Obituary Writing

The nature of obituary writing, it is a very intimate act. At the beginning of a day you are meeting a stranger whose work you may not know and whom you may not have heard of when your editor comes over with a sheaf of clips from the morgue and an assignment. You really have to take in through inhalation every facet of this stranger’s life. By the time deadline rolls around and you have spent four or five hours in intense communion with this person, if you are lucky and the planets are in the right alignment, you can make an exhalation onto the page, which is not only swift and accurate but also has some of those resonant phrases.

MARGALIT FOX

Collage Technique

In 1974, I was assigned by The New York Times Magazine to write about the kidnaping of Patty Hearst by the Symbionese Liberation Army in Berkeley, California. I spent weeks poking around the Bay Area, but when the deadline approached, Patty was still at large and had joined her kidnapers in robbing the Hibernia bank, wielding a sawed-off M-1 carbine. No one knew what had actually happened, the story was still developing, and I told Didion I was struggling with how the hell to structure it. She advised me to write scenes on index cards—interviews I’d done and events I’d witnessed. “Then spread them on the floor and see how you can fit them together, with space breaks in between. Like arranging a patchwork quilt.” She’d done this with numerous pieces, including the iconic essay, “Slouching Toward Bethlehem.” Doubtful at first, I tried it and found it worked.

SARA DAVIDSON

Kick the Dog

Chayefsky used to say, “There are two kinds of scenes: the Pet the Dog scene and the Kick the Dog scene. The studio always wants a Pet the Dog scene so everybody can tell who the hero is.” Bette Davis made a great career kicking the dog, as did Bogart, as did Cagney (how about White Heat—is that a great performance or not?). I’m sure the audience identified with Anthony Hopkins in The Silence of the Lambs as much as with Jodie Foster. Otherwise there wouldn’t have been the roar of laughter that greeted the wonderful line “I’m having an old friend for dinner.”

SIDNEY LUMET

The Reader Doesn't Exist

I don’t think much about the reader. Ways of reading are adversaries—those theoretical ways. As far as writing something is concerned, the reader really doesn’t exist. The writer’s business is somehow to create in the work something which will stand on its own and make its own demands; and if the writer is good, he discovers what those demands are, and he meets them, and creates this thing which readers can then do what they like with. Gertrude Stein said, “I write for myself and strangers,” and then eventually she said that she wrote only for herself. I think she should have taken one further step. You don’t write for anybody. People who send you bills do that. People who want to sell you things so they can send you bills do that. People who want to tell you things so they can sell you things so they can send you bills do that. You are advancing an art—the art. That is what you are trying to do.

WILLIAM H. GASS

Almost Anything Can Happen

A novel is a long and complex creation. The parts bear a mysterious and clouded relation to the whole. The pages turn, one after another, and it is a distinguishing aspect of the novel that, around the next corner, almost anything can happen. We hardly know which to treasure most: expectation confounded or satisfied. A new chapter is a psychological shift and the interesting dislocations afforded by a flashback make great demands on the imagination. In the older works we were often grateful for the relief, the relaxation, as if for a short nap, brought to us by a sudden shift to the sub-plot.

ELIZABETH HARDWICK

The Difference Between Reading and Writing

Writing is a process that’s entirely totalitarian. A writer is a tyrant, a dictator. He has complete power over every comma, every sentence, every character. When I’m writing, I’m the boss — I’m in charge. When the book is published, the political nature of it changes completely. People can read my books in whatever way they want to. I don’t want any control over the process of reading, it’s democratic: and furthermore, between the reader and the book there opens up a space of complete freedom, which is also private. In a democracy, we have a private voting booth. It’s secret. So the difference between reading and writing is the difference between democracy and tyranny. 

PHILIP PULLMAN

Being Open

It’s that being open—not scratching for it, not digging for it, not constructing something but being open to the situation and trusting that what you don’t know will be available to you. It is bigger than your overt consciousness or your intelligence or even your gifts; it is out there somewhere and you have to let it in.

TONI MORRISON

One Word After Another

One word after another. That’s the only way that novels get written and, short of elves coming in the night and turning your jumbled notes into Chapter Nine, it’s the only way to do it. So keep on keeping on. Write another word and then another.

NEIL GAIMAN

Great Art Is Propaganda

It seems to me that all truly great art is propaganda, whether it be the Sistine Chapel or La Gioconda, Madame Bovary or War and Peace. The moment the novelist begins to show how society affected the lives of his characters, how they were formed and shaped by the sprawling inchoate world in which they lived, he is writing a novel of social criticism whether he calls it that or not.

ANN PETRY

Be Concise

Be concise; try expressing your thoughts with the least possible number of words, avoiding long sentences—or sentences interrupted by incidental phrases that always confuse the casual reader—in order to avoid contributing to the general pollution of information, which is surely (particularly when it is uselessly ripe with unnecessary explanations, or at least non indispensable specifications) one of the tragedies of our media-dominated time.

UMBERTO ECO