Quotes of All Topics . Occasions . Authors
Sometimes I can better describe a person by another person's reaction. In a story in my first book, I couldn't think of a way to sufficiently describe the charisma of a certain boy, so the narrator says, "I knew girls who saved his gum."
There’s so much I can’t read because I get so exasperated. Someone starts describing the character boarding the plane and pulling the seat back. And I just want to say, Babe, I have been downtown. I have been up in a plane. Give me some credit.
Maybe this is not a come-down-from-the-ledge story. But I tell it with the thought that the woman on the ledge will ask herself a question, the question that occurred to that man in Bogota. He wondered how we know that what happens to us isn't good?
I had a mother I could only seem to please with verbal accomplishments of some sort or another. She read constantly, so I read constantly. If I used words that might have seemed surprising at a young age, she would recognize that and it would please her.
I've always known when I start a story what the last line is. It's always been the case, since the first story I ever wrote. I don't know how it's going to get there, but I seem to need the destination. I need to know where I end up. It never changes, ever.
Obviously, in journalism, you're confined to what happens. And the tendency to embellish, to mythologize, it's in us. It makes things more interesting, a closer call. But journalism taught me how to write a sentence that would make someone want to read the next one.
I probably have less revision than those who have that wonderful rush of story to tell - you know, I can't wait to tell you what happened the other day. It comes tumbling out and maybe then they go back and refine. I kind of envy that way of working, but I just have never done it.
A five-hour flight works out to three days and nights on land, by rail, from sea to shining sea. You can chalk off the hours on the back of the seat ahead. But seventy-some hours will not seem so long to you if you tell yourself first: This is where I am going to be for the rest of my natural life.
Journalism taught me how to write a sentence that would make someone want to read the next one. You are trained to get rid of anything nonessential. You go in, you start writing your article, assuming a person's going to stop reading the minute you give them a reason. So the trick is: don't give them one.
I started writing by doing small related things but not the thing itself, circling it and getting closer. I had no idea how to write fiction. So I did journalism because there were rules I could learn. You can teach someone to write a news story. They might not write a great one, but you can teach that pretty easily.
All those years on the psychiatrist's couch and suddenly the couch is moving. Good God, she is on that couch when the big one hits. Maidy didn't tell you, but you know what her doctor said? She sprang from the couch and said, "My God, was that an earthquake?" The doctor said this: "Did it feel like an earthquake to you?
I have written letters that are failures, but I have written few, I think, that are lies. Trying to reach a person means asking the same question over and over again: Is this the truth, or not? I begin this letter to you, then, in the western tradition. If I understand it, the western tradition is: Put your cards on the table.
Then the children went to bed, or at least went upstairs, and the men joined the women for a cigarette on the porch, absently picking ticks engorged like grapes off the sleeping dogs. And when the men kissed the women good night, and their weekend whiskers scratched the women's cheeks, the women did not think shave, they thought stay.
The worst of it is over now, and I can't say that I am glad. Lose that sense of loss—you have gone and lost something else. But the body moves toward health. The mind, too, in steps. One step at a time. Ask a mother who has just lost a child, How many children do you have? "Four," she will say, "—three," and years later, "Three," she will say, "—four.
I know when a story is finished when there is not a single thing more I can think to do to it. And since I know at the start what the last line will be, I know when I've reached that point as logically as I can that it's finished. As for the rewriting-it's not foolproof, of course, but if you're honest about having thought of every possibility and you still come back to what you have, what more can you do?
I told him about the way they get to know you. Not the way people do, the way they flatter you by wanting to know every last thing about you, only it isn't a compliment, it is just efficient, a person getting more quickly to the end of you. Correction - dogs do want to know every last thing about you. They take in the smell of you, they know from the next room, asleep, when a mood settles over you. The difference is there's not an end to it.
I think of the chimp, the one with the talking hands. In the course of the experiment, that chimp had a baby. Imagine how her trainers must have thrilled when the mother, without prompting, began to sign her newborn. Baby, drink milk. Baby, play ball. And when the baby died, the mother stood over the body, her wrinkled hands moving with animal grace, forming again and again the words: Baby, come hug, Baby come hug, fluent now in the language of grief.
It was like that class at school where the teacher talks about Realization, about how you could realize something big in a commonplace thing. The example he gave--and the liar said it really happened--was that once while drinking orange juice, he'd realized he would be dead someday. He wondered if we, his students, had had similar 'realizations.' Is he kidding? I thought. Once I cashed a paycheck and I realized it wasn't enough. Once I had food poisoning, and realized I was trapped inside my body.