I'm uncomfortable trying to rush change of perception, except to the extent that I'm going to write a book.
There's a statement from several members of the Senate, both Democrats and Republicans, including the Democratic leader, Charles Schumer; John McCain, the chair of the Senate Armed Services Committee; and Lindsey Graham, also a member of the Senate Armed Services Committee. They write that recent reports of Russian interference in our elections should alarm every American. They say Democrats and Republicans must work together to investigate this.
I find so much writing colourless, small in its means, unwilling to take stylistic risks. Often it goes wrong; I am not the one to judge. Sometimes, I hope, it goes right.
My writing of fiction comes under a very general heading of those teachers, critics, scholars who like to try their own hand once or twice in their lives.
The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men's genius.
In Braille you write your flat sign first and then your note.
I think each writer has to seek her most energetic prose style. She has to find a way to write so that nobody can deny it.
I always describe writing a story as throwing bowling pins in the air and then catching them.
People who've written about Abraham Lincoln's writing emphasize how logical he was. His writing was a syllogistic tool. He would say, if A, then B, and he would reason through it. His late writing especially is so tight and so beautifully reasoned.
As Flannery O'Connor says, a person can choose what she writes but she can't choose what she makes live. Some people are really acoustic writers and so for them the secret revision is sound. Other people may revise in terms of the way a paragraph feels. There's a million ways to do it.
The story sometimes writes you into a corner.
You didn't plan to write a story; it just happened. Well, it could be argued that the next thing you should do is find a hole to dig. Right? So you start digging a hole and then somebody brings a body along and puts it in. That's what a story must feel like to me. It's not that you say, "I want to write a story about a gravedigger." But you're walking along and "I don't know what I'm doing here in this story,' and - boop! a shovel. "Oh, interesting. Ok, what does one do with a shovel? Digs a hole. Why? I don't know yet. Dig the hole! Oh, look a body."
One lesson I learned the hard way, early in my career, was that if I tried to write to be smart or to convey a theme or from some existing plan, the result was usually pretty boring. My intuitive move, whenever I'm considering writing something, is to steer towards what feels enjoyable. Another way of saying it is, you just try to avoid the "sucky." If you start to think of a story and a way to tell it, and your reaction is kind of like, Ugh, that's going to be hard, then you don't want to do that.
Writing and reading and speaking with specificity and skill has never seen more important to me than it does at this moment. It's what's between us and chaos.
I think that feels like it to me. I mean whenever you talk about writing I think you have to remember that it all has a big question mark over it - every word has a big question mark over it.
From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.
I knew if I evoked that stuff too easily or gratuitously, as a way of assuaging my fears of not being edgy or whatever, the writing would fall apart. This book [Lincoln in the Bardo] was going to have to have some earnestness in it.
I don't know how you feel, but I feel like writing, clarity of thought, and truth have been validated because we see what happens when we get lax in those areas. I'm excited by the idea that writers like us can actually reach out and try to understand and prod and agitate the people who are in support of Trump because we have the tools to do it. We're language people and we're idea people.
I sometimes think that I can't do the bigger thing that [Zadie Smith] do so beautifully, as in Swing Time, with so much world in it and so much rapturous paint thrown around. I don't think it would be possible to write a book on that scale with as much OCD as I have.
There was one sequence of days [making Lincoln in the Bardo] when I had halfway decided to use the historical nuggets, but I wasn't quite sure it would work. I'd be in my room for six or seven hours, cutting up bits of paper with quotes and arranging them on the floor, with this little voice in my head saying, "Hey, this isn't writing!" But at the end of that day, I felt that the resulting section was doing important emotional work
If you start with the idea that you are going to be writing about a night in a graveyard, and that there are only a few living people in that frame, all sorts of interesting and difficult technical problems arise. And then form - new form, or experimental form - might be understood as just trying to tell that story most movingly and efficiently.
I have finally realized that, you know, it's not a given that my lifespan will accommodate my writing aspirations.
My mind goes really quickly and I tend to talk really fast, as you've probably heard, I sometimes lose track of my syntax, as I'm talking that fast. The only thing I try to do, well, it's slow down, but also I do something when I'm reading that's similar to when I'm writing a section, which is to really try to imagine you on the other side, in a certain way, as an intelligent, sympathetic presence who's rooting for me to tell you a good story.
When you're embarking on a piece of writing, the anxiety is just too much, especially when you're young and you're trying to figure out if this is your thing or not. You feel like, "if I don't write a good story, I gotta get going to law school!"
When you write an essay, of course you're going to get pushback, but you're going to be allowed to make your case at leisure. You're going to be allowed to take into account possible objections and to fully humanize your reader. That feels to me like a much more sane thing to do.
