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In this online exclusive we ask authors to share books, art, music, writing prompts, films—anything and everything—that has inspired them in their writing. We see this as a place for writers to turn to for ideas that will help feed their creative process.
“I am fascinated by two types of characters: those who are deeply flawed—the morally ambiguous character who is looking for redemption or spiraling into a deeper chaos, and those who are on the brink of a life-altering epiphany. When I first began writing, I only wrote short stories.
“I’m fortunate that I don’t often feel stuck, but I have plenty of days—most days—when I don’t feel like writing.
“First, I put down the pen and paper or step away from the computer screen and go for a walk. The dog helps. She gets me up and out and away from myself. Once moving, I focus on what it is that’s been spinning around in me. Generally, there is a phrase or an image that I keep returning to.
“I take my cue from visual artists, who can spend an entire career consumed by a singular shape, or color, or a set of strokes, meticulously working through ‘the problem’ canvas by canvas with no or very little or only very subtle changes. Think of Rothko, as example.
“A mess. I need an absolute, total, tsunami-like mess on my desk to be productive. I cannot be creative when things are neat and tidy. Oddly enough, my work does not fit any sort of neat and tidy structure.
“I have an insatiable appetite for movies—they were my gateway to the creative world when I was a kid, long before books were. Books, I can’t live without books, but movies help my brain wrap around an idea, help me put it all into pictures that I can translate into words.
When I’m feeling stuck, on a chapter, on a character’s next move, I’ll have a destination in mind to clear my head. It’s usually the waterfront around sunset. But I always take a roundabout way,
“I haven’t found any particular thing to be a consistently reliable source of inspiration. If there’s any consistency, it’s that it’s always something different.
“I went to see the film adaptation of Michael Cunningham’s Pulitzer Prize-winning novel The Hours (Farrar, Straus and Giroux, 1998) in 2002. Sitting alone in the dark, I heard the opening notes of Philip Glass
“While finishing Summerlong, I found myself in perhaps the bleakest emotional landscape of my life, negotiating a blindsiding divorce with my wife of seventeen years.
