, essays can begin. Worse, this also needs time for the mind to transition out of an instant gratification mode to me a more long-term, thoughtful calm. I find this takes at least a day of detox. Getting weekends back has helped. But if there were a way to channel the amazing insights of blogging into the longer, calmer modes of thinking ... we'd be getting somewhere."I'm working on it.

No matter what a person does to cover up and conceal themselves, when we write and lose control, I can spot a person from Alabama, Florida, South Carolina a mile away even if they make no exact reference to location. Their words are lush like the land they come from, filled with nine aunties, people named Bubba. There is something extravagant and wild about what they have to say — snakes on the roof of a car, swamps, a delta, sweat, the smell of sea, buzz of an air conditioner, Coca-Cola — something fertile, with a hidden danger or shame, thick like the humidity, unspoken yet ever-present. Often when a southerner reads, the members of the class look at each other, and you can hear them thinking, gee, I can't write like that. The power and force of the land is heard in the piece. These southerners know the names of what shrubs hang over what creek, what dogwood flowers bloom what color, what kind of soil is under their feet. I tease the class, "Pay no mind. It's the southern writing gene. The rest of us have to toil away.