If you have someone falling out of the boat, you’d have to drag the boat up the river and film the same scene ten times, every time, dragging the boat exactly where it was up the river.
A Life in Men is a joyful, ambitious novel that is also an adventure traversing three continents, as well as a meditation on love, sex, and, most important, friendship, which can overcome time, distance, and even death.
Writing is so wrapped up in ego, but with math one is just trying to get it right, although you’re often wrong. I think math helped me become a good critic of myself, come at writing a little less personally.
I was never a big reader as a kid. My imagination wasn’t captured by books very often. It was captured more often by boys and partying and riding horses.
Men didn’t understand that you couldn’t let yourself be consumed with passion when there were so many people needing your attention, when there was so much work to do.
I realized that I was writing about folks with lots of skills, especially fix-it skills and survival skills, who were nonetheless not doing well in the new-millennium America.
There are dozens of emails daily, gardening, lots of dishes (where do all these dishes come from?), daily family emergencies, and, of course, the petting of the donkeys. The smell of donkeys is heavenly, and their he-honking is the sweetest music. I feel calm just thinking about them.
That’s why I have to be a fiction writer, because I can’t remember what just happened or where I went last week or what movie I just watched with my husband. I’m better off just making things up.
The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.
I’m very interested in people who are in a situation that needs a little puzzling out. The thing that gets me started on a story is a person in a tough situation.
I worked probably fewer jobs than most people, or fewer real soul-killing jobs than other people. I’ve been a typist, a typesetter, a keyliner, cappuccino-maker. I think I’ve been pretty lucky.
I hope that my stories serve as explorations and help show readers how and why real-life women don’t always make the “correct” decisions in the face of economic and sexual troubles.
So maybe nature also works as a metaphor for whatever emotional troubles my characters have to negotiate. I’m interested in my characters as survivors, and maybe that works best when the old-fashioned notion of humans surviving in wilderness is not too far away.
In a regular class I don’t focus on the form, but I think that focus is helpful for brainstorming and coming up with ideas quickly, especially with autobiographical material.
That was a mistake, I guess, going out to California. They have these things called guidance counselors in high school. They drink a lot of herbal tea.
We know that we need to explore desire in fiction – many say that the only way a story exists is that a character feels a strong desire – and nature is the place where creatures act on their desires in the most pure way imaginable.