The books of Mark Z. Danielewski (House of Leaves, especially) are complex, dense, and thrillingly visual. He tells BOMB that his process is a lot like construction:
Writing is so much about laying down brick after brick, and yet you can’t just stack bricks, because then you’re making a tomb. There has to be this mortar, and that mortar, as we can see for ourselves, right now even, is the space between words…
Patti Smith on her morning writing routine:
I get up and if I feel out of sorts I’ll do some exercises. I’ll feed my cat, then I go get my coffee, take a notebook, and write for a couple of hours. Then I just roam around. I try to take long walks and things like that, but I just kill time until something good is on TV…
Good ideas come when walking. Or watching shows, preferably ones with detectives. Thinking of better ways you could have solved the crime might be self-flattery but it also gets ideas percolating.
My review of the latest confection from Edward Berger (Conclave) is at Slant Magazine:
Ballad of a Small Player is a fevered, neon-drenched film about a man on the run from his crimes and himself, and it wants to simultaneously revel in the glamor of high-end gambling and critique the unending gluttony that fuels it. This isn’t an unusual tack for Berger, as his All Quiet on the Western Front has a similarly confused relationship to the industrial violence that it lasciviously depicts. But this film, adapted by Rowan Joffe from Lawrence Osborne’s 2014 novel of the same name, is all about the possible spiritual redemption of spiraling gambler Lord Doyle (Colin Farrell), and its ambivalent perspective on the greed and glitz of his world makes it difficult to invest much care in what happens to him…
Ballad of a Small Player will be available on Netflix tomorrow. Here’s the trailer:
Alain de Botton (The Consolations of Philosophy) had a problem, as many do, with insomnia and focus. So he decided to go to work at an office. It allowed him to escape:
One of the most welcome aspects of office work is that you do not need to be fully yourself. It demands that those who participate in it behave “professionally”, which means that you are not asked to bring the entirety of your character to the fore…
As a result, he could bear down, put certain thoughts away, and get to writing:
It can be the greatest freedom, sometimes, to have to repress some of what you are. I sit quietly for hours. I’ll have a sandwich at the desk. I can’t sink into despair, scream or act all poetic: other people are watching. At the office, there’s a chance to edit yourself, thankfully. That’s why I go there…
When Paul McCartney had trouble working through a song (hard to imagine, but yes it happened), he found simply invoking another songwriter helped limit the anxiety of production. Per American Songwriter:
It frees you up,’ he writes. In the end, though you put on the mask of another artist (in the case of this song it was Ray Charles), you’ll find it was your song all along: ‘The song takes on its own character.’
This way, if what you are writing doesn’t work out, it’s not on you but the writer you’re imitating. If it does, well, you can always thank them in the acknowledgements.
I reviewed the adaptation of Ruth Ware’s mystery The Woman in Cabin 10 for Slant Magazine:
Simon Stone’s The Woman in Cabin 10 is a locked-room mystery in which Laura (Keira Knightley), an investigative reporter for The Guardian, is invited by mysterious billionaire couple Richard (Guy Pearce) and Anne (Lisa Loven Kongsli) onto their luxury yacht. The cruise to Norway, doubling as self-regarding announcement of a massive philanthropic venture and a last big party for the deathly ill Anne, has barely begun when Laura sees a woman fall overboard. Told everybody on the yacht is accounted for, Laura at first thinks that she’s being gaslit. Later, after an unseen person shoves her into a pool where she almost drowns, Laura starts to believe that she’s the next to be murdered…
Here’s the trailer:
In her classic graphic memoir Fun Home: A Family Tragicomic (the book which, more than any other, introduced the graphic novel into the literary canon), Alison Bechdel uses numerous literary references (Proust, Henry James, Greek mythology) and allusions when describing her upbringing and members of her family.
As Bechdel explains in the book, this was not a tactic for distancing or adding importance to mundane matters. Viewing her life through an artistic framework was just what came naturally:
I employ these allusions to James and Fitzgerald not only as descriptive devices, but because my parents are the most real to me in fictional terms…
When being interviewed by The Paris Review (as all the greats were, once upon a time), John Cheever was asked about how to be true to reality in fiction. His response:
It seems to me that falsehood is a critical element in fiction. Part of the thrill of being told a story is the chance of being hoodwinked or taken. Nabokov is a master at this. The telling of lies is a sort of sleight of hand that displays our deepest feelings about life…
Make things up. That is fiction. But you can, and should, base your fictions in truth.
I reviewed Caroline Fraser’s new book Murderland: Crime and Bloodlist in the Time of Serial Killers for the Fall 2025 edition of Rain Taxi Review of Books:
We don’t live in a time when a single book can create a galvanizing moment, but if we did, Caroline Fraser’s Murderland could be a Silent Spring for serial killing. Ostensibly about the surge of lurid slayers who plagued the Pacific Northwest in the 1970s and ’80s, her narrative is also about the landscape that birthed them. In the award-winning Fraser’s hands, the region’s depressive atmospherics of gloomy rain-sodden forests and isolated company towns serve as backdrop to something even larger: the crime which gave rise to the crimes…
S.E. Hinton was just eighteen years old when her first novel, The Outsiders, was published. Though in some ways a dream come true, having that kind of success so young proved daunting.
While in college, Hinton was hit with writer’s block. She thought she needed to produce another masterpiece, she told Writer’s Digest. “And I knew I didn’t have no masterpiece.”
The solution, Hinton said, was relatively simple:
My boyfriend, who is now my husband, was saying ‘I don’t care if you never get published again, but you’ve got to start writing again. Enough of this gloom and doom stuff.’ He said, ‘Write two pages a day. Nobody’s every dropped dead of two pages.’ And he’d come over to take me out, and if I hadn’t done my two pages we wouldn’t go out. So that was a great motivation for writing…
Eventually those two pages turned into her second novel, That Was Then, This is Now:
When I had a stack about the size of a book, I sent it off…
Richard Bausch (editor of multiple Norton anthologies) has spent his time in the trenches of literary academia and seen the number of how-to books on writing proliferate while the number of readers keeps falling.
His advice for those aspiring to life of the pen?
Put the manuals and the how-to books away. Read the writers themselves, whose work and example are all you really need if you want to write …
Which is a superb suggestion. If you cannot learn from the well-crafted sentences of the masters, then How to Write Your Novel in 30 Days (helpful though it may be for working out certain knots in your plot) will not substitute.
Bausch goes on to remind us why we get up each day to do this thing:
This work is not done as a job, ladies and gentlemen, it is done out of love for the art and the artists who brought it forth, and who still bring it forth to us, down the years and across ignorance and chaos and borderlines … Let me paraphrase William Carlos Williams, American poet: literature has no practical function, but every day people die for lack of what is found there…
The new documentary from Raoul Peck (I Am Not Your Negro) just had its premiere at the Toronto International Film Festival.
I reviewed the film for The Playlist:
Everyone has their own George Orwell and tends to think everyone else gets him wrong. As such, making a sprawling quasi-biographical documentary like “Orwell: 2+2=5” is a brave effort bound to exasperate people across the political spectrum. Even so, Raoul Peck’s repeated usage of the author’s words to buttress his own hazily presented view of current events makes this a less rigorous and engaging work than anything about Orwell should be…
Here’s the trailer:
Finding ways not to write is a skill shared by all in the profession. But what if there was a way to delay your work productively? Miranda July has an idea:
It’s best to procrastinate with other things I don’t want to do. The amount of business emails and household chores I’ve gotten done while not writing! The best part of this is that when you finally do get down to writing, and then eventually stop for the day, you discover that the bills have been magically paid, the floors washed…
Like anything else in life, if you are going to procrastinate, do it well.
Canadian author Miriam Toews (Women Talking, All My Puny Sorrows) lost both her father and her sister Marjorie to suicide. She was not sure the loss was something she could ever write about.
“I had no words,” she told Kristen Martin. But then after a couple of years, Toews had a realization:
No, I’m a writer. This is what I do, take stuff and work it into something that makes sense to me…
The author Geoff Dyer, who writes everything from fiction to criticism and essays on tennis, has a ritual he enacts before starting a new book. He pens a note to himself which reads, “Write a book that no one else could write“:
I think one of the features of nonfiction today is that, to a degree, a book could be written by anyone possessed of a certain level of knowledge. The area of expertise might change, but quite often, there’s nothing particularly distinct about the writing or the thought. With my books, for good or ill, they could only be written by me. And that’s what they have going for them. And I just need to remind myself of that, whenever I set off…
This does not mean never following form or genre. But if you do so, be idiosyncratic about it. Stand out.
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