working method, process

Writing by the think-system

August 18, 2012 | 15 Comments

Veryln Klinkenborg on creating sentences—on the page & before. Your job as a writer is making sentences. Most of your time will be spent making sentences in your head. In your head. Did no one ever tell you this? —Several Short Sentences About Writing In his intense little essay August 13 in The New York Times promoting his new book, Several Short Sentences About Writing, Veryln Klinkenborg clears his throat for three paragraphs, takes a swipe at composition teachers, and unveils …

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Balancing honesty and artifice

August 13, 2012 | 17 Comments

John Casey on that “low vaudeville cunning” necessary in writing. Once I asked for advice about my idea of adding a fourth act to my memoir. I’d seen how it would break up the long second act, give readers a fresh resting place. And the more I’d lived with the notion the more I’d liked it: adding an act also would emphasize a new phase in the story’s arc. My mentor at the time was really offended, however. The reason …

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Cheryl Strayed’s back pages

July 24, 2012 | 7 Comments

How Cheryl Strayed feathers her compelling backstory into Wild. . . . I spun the backstory. I dole it out. The trail is a chronological report of my hike; what came before the trail is not chronological. I give you a scene from when I was seven and then another the year before [the hike]. I worked that pretty hard.—Cheryl Strayed in an interview  The second time through Cheryl Strayed’s Wild: From Lost to Found on the Pacific Crest Trail, …

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Studying ‘Wild’ for its structure

July 20, 2012 | 18 Comments

Cheryl Strayed’s memoir is narrative-driven but reflective.  Every book has its inherent impossibility. For Wild it was about me walking alone through the wilderness for 94 days; it could have been really boring. The challenge there was to convey what was happening inside of me. The trail was always there, that was the great constant, but I was always different on the trail.—Cheryl Strayed in an interview I threw out the first act of my memoir in June—it was too …

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My wild summer

July 17, 2012 | 18 Comments

I’m sure it’s no accident that right after reading Wild I got the insight to feather memories of my father throughout my memoir in progress. In previous drafts I’d used a couple of chapters to depict him. Dumb. Especially since, years ago, before I even started writing my book, a wise old editor I told about my farming adventure and how it came in the wake of my father’s serial farming adventures said, “Don’t write a whole chapter on him. Have him appear now and then. Like you’re walking across your pasture and you think of him.”

Cheryl Strayed’s Wild, currently number one on The New York Times nonfiction bestseller list, is long and meaty, a traditional yarn; it feels both nakedly sincere and confident in its unguarded honesty, a book with a lot of heart. Just what I’m aiming for myself. But I couldn’t see how Strayed pulled everything off when I first read it in May, though I did see that she wove in her backstory instead of stopping the narrative with chunks and slabs of Vital Background.

Wild depicts a grueling 1,100-mile solo hike Strayed took, in 1995, from southern California to Oregon, dodging bears and rattlesnakes and reading great literature in her tent at night, burning the pages in the morning in her campfire. She’d grown up outdoors but had never backpacked, not once, until she loaded her pack and tried to lift it just before setting out. She couldn’t pick it up, couldn’t budge it from the floor, having stuffed the large pack with so much that it probably weighed north of seventy pounds. She had to squirm into it on the floor and lift with her legs. And her boots were too small. That’s the strong foreground story, a young woman bent with a physical weight and carrying intolerable emotional baggage.

Her backstory about that baggage includes memories of her abusive father, whom her mother divorced when Strayed was six; of being raised by her hippy-ish back-to-the-land horse-loving mother and a crunchy carpenter stepfather in Minnesota; of suffering through her mother’s illness and unexpectedly quick death from lung cancer at age forty-five, when Strayed was a senior in college; of being devastated by grief and by her subsequent affairs, heroin abuse, and divorce; of her picking that new last name, Strayed; of her impulse when at rock bottom to buy a book on hiking the Pacific Crest Trail, which she’d never heard of and which was thousands of miles to the west of her home in Minneapolis.

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Feeding the hungry writer

July 14, 2012 | 8 Comments

Guest Post by Janice Gary While reading the latest issue of The New Yorker, I came across “The Hunger Diaries,” excerpted entries (March-June, 1952) from the journal of novelist and short story writer Mavis Gallant. From the very first sentence, the writing captivated me, plunging me into a world both exotic and maddeningly boring, a life narrated in cinematic detail by an unforgettable voice. An armed guard in gray, a church, a wild rocky coast which rushes a steel sea… …

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The creator’s dilemma

July 7, 2012 | 19 Comments

I used to consider the use of test audiences as Exhibit A that movies are an inferior art form—talk about lowest common denominator! plus there’s no such thing as art by committee!—then it occurred to me that I and most writers do the equivalent. All our friends’ reactions, our workshopping at conferences, our submissions to editors and agents, and our use of prose doctors of various kinds amounts to exactly the same thing, a big fat test audience. The movie …

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