Writer’s Desk: Always Have a Project

Wilder in 1948
Thornton Wilder (c. 1948)

In his latest dispatch for the New Yorker, John McPhee ruminated on all the many many projects he had taken up and never gotten to over the course of his (what looks like to the rest of us mortals) wildly productive writing life.

Trying to put a more positive gloss on a situation that had long bothered him (as it does most writers, who always have at least five unfinished projects for each one they complete), he recollects a lunch he had with his editor and Thornton Wilder many years back. Asked what he was working on, Wilder said:

… he was not actually writing a new play or novel but was fully engaged in a related project. He was cataloguing the plays of Lope de Vega … Four hundred and thirty-one survive. How long would it take to read four hundred and thirty-one plays? How long would it take to summarize each in descriptive detail and fulfill the additional requirements of cataloguing? … Wilder was sixty-six, but to me he appeared and sounded geriatric. He was an old man with a cataloguing project that would take him at least a dozen years. Callowly, I asked him, “Why would anyone want to do that?”

The response is vivid:

Wilder’s eyes seemed to condense. Burn. His face turned furious. He said, “Young man, do not ever question the purpose of scholarship.”

We all need something to do, and keep us going. Especially writers.

Writer’s Desk: How About Oranges?

In 1965, New Yorker writer John McPhee met with the magazine’s famously hard-to-please editor William Shawn to discuss his next story idea. According to Wyatt Williams’ Oxford American essay:

The writer would suggest subject after subject only to be told that the idea had already been reserved for another writer or that Shawn wasn’t interested in it. This is the moment, as the story goes, when John McPhee finally just said, “Oranges.”

That was it. That’s all it took:

According to the version he told in an interview with the Paris Review decades later, “That’s all I said—oranges. I didn’t mention juice, I didn’t mention trees, I didn’t mention the tropics. Just—oranges. Oh yes! Oh yes! [Shawn] says. That’s very good. The next thing I knew I was in Florida talking to orange growers.”

McPhee came back with 40,000 words on oranges for the magazine. He later turned it into a book. Title? Oranges.

All from a one-word pitch.

Writer’s Desk: Leave Out More Than You Put Down

One of the greatest writers of our time, John McPhee, had a lot to say about the writing process. A lot of it boils down to hard work, research, and edit, edit, edit.

Here’s a few tips:

Writing is selection. When you are making notes you are forever selecting. I left out more than I put down.

If something interests you, it goes in — if not, it stays out. That’s a crude way to assess things, but it’s all you’ve got.

I scoop up, say, ten times as much stuff as I’ll ultimately use.

And don’t forget:

Writing has to be fun at least once in a pale blue moon.

Writer’s Corner: Staying Out of the Rain

Crowd at a Harvard-Princeton football game, Nov. 8, 1913. (Library of Congress)
Crowd at a Harvard-Princeton football game, Nov. 8, 1913. (Library of Congress)

There are plenty of good reasons to become a writer—excepting of course a desire for money, fame, or respectability.

In “Phi Beta Football,” a football-season essay for the New Yorker about his childhood watching Princeton football games, John McPhee identifies another superb reason to devote one’s life to the written word:

…on a November Saturday of cold, wind-driven rain—when I was about ten—I was miserable on the stadium sidelines. The rain stung my eyes, and I was shivering. Looking up at the press box, where I knew there were space heaters, I saw those people sitting dry under a roof, and decided then and there to become a writer.