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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.
“Before Knockemstiff made him famous, my friend Donald Ray Pollock came home from work at the paper mill, rolled a page into his typewriter, and began to copy, word by word, passages by writers he admired. One day Raymond Carver, the next day Cormac McCarthy, the next day Dawn Powell, the next day Larry Brown. This, he told me, was the bulk of his writerly education.
“Earlier this year while I was finishing my novel, I was reading Dani Shapiro’s wonderful book, Still Writing. I swear every page was like another delicious choice in an intellectual, emotional, and creative buffet. I especially love the section on ‘Shimmer,’ which is what Shapiro calls the unmistakable, indelible epiphany a writer has when she discovers her subject matter.
“As both a poet and clinical psychologist with a therapy practice, I tend to lose time in a very cerebral world. Concrete, really physical activities help me emerge from a more linear modality toward an enlivened creativity.
“Sometimes I do this thing where I convince myself that writing is really hard. I bang my head on the desk. I suffer and moan. When I am being silly and insufferable like this, the only remedy is to listen to the Band. More specifically: to listen to Levon Helm, a man I think of as a kind of patron saint for my writing life.
“At a hotel in West Papua, New Guinea, above my bed in room 104, there hangs a painting. Three horses—cream, chestnut, and honey brown—gallop through pinkish-orange shallows. The sky—of a warmer, flooded world?—is goldenrod. Each horse, though wingless, looks as if it might take flight, especially the white one, who rears up with a pained expression in his eyes and bares his baby teeth. All three have steeled themselves, are focused—on what? What lies ahead?
“Whenever I get stuck—when the sentences close in on themselves or the characters don’t make sense or I just get that awful feeling of WTF STORY I HATE YOU I HATE YOU—I close the laptop and tell it out loud.
“Inspiration surfaces when I work with my hands. I garden. I rake until my arms ache. I tug ivy vines and roots rise with explosions of dirt, and with them, a revelation about my novel-in-progress rises in my silent labor-occupied mind. I knit baby blanket after baby blanket, the click-clacking of the knitting needles a metronome keeping time with my thoughts.
“I write with my whole body. It’s best if I’m alone because surely I look like a maniac. Forget coffee shops. Librarians have eyed me warily. Even though I don’t write longhand, I still have a physical relationship to the process of writing. I tap, sway, and chew through sentences.
“Whenever I’m feeling stuck or stale in my writing, I find that the proverbial walk in the woods offers everything from relief to inspiration. When my subject is too raw, I’m soothed by the solitude of the forest—solitude meaning alone without the page staring me in the face.
“I’m not so much interested in things like plot and character and pacing and all that other literary nonsense, but rather the discrete quanta with which those things are built: Words.
