I worked for many years as a writer for children and then wrote two adult novels of the kind they call 'literary' without any very great disturbance to this kind of life. Then, something went wrong. My third adult novel was rejected by the publisher of the first two. And I could not understand the criticism offered.
When I wrote "Win," it only took about eight months, but eight months of sheer pain and suffering because every phrase that's in there - and there are about 130 specific linguistic recommendations - I had to test every one to make sure that it worked.
Every time I try to set something in Chicago, I get intimidated by 'Augie March.' It's easy to set something in Indianapolis - we don't have 'Augie March' here. But I love writing about Chicago, and I love being there and imagining lives in Chicago. I hope to set something there in the future, but it's intimidating.
I once started a detective story to make money—but I couldn't get the murder to take place! At the end of three chapters I was still describing the characters and the milieu, so I thought, this is not going to work. No corpse!
Eudora Welty's 'A Curtain of Green' had an enormous effect on me. But my early attempts to graft stories from the Deep South onto North of England provincialism were not successful. All were rejected.
It was a challenge for me to do a plot because I'd been an essayist and a journalist. I had to be vigilant about moving things along and being entertaining.
Ah, well, I have no talent for nonfiction, that's my problem.
The subject, however various and important, has already been so frequently, so ably, and so successfully discussed, that it is now grown familiar to the reader, and difficult to the writer.
I never did write a biography, and I don't exactly know how to set about it; you see I have to be accurate and keep to the facts, a most difficult thing for a writer of fiction.
When you put a book together and arrange it, there's a lot of anxiety and turmoil about what order the poems should be in.
California seemed to me to be all about secrets and the need for safety. And this leads to this thematic messiness I'm still trying to figure out what to do with. I mean, when it comes to the themes, this is nothing like an Atwood novel.
Sometimes the easiest-seeming stories to a reader are the hardest kind to write.
I keep telling myself I should try very hard to write a novel of about 210 pages... I don't seem to be capable of it, but I keep hoping it will happen.
I was uncomfortable writing fiction. My love was the personal essay, rather than the novel.
It's hard to read good fiction when I am writing, because if it is really good I catch myself sort of inadvertently imitating a great writer.
The resistance to my work, and to my way of writing, has been there from the beginning. The first things I wrote were these short short stories collected in At the Bottom of the River, and at least three of them are one sentence long. They were printed in The New Yorker, over the objections of many of the editors in the fiction department.
I was always kind of florid. And full of rhetoric. That was my flaw. My whole time writing, I've had to work against that because it can be a wrecking posture.
When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.
Mr. Henry James writes fiction as if it were a painful duty.
I envy people who write easily. I enjoy the process, but it's not easeful for me.
How to explain? How to describe? Even the omniscient viewpoint quails.
I didn't know how to kill off a character unless I was able, as a narrator, to get really complicated. Because it was a big deal. I'd never killed a character before.
I tried to write about my first marriage in a fictional version but got two pages into it and realised it was too personal. Then I came up with an old-fashioned love triangle, which became the plot for 'Ralph's Party.'
I can't sum up my books. They're all rather complicated. Sometimes I think they're too complicated. But that's the way I am. When I start to write a book, my head gets full of all kinds of detail.
Faulkner is a really important figure in southern literature. I wrestle with him and his legacy every time I sit down and write a piece of fiction.
