Any of us who listen to the news or listen to stories our neighbors tell are accustomed to violence. We have to decide then to ignore the violence and create a gentler world in our fiction, or to heighten the violence through the use of point-of-view in order to explore it and gain some insight and understanding. Since I'm living with the violence and trouble in my brain, it's kind of a relief to write about it, to get it on paper, to put it in context, to find meaning in it.
My normal writing day involves three hours of actual writing, before noon, and the rest is just feeding the writing. There is teaching (so I can afford to write), travel to be planned and executed. There are dozens of emails daily, gardening, lots of dishes (where do all these dishes come from?), daily family emergencies, and, of course, the petting of the donkeys. The smell of donkeys is heavenly, and their he-honking is the sweetest music. I feel calm just thinking about them.
The great thing about fiction is that I don't have to settle on an answer to any troubling question, or even a solution. I hope that my stories serve as explorations and help show readers how and why real-life women don't always make the "correct" decisions in the face of economic and sexual troubles. We all screw up, but the women I write about don't have back-up plans or money in the back or resources to fix what they have broken.
Mothers aren't allowed to have favorite children!
Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.
We know that we need to explore desire in fiction - many say that the only way a story exists is that a character feels a strong desire - and nature is the place where creatures act on their desires in the most pure way imaginable, so maybe nature also works as a metaphor for whatever emotional troubles my characters have to negotiate. I'm interested in my characters as survivors, and maybe that works best when the old-fashioned notion of humans surviving in wilderness is not too far away.
I love investigating the natural world, and I find a lot of truths there, truths about survival and beauty - nature continually surprises me (amazing how clever a woodchuck is, amazing how plants roots can break up concrete, amazing how delicious the thimbleberry is!).
I like living near my family, and near the people I understand the best. The landscape of Michigan speaks to me, and the humility and humor of the people here makes sense. It just feels right to live here, in a place where I don't dare put on airs.
You can't beat a good sonnet, and you can write a sonnet without being married to the damned thing.
Maybe the hardest lesson is the one I have to learn over and over again, that each story is its own animal, that every story I write is going to come only with difficulty.
Some people tell me they would be afraid of my characters, but I tell those people [that] they meet these characters all the time. They just don't care about them when they meet them, at the gas station, the car wash, the post office even.
The best and easiest lesson for me was to learn that writing is mostly hard work.
As a writer, I can live somewhat independently, occupying nooks and crannies and finding meaning there. I can even live in my mind a good portion of most days.
I'm not much interested in my own self when I write. I'm interested in what I observe out there, what's going on around me.
I figure that I'm always going to be fine, one way or another, but I do worry about other people who have difficulty moving from one world to the next. It's the folks who are truly invested in their lives who have the hardest time with change.
I can't personally drink or fight too much nowadays because I have to be perky in the morning in order to write.
Drugs and drinking affect every family I know, country and city, middle-class and poor.
I realized that I was writing about folks with lots of skills, especially fix-it skills and survival skills, who were nonetheless not doing well in the new-millennium America.
I wasn't writing stories with the intention of creating a particular collection. I simply wrote stories, and then discovered common themes among a good number of them.
I'm of the people in the bar and the people in my stories. They are my tribe.
I like to go where the life is.
I'm pro-life, in the sense that chaos seems like life to me and order seems like death.
I was never a big reader as a kid. My imagination wasn't captured by books very often. It was captured more often by boys and partying and riding horses.
In a regular class I don't focus on the form, but I think that focus is helpful for brainstorming and coming up with ideas quickly, especially with autobiographical material.
Eighty percent of all novels are bought by women, or so I've heard.
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