BOB SHACOCHIS

The stories are there first, and they come from my experiences wandering around in the world. They will resonate into bigger things, forces sweeping the planet, themes and archetypes, but I'm not smart enough to have lucid integration of all that in my head as I'm writing.

Trying to get the sentences right and the structure of the narration right is about as big a job as I can handle. But I also know that if you handle that job properly, everything else just clicks into place.

I should like to elbow aside the established pieties and raise my martini glass in salute to the mortal arts of pleasure.

Writing is a process of discovering. I could never outline a narrative; that just sounds boring. There's no joy of discovery in what you're doing if that's your strategy.

I'm asked all the time, 'Doesn't it feel great to finish the novel?' And the answer to that is, 'No.' It's sort of a loss to stop a 10-year project, which is an imaginary project in the sense that it's a work of my imagination.

A whole bunch of agents and editors looked at my stories, and they all said, in effect, 'You're a pretty good writer and you should probably get these published; when you grow up and write a novel, get in touch.'

I consider myself a writer who writes about American expatriates. And if I have any overt cause as a writer besides writing the best prose I can, it's to try to make Americans have a more visceral feeling about how America impacts everybody in the world.

The illusion of control has to be there, but mostly I'm following characters and the consequences of their own decisions, because a lot of the time they made decisions about what to do or how to behave that I had no idea were coming down the pike. As I would sit and try to inhabit a character, they themselves in my imagination would have quite a bit of free will.

When you meet powerful men or just read about them in the newspapers, you see that they don't have a sense of boundaries.

The biggest challenge in the research process is to let go, to stop, to say enough, and then to reduce all of that beloved labor down to a few succinct paragraphs that shape the background to your narrative. I love research - that's all the fun, especially in the field. To write, however, is to suffer, and my pieces usually come in thousands of words over the assigned length. That's a serious flaw in my writing process - shaping and disciplining the footlockers of material one has so happily gathered.

You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.

I consider myself a writer who writes about American expatriates. And if I have any overt cause as a writer besides writing the best prose I can, it's to try to make Americans have a more visceral feeling about how America impacts everybody in the world.

Writing is a process of discovering. I could never outline a narrative; that just sounds boring. There's no joy of discovery in what you're doing if that's your strategy.

Trying to get the sentences right and the structure of the narration right is about as big a job as I can handle. But I also know that if you handle that job properly, everything else just clicks into place.

I'm asked all the time, 'Doesn't it feel great to finish the novel?' And the answer to that is, 'No.' It's sort of a loss to stop a 10-year project, which is an imaginary project in the sense that it's a work of my imagination.

When you meet powerful men or just read about them in the newspapers, you see that they don't have a sense of boundaries.

The stories are there first, and they come from my experiences wandering around in the world. They will resonate into bigger things, forces sweeping the planet, themes and archetypes, but I'm not smart enough to have lucid integration of all that in my head as I'm writing.

A whole bunch of agents and editors looked at my stories, and they all said, in effect, 'You're a pretty good writer and you should probably get these published; when you grow up and write a novel, get in touch.'

The biggest challenge in the research process is to let go, to stop, to say enough, and then to reduce all of that beloved labor down to a few succinct paragraphs that shape the background to your narrative. I love research - that's all the fun, especially in the field. To write, however, is to suffer, and my pieces usually come in thousands of words over the assigned length. That's a serious flaw in my writing process - shaping and disciplining the footlockers of material one has so happily gathered.

For any artistic person who creates imaginary people, the art is like inhabiting the life and mind of a seven-year-old child with imaginary friends and imaginary events and imaginary grace and imaginary tragedy. Within that alternate universe, the characters do have quite a bit of free will. I know it's happening in my mind and my mind alone, but they seem to have their own ability to shape their destinies. So I'm not shooting for anything. If the characters are vulnerable it's simply because they're very human.

With iron and blood, it seems, and from the rich depths of the earth, John Griswold has fashioned a classic American novel, its dignified intonations of our young nation's sweat and tears evocative of the indelible storytelling of Dos Passos, Frank Norris, and Upton Sinclair.

It is no secret that souls sometimes die in a person and are replaced by others.

I'm asked all the time, "Doesn't it feel great to finish the novel?" And the answer to that is, "No." It's sort of a loss to stop a 10-year project, which is an imaginary project in the sense that it's a work of my imagination. The people who I've lived with for 10 years in my imagination are now sort of defunct. To lose them is rather a mournful process - it's not a relief.

The illusion of control has to be there, but mostly I'm following characters and the consequences of their own decisions, because a lot of the time they made decisions about what to do or how to behave that I had no idea were coming down the pike. As I would sit and try to inhabit a character, they themselves in my imagination would have quite a bit of free will.

I should like to elbow aside the established pieties and raise my martini glass in salute to the mortal arts of pleasure.

What I do is, I'm like a disease that infects real people and I take them over. We can start off in a very journalistic mode describing a character and observing a character - and that's what I do with a lot of characters in my books. And then my imagination eats them alive.