“I have to listen to music while I write, and usually I play just one song at a time. I repeat it all day, often for weeks on end. Months, even. There’s one song that I replayed up to 30,000 times during the ten years I was writing The Incendiaries. I love that song and its powers; I can’t tell you its name, lest it stop helping me. By obsessively replaying a single song at a time, I can, if I’m lucky, set the pitch. It gives me a place to start. The ritual of it, the repetition, lulls and quiets my anxious, everyday self.
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’m beginning to realize that the primary engine of my writing may be loneliness. I don’t want to recommend loneliness, however. So what I’ll say is that there are certain works I return to that make me want to write, that never fail to punch me in the gut and wash out my eyes. The scene near the end of ‘Old Boys, Old Girls’ by Edward P. Jones, in which Caesar attends to the body and room of Yvonne, his former lover, provides the ache and clarity I mean. Or the essay ‘Documents’ by Charles D’Ambrosio. Or Raptus (Penguin Books, 2010) by Joanna Klink.
“Writing tends to be a stressful activity. I worry when I’m not writing and when I am, I often wonder whether I’m just sending off lines of ink into some abyss. While working with my editor on my first novel, TITLE 13, I developed Central Serous Retinopathy, or stress-related vision loss in my left eye. Doctors said it was imperative that I relax, but I wasn’t about to give up my passion. Then it hit me: the absurd reality that writing a book robbed me of my sight. The human brain is powerful enough to send a man to the moon, yet, writing nearly blinded me.
“Writing is about finding a way in. And like in some hoary old fable, I must gather three items to be permitted entry. Here are the rules: 1. The items can be anything. They may be small things: an image, a snippet of dialogue, perhaps the twitch in a character’s cheek. Or they may be large things: an action, a situation, or the largest thing of all, a question. 2. There must be precisely three of them. Two items is too few, and four is too many. 3. The items must resonate with one another, and with me. 4. When I figure out how to connect these items, the story begins to emerge.
“When I’m stuck, and I keep writing, I make whatever I’m working on worse. So now, I’ve learned to spot the moments where I need to do what I don’t want to do, which is to leave. Leaving always helps. Usually I take the dog, and we walk. Anywhere and nowhere. Paying attention to where you’re walking defeats the purpose of walking. Running errands, stopping to talk to people defeats the purpose of walking. Just wave, smile, and keep walking. Put your headphones on and pretend you’re on the phone.
“I love limited edition Oreo cookies, which is to say I love novelty and play. So when I commit to writing a novel, an act steeped in routine and the grind, I inevitably run into problems. Eventually, I get myself unstuck, but looking back on how I manage to do so, I cannot find a unified answer. I see only a scattershot collection of wacky solutions. Last month, I pulled out a typewriter I hadn’t used in four years and transcribed a page of my opening chapter every day, for three days.
“I’m a firm believer in low-stakes writing as a strategy for managing both writer’s block and the anxiety inherent to writing. When I’m stuck, if I’m wise enough to take the advice I give to my students, I return to free-writing, often by hand. There’s something about moving away from the computer keyboard and back to pen and paper—and a different movement with my hands—that stimulates exploration instead of stress.
“When I feel stuck or stupid, afraid or inferior, to shake loose some words I turn to three things: 1. Paul Westerberg—solo, or with The Replacements. 2. Invisibility—more on that later. 3. Bourbon—two fingers, two cubes. I don’t admit to number three without some shame. It’s not a trait or a crutch I’m necessarily proud of, which is something I explore in my new book, Kickflip Boys. Over the years, I’ve asked other writers where booze fits in their writing life. Some won’t take a sip until they’re done for the day. Others will drink while editing, not writing.
“Whenever my writing begins to feel boxed in, as if the words no longer possess any degree of freedom, trickling out painfully one by one, I remind myself of Grace Paley’s famous aphorism: ‘Everyone, real or imagined, deserves the open destiny of life.’ This is true for ourselves, certainly, but also for our characters and for the words through which we render their stories.
“When I stop writing it’s usually the first sign that I will soon cease responding to e-mails, doing my laundry, or getting water when I’m thirsty. To start writing again requires me to improve my emotional and mental health. This means it’s good for me to: exercise, socialize, reduce digital media intake, talk to my therapist, and generally take care of myself. These are also all the things I’m incapable of doing in this state. The first step is to give myself time to languish without shame, but not too much time. I set an arbitrary ‘stop languishing’ date.