Well, it’s finally happened: my blog has been memed. (Can meme be a verb? And if so, is it transitive or intransitive? And is it irregular?)
Anyway. I have been tagged by the prodigiously esteemable Mr. William Alexander, author of Fine Fictions and Sundry Stories, and an all-around Fine Fellow. You can read about his process here. You can also browse his books – the National Book Award winning GOBLIN SECRETS , for example.
If you haven’t read it, I insist you do so instantly. It is a wondrous strange little beauty, filled with intricate machines, beautiful baubles bent on your destruction, bravery, loyalty and dread. I just loved it. He writes short stories as well, and I’m always happy to encounter a new one. His new book is this:
And since this is a meme, which means that I must pass it on like a game of Hot Potato, I do hereby name Mr. Steve Brezenoff, a writer whose books are both incisive and compassionate, who balances the highbrow and the lowbrow with deft skill and ease, and who manages to force us to remember the ache and confusion and agony of the teen experience while reminding us of the joy as well. His newest book is Guy in Real Life, and I insist that you read it at once.
Anyway. The meme. I hope it makes sense. If not, don’t worry about it. I rarely make much sense.
Question the First:
What Are You Working on Right Now?
Several things. My editor has a copy of my new book, The Boy Who Loved Birds, on her desk right now, and I am in a place of restless waiting for notes. This is a common phenomenon for writers: restless waiting. It is, I’ve been told, particularly unattractive. Oh well. I’m also finishing up a new book called The Sugar House - a Hansel and Gretel retelling set in Minneapolis. I very much enjoyed writing it. And then I’ll write the next book called The Girl Who Drank the Moon – which has a foundling child, a mad woman in a tower, a five-hundred-year-old witch named Xan, a poetry-quoting swamp monster named Glerk and a Perfectly Tiny Dragon with delusions of grandeur (his mother, hoping to boost his self-esteem, convinced him that he was actually a Simply Enormous Dragon trapped in a land of giants). I am rather excited about it.
Question The Second:
Why Do You Write What You Write?
You know, my husband asks me this all the time. Or more specifically: why don’t you write best selling series fiction that makes millions so we can retire and then you can hire recent graduates to crank out your novels on your behalf like James Patterson? And, to be fair, that is an excellent question. Alas, I can only write what interests me. I write strange fictions because I am interested in strange things. I endeavor to write beautifully because I delight in beautiful things. I write creepy stories because I enjoy the inward shiver of the macabre and the unsettling tale. I write stories about childhood because childhood interests me – how we become, how we find our feet, how we build ourselves into the people we will be, how we shape the world around us. I write what I write to amuse myself. I write what I write to heal myself. I write what I write as messages in a bottle to the lonely, hurting child that I used to be. I write for my kids. And my future grandkids. And the kids in the neighborhood. I write to share the oddness inside me with other people.
Sometimes I do all of these things at once.
Question The Third:
How Does Your Work Differ From Others in its Genre?
Oh good lord. I have no idea. Honestly, the notion of genre in general makes me itchy. I don’t like putting firm categories on art, and feel frustrated with the increasing balkanization of literature. Since stories, once absorbed into the Self become part of our internal landscape and our external mapping – since they, once read, become seamlessly integrated in the mind of the reader (and I mean capital-M Mind) they are forever interacting and communicating with every other story that the reader has read. Which means that A Wrinkle in Time is in a lifelong conversation in my brain with Little Dorrit. And The Odyssey. And Anne of Green Gables. And The Sandman. If it were up to me, all fiction would simply be fiction, and that would be that.
I think I’ve digressed.
Anyway, how does my book differ from – not other books of its supposed genre but any book at all? Simple. I wrote mine. Someone else wrote theirs. When we sit down to work, we bring the particularities and peculiarities of our specific life experience. My family. My fears. My hopes. My nightmares. My faith. My loss of faith. My travels. My mental health. My obstacles. My reading life. My bare feet on the green grass and my fingertips in the warm mud and my lungs taking in the air around me and my eyes widening at each new blessed wonder. My books are different because I am different. You see?
Question the Fourth:
How Does Your Writing Process Work?
Not very well, I’m afraid. I am a chronic destroyer of my own work. My newest book, The Witch’s Boy, was fully erased and given up on, I’d say eight times. I slash and I burn, and my soul burns with it. So this is how it works:
1. I get a notion of a story – sometimes it is a little knot of text that occurs to me while I’m running. Sometimes it is a very clear idea for a character. Sometimes it is a very particular moment. In any case I will will not start the story. I will just start thinking about the story. For a long time. (To put this in perspective, The Girl Who Drank The Moon - the story I’ll be starting this summer – I have been thinking about for about two years. The book I write after that - Dispatch from the Hideous Laboratories of Doctor Otto van Drecht - I’ve been thinking about for three years.)
2. I get a box. I’ll put scraps into the box from time to time – little note cards, ripped out pieces of paper, articles, pictures, bits of string that I can’t remember what I was thinking of putting it in there, but there it stays. Baubles. Notions. Knick-knacks. Whatever. Things accumulate in the box.
3. I start to write. Longhand. I am a big believer in writing longhand. The problem with this is that I am not very organized and am prone to losing said notebooks. For The Sugar House, I have lost my notebook at the playground, at my kid’s school, at a coffee shop, at the gas station and in a public restroom. Fortunately, each time I’ve lost it, I’ve found it again. So far. But the future is wide and wild and scary and anything can happen.
4. I give up on the longhand. Eventually, the story starts moving in two directions at once, and I need to fix the beginning in order to re-do the end. Or I am just moving too quickly to be able to keep up. So far, I’ve only been able to maintain my longhand-only insistence for about 3/4 of a draft. When I start to move to the computer, each section goes into depth and breadth. So fifty pages in the notebook often translates to ninety pages on the computer. Each sentence is a jumping-off point.
5. I erase everything. I give up. I wonder why I ever started writing in the first place. I say mean things to myself.
6. I confess my erasing to my writing group who tell me to knock it off already. I get back to work.
7. Steps five and six repeat a bunch of times.
8. I read the book out loud. I realize it’s not as bad as I thought. I read loudly, dramatically, and with gusto. My neighbors think I’m nuts. They are not wrong. I edit as I read. I repeat this process about ten times.
9. I send it out. And I collapse:
10. And the process starts over.