Category: Writing

Writer’s Desk: Epiphanies are Cheating

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Photo by Ritika Roy (licensed under CC-CC0 1.0)

Novelist and writing professor Charles Baxter was reading a Best American Short Stories volume when he realized something: Every story seemed to end the same way:

I kept coming upon final pages in which there was a moment when a character stopped and looked off into the distance, and then a sentence the equivalent of ‘Suddenly she realized…’ appeared…

For Baxter, this seems like cheating:

If you’re trying to write a story with a beginning, middle, and end but haven’t found a way of tying it up dramatically, an epiphany will do the job. But it often ends up feeling like a shortcut, and besides … I’ve had so god-damned few epiphanies in my life that I’m suspicious of them…

Beware of the easy conclusion.

Writer’s Desk: Look Outside

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Built-in desk at Fallingwater

Anne McCaffrey (Dragonriders of Pern series) moved from America to Ireland, where she enjoyed, among other things, the “lovely vistas.” It’s not something that most writers can manage, of course. But she made a good point about the importance of having something to look at:

I think writers need windows on a view to remind them that a whole world is out there, not the minutiae with which they might be dealing on a close scale…

Writer’s Desk: Design It Yourself

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When J.D. Salinger saw the Signet paperback cover for his novel The Catcher in the Rye, with a very literal painting of Holden Caulfield wandering the sordid streets of New York, like many authors, he was displeased. Unlike many authors, he took matters in his own hand.

One of the more famous of the book’s many covers was its mass market Bantam edition, featuring the very familiar stark white design and rainbow stripes cutting across the upper left corner.

According to LitHub, Salinger designed it himself.

Most authors have very little control over how their books are presented. But whenever you have the opportunity to make any decisions about design, marketing, or anything else involved in the packaging of your work, seize it.

Who knows? You might design a cover that could last for more than a half century.

Writer’s Desk: Work to Create

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Philip Glass (Nancy Lee Katz, 1992)

In the 1970s, Philip Glass had become an American composer to watch. Celebrated and also vilified, his minimalist work got attention. But it didn’t pay the bills. In fact, Glass lost money pretty much every time he took his ensemble on tour. So how did he get by? The son of Baltimore immigrants, Glass did whatever he had to do. Working a crane at a steel foundry. Driving a New York cab in the Taxi Driver days. Running his own moving company (sometimes advertised in the Village Voice as Prime Mover). Also being a self-taught plumber.

Which led to this encounter when Glass was installing a dishwasher in a Soho loft sometime in the 1970s:

While working, I suddenly heard a noise and looked up to find Robert Hughes, the art critic of Time magazine, staring at me in disbelief. ‘But you’re Philip Glass! What are you doing here?’ It was obvious that I was installing his dishwasher and I told him I would soon be finished. ‘But you are an artist,’ he protested. I explained that I was an artist but that I was sometimes a plumber as well and that he should go away and let me finish…

The very obvious moral of this story? Some artists have sponsors. They are the lucky ones. For the rest of us, do what you have to do to pay for paper, toner ink, and the electric bill.

Even if that means installing an art critic’s dishwasher.

(h/t Ted Gioia)

Writer’s Desk: Writing Solves Problems

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When she was a teenager, Barbara Ehrenreich (Nickel and Dimed) started journaling, as many of us do. After penning the usual things (what was happening in her life, thoughts about books she was reading), she realized there was a purpose for the journal.

It was a tool. As she wrote in Granta:

I had discovered that writing – with whatever instrument – was a powerful aid to thinking, and thinking was what I now resolved to do. You can think without writing, of course, as most people do and have done throughout history, but if you can condense today’s thought into a few symbols preserved on a surface of some kind – paper or silicon – you don’t have to rethink it tomorrow … The reason I eventually became a writer is that writing makes thinking easier…

Sometimes you have to write your way through something to understand it. You may even have to start writing without knowing your destination. Writing orders your thoughts, whatever they are.

Writer’s Desk: Keep Things Vague

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In 1972, Jorge Luis Borges was a sage of literature. Seventy years old, blind, and feted around the world for his delicately phantasmagoric fiction, he was visited by Fernando Sorrentino, a dedicated fan. They talked for a week.

Here’s a piece of advice Borges gave Sorrentino, noted by Faena Aleph:

I believe that a writer should never attempt a contemporary theme or a very precise topography. Otherwise people are immediately going to find mistakes. Or if they don’t find them, they’re going to look for them, and if they look for them, they’ll find them. That’s why I prefer to have my stories take place in somewhat indeterminate places and many years ago…

Anybody who has written or tried to write fiction with specific contemporary settings which depart in any way from their lived experience knows what he is talking about. Doing such work requires a lot of work that goes beyond writing. Research, interviews, all of it.

That doesn’t mean it isn’t worthwhile. If everybody wrote like Borges, we would have no Dreiser, Wolfe, Bellow, and so on. But there is something to be gained from just writing a story of sensation, thoughts, and actions with no or little regard for where it takes place.

If nothing else, it’s liberating.

The Writer’s Year 2025 calendar is on sale now.

Writer’s Desk: Don’t Be Afraid of the Fear

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Rita Dove: An American Poet (Eduardo Montes-Bradley)

At some point it gets easier. Eventually you have written enough that the panic and indecision just disappears. At that point, the words flow like fine wine. Isn’t that how it works?

Not necessarily. Consider Rita Dove. A Pulitzer-winning poet and recipient of the National Humanities Medal, she was also the U.S. Poet Laureate from 1993 to 1995. As the poetry business goes, Dove is pretty close to its peak.

In this 2016 interview, she talks about the confidence that comes from her long career:

The process has become a lot easier because even in the depths of despair—which happens more often than people might imagine—I have the example of all the other poems I’ve written and I know I’ve been through this before, so things will probably turn out fine…

But alongside that self-assurance (I can do this. I’ve done it before) is that nagging problem every writer faces now and forever (But can I?):

I’m still terrified every time I approach a fresh page…

If you are lucky enough to be successful as a writer, don’t assume that everything will suddenly become clear. It probably won’t. But that uncertainty, the not knowing, that’s where creation lives.

The Writer’s Year 2025 calendar is on sale now.

Shameless Self-Promotion: ‘The Writer’s Year 2025’ on Sale Now

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As mentioned a few weeks back, I decided it was time to put all these writing tips and quotes into printed form. Fortunately, the good folks at Workman Publishing agreed. That is why as of this week, you can now get your very own copy of The Writer’s Year: 365 Days of Inspiration, Prompts, and Quotes for 2025.

I’ll repeat what you can find inside, cool stuff like:

  • Illuminating quotes from the greats (James Baldwin, Susan Sontag, Ray Bradbury)
  • Prompts to start your story
  • Recommended reading lists
  • Handy tips on everything from cliches (easy but bad) to rewriting (annoying but good)

It’s at Amazon, Barnes & Noble, Bookshop, and a lot of other fine stores, like those kiosks that sell calendars at the mall during the holidays.

Writer’s Desk: How Do Ordinary Humans Sound?

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Dorothy L. Sayers, one of the great crime writers, was once asked by a man how she wrote such realistic dialogue between male characters. Did she have a big family or a lot of male friends?

Her answer was to the point:

I replied that I had coped with this difficult problem by making my men talk, as far as possible, like ordinary human beings. This aspect of the matter seemed to surprise the other speaker; he said no more, but took it away to chew it over. One of these days it may quite likely occur to him that women, as well as men, when left to themselves, talk very much like human beings also…

Sayers is being sarcastic, yet also true. Imagine what ordinary people sound like when you hear them speak. Then use that to inspire the sound and style of your dialogue.

Writer’s Desk: Imagine Your Reader

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When asked by The Paris Review to describe the ideal reader of his works, Anthony Burgess came up with a highly specific characterization:

The ideal reader of my novels is a lapsed Catholic and failed musician, short-sighted, color-blind, auditorily biased, who has read the books that I have read. He should also be about my age…

After taking a moderately more serious approach to the question, Burgess admitted that yes indeed he does like to have a wide audience, but acknowledging that there are limitations:

I like to devise a plot that can have a moderately wide appeal. But take Eliot’s The Waste Land, very erudite, which, probably through its more popular elements and its basic rhetorical appeal, appealed to those who did not at first understand it but made themselves understand it. The poem, a terminus of Eliot’s polymathic travels, became a starting point for other people’s erudition. I think every author wants to make his audience. But it’s in his own image, and his primary audience is a mirror…

Reader’s Corner: Charles Burns and ‘Final Cut’

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I interviewed cartoonist Charles Burns (Black Hole) about his new graphic novel Final Cut and the creative block that led up to it for Publishers Weekly:

Whenever he tried to start a new project, it fizzled out. “I went for months and years,” Burns, 68, says via phone from Philadelphia. “This is shit,” he remembers saying to himself. “I should know how to do this.” Facing what he calls the worst creative frustration of his career, he found himself thinking, “Maybe this is it. Maybe I don’t have anything at all.”

So, to prove he still had something in the tank, Burns set himself a small goal: finishing a seven-page story. If he couldn’t do that, he told himself, he’d have to start doing something else…

Final Cut comes out in September.

Writer’s Desk: Read Somebody Better

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Kathryn Schulz writes in the New Yorker about “all the other options” of coping when stuck on a piece of writing:

…ignoring the problem, staring blankly at the problem, moving the problem around to see if it’s less annoying in some other location, eating all the chocolate in the house…

Then she delivers this crucial piece of advice:

I eventually do what I should have done in the first place and go read some writer who is much better at this business than I am…

Her choice for that honor is Norman Maclean. You might think that turning to a master like Maclean, who somehow packs a short story’s worth of mood and material into one sentence without it feeling overwrought, would be intimidating.

But seeing another writer, whether Maclean or not, solve the problem of making a great sentence is also inspiring.

They did it. You can, too.

Writer’s Desk: Grammar, Schrammar

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As a general rule, the last person you should be consulting while writing is a grammarian. Usage guides? Certainly. But grammar? If you haven’t learned it by the time you’re starting your novel, chances are it’s too late. One goes to war with the army one has.

But in case you are still anxious about your usage, a good tonic for the nerves is Geoffrey K. Pullum’s The Truth About English Grammar. Per Steven Poole’s light-handedly scathing take in The Guardian, Pullum is not the kind of linguist who delivers finger-wagging lectures on tense or how the Internet is ruining the King’s English. Instead, his book appears to be a broadside directed at the grammatical snoots who Pullum thinks have no idea how English is used in the real world:

Readers are meanwhile reassured that there’s nothing necessarily wrong with the passive, or the split infinitive, or the dangling participle, or adverbs. Pullum is an engaging and friendly writer, always on the side of the ordinary Joe against the nitpickers. A particular delight is how he shows that many “rules” beloved of self-appointed grammar constables were simply made up quite recently by irritable ink-stained wretches…

Now, off you go. If splitting a few infinitives means you have the time to figure out what your protagonist is going to do next, then split away.

Writer’s Desk: Snoopy Kept Trying

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When we think of Snoopy and writing, we think of that determined beagle hammering away at his sentences, trying to figure out how to follow his opening line, “It was a dark and stormy night.”

Not an easy task.

But he also had to face rejection. One of the great Peanuts strips showed Snoopy writing a response to a publisher’s rejection letter.

I think there might have been a misunderstanding. What I really wanted was for you to publish my story, and send me fifty thousand dollars.

Is your story worth fifty thousand dollars? Maybe yes, maybe no. But acting like it is never hurt.