People Talk in Circles

/

Life is not always explained. When I used to teach summer classes at Columbia, I would often take my students to the Hungarian Pastry Shop on the Upper West Side. I would ask them to bring a notebook and to surreptitiously document, word for word, all the conversations they overheard. When we came back to the classroom we read these aloud. What we heard was fascinating. People never talk directly at one another. They seem to always talk in circles.

ANNIE DeWITT

Here Comes Lightning

/

Words create sentences; sentences create paragraphs; sometimes paragraphs quicken and begin to breathe. Imagine, if you like, Frankenstein’s monster on its slab. Here comes lightning, not from the sky but from a humble paragraph of English words. Maybe it’s the first really good paragraph you wrote, something so fragile and yet full of possibility that you are frightened. You feel as Victor Frankenstein must have when the dead conglomeration of sewn-together spare parts suddenly opened its watery yellow eyes. Oh my God, it’s breathing, you realize. Maybe it’s even thinking. What in hell’s name do I do next?

STEPHEN KING

Seeds and Pebbles

/

You cannot be judging yourself as you write the first draft—you want to harness that unexpected energy, and you don’t want to limit the possibilities of exploration. You don’t know what you’re writing until it’s done. So if a draft is 500 pages long, you have to suspend judgment for months. It takes effort to be good at suspending judgment, to give the images and story priority over your ideas. But you keep going, casting about for the next sentence. I think there are two kinds of sentences in a rough draft: seeds and pebbles. If it’s a pebble, it’s just the next sentence and it sits there. But if it’s a seed it grows into something that becomes an important part of the life of the novel. The problem is, you can’t know ahead of time whether a sentence will be a seed or a pebble, or how important a seed it’s going to be.

JANE SMILEY

Give Your Characters a Roll in the Hay

/

I’m really interested in writing about sex. I feel like it’s not often done well, and it’s sometimes done outrageously. I also get annoyed when writers are afraid to show pleasure. I’m tired of reading really dreadful sex scenes where everyone’s miserable and then eventually maybe one person has a reluctant orgasm. I thought, What if I tried to have a scene where people had sex and it was great? My characters do have sex in varying emotional states, and with various results. I took a class at Iowa with Allan Gurganus, and he picked my story to talk about in class…and he really liked that there was sex in it. He said, You should always give your characters a roll in the hay—they work hard, they deserve it. Which I thought was so funny. I tell my students that party scenes are really important in fiction because a party scene can go in any direction. Sex scenes can be similar. You’re putting characters together—what happens as a result? Books& Literature

CARMEN MARIA MACHADO

Posterity

/

Only two things happen to writers when they die: Either their work survives, or it becomes forgotten. Someone will turn up an old box and say, "Who's this guy Irving Wallace?" There's no rhyme or reason to it. Ask kids in high school, "Who is Somerset Maugham?" They're not going to know. He wrote books that were bestsellers in their time. But he's well-forgotten now, whereas Agatha Christie has never been more popular. She just goes from one generation to another. She's not as good a writer as Maugham, and she certainly didn't try to do anything other than entertain people. So I don't know what will happen.

STEPHEN KING