Brain Pickings

Posts Tagged ‘interview’

24 JANUARY, 2014

John Updike on Making Money, How to Have a Productive Daily Routine, and the Most Important Things for Aspiring Writers to Know

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“In a country this large and a language even larger … there ought to be a living for somebody who cares and wants to entertain and instruct a reader.”

In 2004, shortly after winning the PEN/Faulkner Award for Fiction, John Updike — who had also won two Pulitzer Prizes, two National Book Awards, the National Medal of Arts and the National Humanities Medal, among countless other accolades — gave an interview for the Academy of Achievement to discuss his views on writing, many of which he explored at greater depth in his superb 1996 memoir Self-Consciousness (public library), which gave us his timeless reflection on writing and death. Here are the highlights of the interview.

On his daily rhythm, adding to the stringent routines and offbeat rituals of famous writers:

Since I’ve gone through some trouble not to teach and not to have any employment, I have no reason not to go to my desk after breakfast and work there until lunch, so I work three or four hours in the morning. And it’s not all covering blank paper with beautiful phrases… I begin by answering a letter or two — there’s a lot of junk in your life as a writer, most people have junk in their lives — but I try to give about three hours to the project at hand and to move it along. There’s a danger if you don’t move it steadily that you kind of forget what it’s about, so you must keep in touch with it. . . . I’ve been maintaining this schedule since … 1957.

On doggedness:

It’s good to have a certain doggedness to your technique.

His advice to aspiring writers, including a sentiment about money that Michael Lewis would come to echo and which Muppeteer Jim Henson embodied:

Try to develop actual work habits and, even though you have a busy life, try to reserve an hour, say, or more a day to write. Very good things have been written on an hour a day. . . . So take it seriously, set a quota, try to think of communicating with some ideal reader somewhere. . . .

Don’t be contentious to call yourself a writer and then bitch about the crass publishing world that won’t run your stuff. We’re still a capitalist country and writing, as some would agree, is a capitalist enterprise… It’s not a total sin to try to make a living and court an audience.

Read what excites you… and even if you don’t imitate it, you will learn from it. . . .

Don’t try to get rich. . . . If you want to get rich, you should go into investment banking or be a certain kind of lawyer. On the other hand, I like to think that in a country this large and a language even larger, that there ought to be a living for somebody who cares and wants to entertain and instruct a reader.

Complement with more invaluable advice to aspiring writers from Ernest Hemingway, H.P. Lovecraft, Neil Gaiman, and Josh Green, then bookmark and revisit this continually updated archive of famous writers’ wisdom on the craft.

For more of Updike’s wisdom, see his meditation on why the world exists and his little-known, lovely children’s book.

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17 DECEMBER, 2013

Dustin Hoffman on What It’s Really Like to Be a Woman

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Show this to every man, woman, and child you know.

Susan Sontag argued that the male-female polarization is among our culture’s most imprisoning stereotypes. Much has been said about how to be a woman and the problem of “women writers” and even how a woman is not to ride a bicycle, but what does it really mean to be male or female — not to look like a man or a woman, but to go through life as one, to be experienced by oneself and by others as a gendered being? At the heart of the film Tootsie, which premiered on December 17, 1982, was the inquiry of how one specific man’s life would be different if he — his person — had been born a woman. In this absolutely stirring short clip from an AFI interview, Dustin Hoffman explains, while fighting back tears, just how profoundly that seemingly simple question ripped open one of our culture’s greatest, most tragic wounds:

That was never a comedy for me.

Complement with Caitlin Moran’s excellent How to Be a Woman.

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13 DECEMBER, 2013

Alice Munro’s Nobel Prize Interview: Writing, Women, and the Rewards of Storytelling

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“I want my stories to move people … to feel some kind of reward from the writing.”

When Alice Munro won the 2013 Nobel Prize in literature, she was too ill to travel and receive the prestigious accolade in person, so instead of delivering the customary Nobel acceptance speech in Stockholm, she was interviewed by the Swedish Academy in her home. The conversation — a wide-ranging dance across the spectrum of literature and life — reveals Munro’s sharp, dimensional, highly self-ware mind driven by equal parts confidence and doubt, and above all by an unflinching faith in literature’s capacity to change us.

It’s rather unnerving and anachronistic — though befitting the Achilles heel of the Nobel Prize — that the interviewer seems so bent on asking Munro questions about “women writers” and what it’s like to be one, but she pushes back beautifully and touches on many other aspects of writing not encumbered by the dated and unnecessary gender narrative. Highlights below.

On receiving her first literary inspiration from the tales of Hans Christian Andersen and using walking as a creative prompt:

The Little Mermaid is dreadfully sad. . . . As soon as I had finished the story, I got outside and I walked around and around the house where we lived … and I made up a story with a happy ending — because I thought that was due to the Little Mermaid.

On being somewhat immune to literature’s women problem:

I never thought of myself as anything but a woman. . . . When I was a young girl, I had no feeling of inferiority at all for being a woman. And this may have been because I lived in a part of Ontario where … women did most of the reading, women did most of the telling of stories — the men were outside doing “important” things and they didn’t go in for the stories. So I felt quite at home.

On the gift of ignorance and growing up in a small town and using the seemingly mundane as material for literature:

I think any life can be interesting — I think any surrounds can be interesting. I don’t think I would’ve been nearly so bold as a writer if I had lived in a [bigger] town and if I had gone to school with other people who were interested in the same things I was … what you might call a “higher cultural level.” I didn’t have to cope with that — I was the only person I knew who wrote stories. . . . I was, as far as I knew, the only person who could do this in the world!

On the parallel universe of the writer’s life:

When you’re a writer, you’re never quite like other people — you’re doing a job that other people don’t know you’re doing and you can’t talk about it, really, and you’re just always finding your way in the secret world and then you’re doing something else in the “normal” world.

On her highest aspiration for her writing, echoing Tolkien’s notion that there are no special audiences in literature when the interviewer asks how she hopes her writing would impact “women especially”:

I want my stories to move people — I don’t care if they’re men or women or children. I want my stories to be something about life that causes people not to say, “Oh, isn’t that the truth,” but to feel some kind of reward from the writing. And that doesn’t mean that it was to have a happy ending or anything — but just that everything the story tells moves [you] in such a way that you feel you’re a different person when you finish.

Complement with Munro on writing, the Nobel Prize acceptance speeches of Ernest Hemingway and Seamus Heaney, and the collected advice of great writers.

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