Sifting through long forgotten stories of my childhood and writing on a daily basis, I became obsessed with following the threads of my memories, one leading to another. I start pulling on a single, seemingly trivial strand, only to discover it is attached to a longer strand; that one in turn is attached to an even bigger one. Sometimes, I find have tugged a whole, hidden tapestry of my past into view, one thread at a time.
The pressure disappeared with the first word he put on paper. He thought--while his hand moved rapidly--what a power there was in words; later, for those who heard them, but first for the one who found them; a healing power, a solution, like the breaking of a barrier. He thought, perhaps the basic secret the scientists have not discovered, the first fount of life, is that which happens when a thought takes shape in words.
Very early on, near the beginning of my writing life, I came to believe that I had to seize on some object outside of literature. Writing as a sylistic exercise seemed barren to me. Poetry as the art of the word made me yawn. I also understood that I couldn't sustain myself very long on the poems of others. I had to go out from myself and literature, look around in the world and lay hold of other spheres of reality.
There's an old saying that great writing is simple but not easy, and so it is. The search for that one plain but inobvious [SIC] word that will do the work of five, the agony of untangling a complex idea that has become a mess of phrases in the writer's mind, the willingness to keep doing it over and over again until it is right--all of that plus some luck yields prose so clear that it seems a child could have written it.
I’m a husband, a father of two, a full-time teacher, and so my writing process mostly involves sitting down and writing, any chance I get, anywhere I am, for as long as life will let me. Music helps. Good light helps. I love quiet and coffee when I can get them. But I can write on a bus, in a dentist office’s waiting room, in bed with a clip-on booklight, almost anywhere. And I try to do at least some every single day.
Don't think too much. There'll be time to think later. Analysis won't help. You're chiseling now. You're passing your hands over the wood. Now the page is no longer blank. There's something there. It isn't your business yet to know whether it's going to be prize-worthy someday, or whether it will gather dust in a drawer. Now you've carved the tree. You've chiseled the marbled. You've begun.
I’m feeling a low regarding writing. I sometimes think I should finish working on my book of stripper poetry that I started, but other times I feel like it’s not worth it. Sometimes I think I should work on my comic book idea, and then other times I want to work on a website, and still other times I think I should be working on this memoir. That’s a lot of thinking about writing without a whole lot of writing going on.
I wrote the last sentence of The Patron Saint of Liars in early April and stumbled out of my apartment and into the beautiful spring feeling panicked and amazed. There is no single experience in my life as a writer to match that moment, the blue of the sky and the breeze drifting in from the bay. I had done the thing I had always wanted to do: I had written a book, all the way to the end. Even if it proved to be terrible, it was mine.
She would have thought that working and living in continuous happiness, harmony, and security day after day would lead to mental lethargy, that her writing would suffer from too much happiness, that she needed a balanced life with down days and miseries to keep the sharp edge on her work. But the idea that an artist needed to suffer to do her best work was a conceit of the young and inexperienced. The happier she grew, the better she wrote.
Novels were not arguments; a story worked, or it didn't, on its own merits. What did it matter if a detail was real or imagined? What mattered was that the detail seemed real, and that it was absolutely the best detail for the circumstance. That wasn't much of a theory, but it was all Ruth could truly commit herself to at the moment. It was time to retire that old lecture, and her penance was to endure the compliments of her former credo.
So I suppose one danger is that we might get the idea that, you know, “to blurt, is to be.” The idea that whatever comes out is good and is us. Whereas someone who has really worked with text realizes – well, that neither one is “really” you, but that the considered version might represent a “higher” you – brighter, less willing to coast or condescend, funnier, and (mysteriously) also, I think, kinder.
Most—but not all—of the writers I knew then were young men who cherished their independence, were unconcerned about job security, and were serious about their writing. They didn’t want to be anyone’s employee if it interfered with their writing. They were halfway or all the way outside the mainstream and were often not interested in becoming part of the burgeoning corporate society. They had more freedom than your average American.
Well, writing novels is incredibly simple: an author sits down…and writes.Granted, most writers I know are a bit strange.Some, downright weird.But then again, you’d have to be.To spend hundreds and hundreds of hours sitting in front of a computer screen staring at lines of information is pretty tedious. More like a computer programmer. And no matter how cool the Matrix made looking at code seem, computer programmers are even weirder than authors.
Novelists should never allow themselves to weary of the study of real life. If they observed this duty conscientiously, they would give us fewer pictures chequered with vivid contrasts of light and shade; they would seldom elevate their heroes and heroines to the heights of rapture — still seldomer sink them to the depths of despair; for if we rarely taste the fulness of joy in this life, we yet more rarely savour the acrid bitterness of hopeless anguish.
1. Write like you’ll live forever — fear is a bad editor.2. Write like you’ll croak today — death is the best editor.3. Fooling others is fun. Fooling yourself is a lethal mistake.4. Pick one — fame or delight.5. The archer knows the target. The poet knows the wastebasket.6. Cunning and excess are your friends.7. TV and liquor are your enemies.8. Everything eternal happens in a spare room at 3 a.m.9. You’re done when the crows sing.
