I wish I had the luxury of time to read and write like grad students do. That sounds pretty awesome. When I was writing my first book one of my friends was going to grad school at the same time and I heard a lot of stories about drinking, too. I feel like everyone was having affairs.
Most of my writer friends are women, and they're all extremely talented, so of course I think the state of contemporary fiction for women is pretty great. Which is to say there is a ton of amazing work out there. These women are writing hard. There's much to be said. We're on it, chief.
Studying writing to me means reading and also rewriting obsessively. That's the best way to learn.
I write because it makes God happy that I write. I sing because it makes God happy that I sing. And if it makes God's people happy, then all the better. But if it fails to do so, it's probably my fault.
I'm a good collaborative writer. I can usually come in and add a couple lines to something, and add a riff or a B-section, or a bridge that will tie things together. I can do stuff like that. But to write a whole song, I don't have the patience for that, I guess.
The Internet and blogging made writing somewhat more solitary and more splintered. It removes the whole sense of the magazine as an organism. A certain dynamism. At The Village Voice, there were all these fevers inside the offices, that would break out into full-scale rumbles between writers. The New Yorker used to be notorious for everything that went on, sexual intrigues and people had individual offices, they could close the door and take a bottle out of their bottom drawer or have sex on their desk.
One of the mistakes they often make is the designers over-accessorize or over-elaborate. So you realize: this would work if they removed X and Y. And actually, that's the sort of thing that translates into writing, because a lot of the time you realize, I feel I need to add something here but actually what I need to do is subtract. And then there's always the psychodrama and the tears and the rage and the feuds.
Since I'm a fan of collections and anthologies, believe that the best writing often shines in shards and galloping stretches, I never find myself lobbying for a writer I enjoy reading regularly to hole up in Heidegger's hut for four or five years to bring forth a mountain.
I think it's good for the fans, as well, because they get to connect with you directly. You know, in the old days, if I wanted to, like, write to (Steven) Spielberg or Sam Raimi or whatever, I'm not sure I could actually write a fan mail and (I'd) have no idea where to actually send it. Nowadays, you can just, like, follow Ashton (Kutcher who still has among the most followers on Twitter) or, like, friend someone, you know, on Facebook, and you can actually just say, "Hey, I like your stuff."
Hollywood is just so strange. It's like, everyone has a whole bunch of stuff boiling away and whichever one happens first, happens. That one, we're still in the process of, you know, trying to write the script. So, it's still very early stages at this point. Yeah.
I think the first important thing is that usually most textbooks are not written by their authors. And so by author I mean the people who did not write them; so it's a new definition of "author."
I made a note in my head to be aware of things as they were happening, because they might not happen again. Up to that point, I was not really that appreciative of what was going on, or thinking about documenting life in a plainspoken manner. I was talking about my life and writing songs, but then I would go back and listen and they were about dreams, and legends, and metaphors and that was just not my life!
I was never a 'sit down with a notepad and write lyrics' kind of person.
I had been doing private readings for ten years when my guides said, "We want you to reach more people." Then I said "How?" They said, "You're going to write a book." And I said, "Oh, yeah sure, I'm going to write a book. No way." But I did an outline. And I got pushed by my development circle.
When you write about esoteric things, it can be way out there.
I'd been basically anchored in New York for three years, but I fled to L.A. after the funeral and decided that I had to start a movie immediately. It was the only way to avoid becoming overwhelmed by depression. And that meant financing the film myself because there is no such thing as "immediately" in movies that one writes.
I've struggled seriously to make movies with very little money, that I write, that I direct, that mean my life to me. The idea that I would offer a part to anyone for any other reason than that he or she was gonna be the best of anyone I could find is so disgusting to me. I don't give my best friends parts unless they deserve them. Ever.
My students - all adults - bring a lot of writing skill to the first class, and they and I get better as the class progresses.
I researched fiction writing for months before I taught my first class, much of it looking for strong techniques from bestselling authors.
When I was hired by the University of Washington extension school to teach the one-year fiction writing course - 96 classroom hours - I quickly determined that I knew only about an hour's worth off the top of my head.
I can only write one novel at a time. The author of the Perry Mason novels, Erle Stanley Gardner, often worked on four novels simultaneously, and produced a million words a year. I'm envious.
On opening sentences: "If in the first chapter a hurricane is going to blow down an oak tree which falls through the kitchen roof, there's no need to first describe the kitchen."
I tend to write out the first iteration of a lyric here and then go over here and make variations on it, on the page opposite.
It's true that I can write a song and not really be sure what the meaning of it is.
But it's only after you've played it on the road 20 or 30 times that it becomes really finished and polished...and you realize what it means, and you get the phrasing right.
