Category: Personal

  • How I Became a Writer

    For today’s writers on writing segment, I thought I’d share a video about how I became a writer. Hint: it has something to do with a hound dog hatching from an egg.

  • Why It’s Sometimes Okay to Quit

    don'tfinishAs a child, I hated horseback riding. I took lessons, though, because my mother wanted me to, and because I was under the impression that girls were supposed to like horses. The day after my twelfth birthday, during my riding lesson, our horse reared back, and I fell off. I landed on my back on the ground, but that was just the beginning of it. I can still remember watching the horse struggle in the air above me before she fell backward, her body slamming down on top of me, grinding the bulky Western saddle into my eighty-pound frame. She rolled around on top of me, trying to get up. Looking back, I’m amazed that I suffered only a broken pelvis and fractured hips.

    Months later, after my body had (for the most part) healed, I confessed to my mother that I was not and never had been enamored of horses. I did not like the way they smelled, I didn’t like mucking the stalls, I hated the clouds of dust rising from the horse’s flanks when I brushed her. Most of all, I did not like lying beneath a horse while it rolled around on top of me. “I don’t want to ride anymore,” I said, lying flat on my back in a hospital bed, my legs in traction. “I quit.” Fortunately, she did not tell me to “get back in the saddle.” I have lived a relatively horseless life, and that has not bothered me one bit.

    My high school career began at Mobile Christian School (Mobile being a city, not a state of being). A few weeks into the first semester of my freshman year, I got sent to the office for wearing orange socks.For this offense, I was shut in a room with the varsity football coach who, acting on the orders of the principal, told me to bend over. The coach, clearly mortified, gave me a couple of weak smacks with the wooden paddle that was reserved for juvenile offenders like me. The school called my mother only after the corporal punishment had been administered. “I quit,” I said. “I’m not going back.” The next day, I enrolled in the public school, Murphy High. A couple of months later, Murphy made national news because the district was so underfunded, students had to bring our own toilet paper. Despite the financial difficulties, it was a terrific school. My teachers were amazing. Did I ever regret quitting the private school that meted out spankings to girls in short plaid skirts? I did not.

    In tenth grade, I quit youth choir because the songs they made us sing were terrible. “Contemporary Christian,” it was called. All pep, no feeling. Lots of poorly thought-out rhymes. Bad robes in unappealing shades of burgundy and pink. I told the choir director I’d stay if he’d let us sing Madonna’s “Like a Prayer.” He was tolerant but unconvinced. Have I ever regretted my decision to quit the youth choir? Not once. Eventually, I quit the Baptist church altogether. I discovered that life is better with more wine and less guilt.

    In college, I had a string of odd jobs. One involved pulling auto parts at a warehouse for $3.75 per hour. It was sweltering hot, the ladders were rickety, and at five foot two, even with the ladders, many of the parts were beyond my reach. I hung in there for a week; then I quit. Remorse? None.

    Another college job involved opening a convenience store in Northport, Alabama, at five in the morning. For this I was paid the more amendable sum of $4.25 per hour. One morning, alone in the convenience store, I heard shots ringing out from the crack house across the street. That day, I quit. I never looked back.

    I briefly worked at a small airport in Tuscaloosa, Alabama. My responsibilities included calculating fuel for small aircrafts. Math has never quite been my thing. Fuel, as it turns out, is important. It only took a few days for me to realize the folly of this situation. I quit; the pilots did not complain.

    Right after college, I quit a waitressing job in Knoxville, Tennessee, after the owner slipped something in my drink and the chef took humiliating photos while I was unconscious in the storage room. Soon thereafter, I found a job as a copywriter at an advertising firm. Quitting a bad thing led to a good thing. Once again, no regrets.

    Over the years, I quit a variety of things for a variety of reasons: I quit the pill because it made me fat. I quit Bikram yoga because it made me stink and did not bring me anything akin to peace. I quit Moby Dick, three times. In the early nineties, I quit an engagement. Thank goodness. I quit the MFA program at the University of Arkansas and transferred to the University of Miami, because I wanted to live on the beach. I loved living on the beach; I did not love living in Arkansas. I knew then, as I know now, that life is too short to live somewhere unappealing.

    While I was living in New York City, I quit wearing shoes that hurt. My husband and I quit New York City to live in San Francisco, because San Francisco has good air and good food and good views, and it made us very happy. A couple of years ago, I finally quit trying to do fancy things to asparagus, because, as it turns out, most vegetables, including asparagus, taste better steamed, with a little butter and salt, without the bells and whistles.

    A few years ago, I’d been struggling for two years with a novel I was writing on contract, unable to find my way, when I finally confessed to my editor that the book just wasn’t working. “Do you think you could write something else?” she asked. Strangely, that simple solution had never occurred to me. After all, I had invested 300 pages and hundreds of hours in the book, and the thought of abandoning it seemed obscene. But I took my editor up on her offer. I quit the failed book, the bad book, the book that simply was not working. Days later, officially released from the unwieldy mass of my failed manuscript, I started from scratch. Blank page, new premise; new characters, voice, and setting. The freedom proved exhilarating, and the result was a much better novel than the one I’d been tied down to, the one I had been so reluctant to quit.

    Our impulse as human beings is to finish what we started, to overemphasize our investment and continue along the path to which we’ve committed, no matter what. Our impulse as writers is to attempt to salvage the words, to make good on the promise we made to ourselves when we penned the very first line. While there is beauty in perseverance, and while there are, of course, some things you shouldn’t quit, some things that are more than worth the long and arduous journey, sometimes the best thing you can do, in stories as in life, is let something go, and give yourself the freedom to begin again.

    Think of one thing in your life that isn’t working. Not something that is simply difficult, not something that is challenging but worthwhile. No, I mean something that adds no meaning to your life, something that adds unnecessary pain or unhappiness or outright despair with no hope of self-improvement or valuable public service or future positive return. Now, repeat after me, “I quit.” Commit to the end of this thing you are quitting. Watch the space open up in front of you. Begin again.

  • How to End a Story

    The EndStories are like relationships: the beginning is always so much fun, and the ending is fraught with turmoil.

    When I sit down to start a story, the first sentence just sort of comes to me. The second sentence too. If I’m lucky, the third swiftly follows. The inimitable short story writer Kate Braverman once told a group of enraptured graduate students (they happened to be my students, and she was wowing them with her general exuberance and wonderful strangeness) that she channels her characters. A bit like spirits, some linguistically gifted version of the returning dead. They speak throughher and onto the page, as if she isn’t even there.

    I, unfortunately, channel nothing. It is all rough work after sentence three. By the time I’m in the middle of the story, I’m feeling more than a little uncomfortable. Where am I going? Where have I been? Have I gotten lost in the labyrinth? Probably, yes.

    Somehow, I find my way through. The characters do things. They meet with hardship and grief, or maybe they just meet some swanky fellow in a bar or a Laundromat. They get into trouble, maybe out of it. Probably not. I find myself feeling that they have done all they can do. Not much more can be said. The action has fallen. We have all had our dénouement (which, by the way, is a French term meaning untying, from Middle French desnouement, from desnouer – to untie – from Old French desnoer, from des- de- + noer meaning to tie, from Latin nodare, from nodus knot.) And here we are in the labyrinth again, attempting to untie the knot, unwind the rope, escape the not-so-fun funhouse.

    It’s time to write our way out.

    One wants to resolve things, after all.One feels a deeply human need toconclude. After the falling action, there is often something more. Something unexpected. And here we come to what I have been meaning to say all along: a good ending is layered. The reader thinks she has discovered everything she can possibly discover about a story, but then: another image appears, another paragraph hums along, another question begs to be answered. One is left with the feeling of having walked out of the dark theatre into the light, only to realize there was something else playing after the credits, some secret part of the film, some final moment. You can hear it through the door, vaguely, but you can’t get back in. You’re not sure what you’ve missed, but you’re certain that you’ve missed something, that the reel kept on playing, the story kept on going, after your departure. You were only an observer, a brief malingerer, there but not there. The lives within the story carry on.

    Michelle Richmond is the author of four books of fiction, including the New York Times bestseller The Year of FogShe is the creator of the Guided Workbooks for Writers series. 

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  • Writers on Writing: And All the Ships At Sea

    I wanted to share an interesting email I received last week from a reader:

    I’m a Marine stationed over at Camp Pendleton in California. While I was on deployment, I found The Year Of Fog in the small ship library…I was a part of an expeditionary unit sitting off the coast of Burma last year after their country was ravaged by a natural disaster. I mean this in the greatest sincerity when I say that reading and finishing your story was truly all I looked forward to the 2 months I spent sitting on a ship, counting the days until I could come home. I’m not sure what it was, but I found myself very sympathetic and attached to the main character. I almost wish the story hadn’t ended. Or at least had ended the way I was expecting. Again, thank you for your story.

    (more…)

  • Readings for Writers

    The Kenyon Review has just published a new anthology of work culled from the magazine over the past seventy years. Editor David Lynn writes:

    Readings for Writers is a very different creature from your usual anthology…A different principle of selection comes into play: choosing stories, poems, and essays from across the decades to provoke lively responses from writers today, to inspire and challenge…the selections here are intended to inspire active response—pen to paper, fingers to keyboard.”

    All in all, it looks like a terrific volume for teachers of writing, not to mention anyone who is engaged in the practice of writing short stories, essays, and poems. Contributions are arranged chronologically, beginning with Randall Jarrell, Allen Tate, and Dylan Thomas–all published in the magazine’s first year, 1939–and ending with Cara Blue Adams, whose essay appeared in 2009. Along the way areworks by the likes of Flannery O’Connor, Thomas Pynchon, Sylvia Plath, Nadine Gordimer, V.S. Naipul, Don DeLillo, Robert Haas, Annie Dillard, Billy Collins, Virgil Suarez, Czeslaw Milosz, Pablo Neruda, W.S. Merwin, and many others–82 selections in all.

    I was browsing the contents page when, quite by surprise, I came upon “A Life in Pods,” an essay of mine which appeared in the magazine in 2008. I’m thrilled to be included in such amazing company, and can’t wait to get my copy and dig in.

    You can order the issue here.

  • Two From the World of Ink

    I met Georges and Anne Borchardt at Sewanee Writers’ Conference in 2003. The couple co-founded their literary agency in 1967, and are known for introducing American audiences to the work of Roland Barthes, Samuel Beckett, Pierre Bourdieu, Marguerite Duras, Franz Fanon, Michel Foucault, Eugene Ionesco, Jacques Lacan, Alain Robbe-Grillet, Jean-Paul Sartre, and Elie Wiesel.

    When we met, I’d just had my first novel published with San Francisco independent MacAdam/Cage (sans agent) and was looking for representation. Jill McCorkle, a faculty member at the conference, read a chapter of the novel I was working on and set up a meeting. Many of the other fellows were going spelunking, but I skipped the cave trip and met the Borchardts on the little patio behind the apartment where they were staying. We talked for a while–about books, writing, my background and interests, my novel-in-progress. I immediately felt a connection with them. I liked their calmness, their magnetic presence. One had the feeling of being in the company of extraordinarily sharp and sensitive literary minds (more…)

  • Good Reads

    Just out today, a new novel by Christopher Barzak, The Love We Share without Knowing. I was lucky enough to get an advance copy of this book, and, though I’ve never met the author in my life, this was an easy book to blurb: From the frantic streets of Tokyo to the surreal silence of rural Japan, Christopher Barzak spins the familiar yarn of the everyday world into a magical universe. Following in the themes of his stunning debut, One for Sorrow, Barzak once again tackles loneliness and longing, and elegantly blurs the divide between the living and the dead. The Love We Share Without Knowing is haunting, strange, and utterly surprising from the first page to the last.

    Sometimes you go through dry spells when it comes to reading–you know what I mean–those weeks, months even, when you open book after book, unable to find anything that really moves you. For some reason, the past two weeks have been the opposite of that. I keep finding books to love. Here are a couple of them.

    The Theory of Light and Matter: Stories by Andrew Porter.
    Winner of the Flannery O’Connor Award for Short Fiction, this collection of ten tautly constructed stories is quiet, moving, sometimes funny, and marked again and again by genuine emotion. What impressed me most about these stories is the way they unfold at a casual, told-by-a-friend pace, very direct and simple, before hitting you straight on with some insight that they’ve been subtly working toward all along. From “Storms,” in which a young man watches his sister self-destruct:

    In the books the psychologists had given to Amy and me as children, I remembered reading stories about people who claimed that after one of their parents died they were just never happy again. I understood this to be the case with my sister and sometimes my mother. Life goes on, but it’s different now. It’s softer, duller. The highs are less high and the lows seem to have an endless depth to them, a depth you have to be wary of falling into…it occurred to me that Amy had probably spent most of her life on the edge of that depth, unwilling to let herself fall in, but frightened all the same by its presence.

    Last Night at the Lobster, by Stewart O’Nan
    One of the best books I’ve read this year. Although this is a story in which very little happens, one man’s struggle to end his years of service to The Red Lobster with dignity, and to be a decent human being in the process, kept me spellbound.

    Another story collection that I devoured with hardly a trip to the kitchen for coffee and Hydrox cookies was Pia Z. Ehrhardt’s Famous Fathers.
    These stories are as seductive as their heroines, dripping with the mystique of New Orleans, tense with the characters’ often-failed attempts to rein in their larger-than-life desires. A spectacular Christmas gift for the Scorpio in your life, or for anyone to whom you want to send a message about infidelity, jealousy, or the perils of family.

  • What’s Borges Got to Do With It?

    Jeff VanderMeer recently interviewed me for Omnivoracious, the Amazon editors’ blog. VanderMeer peels back the cover for a look inside No One You Know. Subjects discussed: the influence of Borges and Paul Auster, math as a labyrinth, the joys of coffee and a blank page, the difficulty of getting the cornbread right, and what you can do to get yourself invited to dinner. Read the interview here.

  • What We Are Doing

    What then shall I do this morning? How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing. ~Annie Dillard, The Writing Life

    Of course it is a rather stupid thing to spend one’s morning reading a book about writing instead of writing the book one is supposed to be writing, the book that has been paid for, the book that a very kind and conscientious editor is waiting for, kindly and conscientiously but possibly inpatiently, because she has every right to be impatient at this point. But a good book is such a temptation! It is not unlike truffles from Joseph Schmidt or men with beautiful backs. It is a terribly difficult thing to resist! But it must be resisted. It must be put aside. One must return to the work at hand, this book of one’s own, this thing that has sucked up four years of one’s life, not consecutively but spottily, in fits and starts, a few weeks here, a few months there, with long intervals in between for things like babies and husbands and trips to far-off lands, sex and pilates and Scotch, movies and more movies and books and books and books.

    Another writer told me recently that when she is in the throes of writing, when she is truly inspired, when the words are just coming, flowing forth, that it is “better than sex.” I have not found this to be true.

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