A Quote by Jeffrey Eugenides
The ideas for my books come about in two ways. There can be an intellectual idea that seems to be the reason for writing the book. [...] The other motive is unconscious. There is something deeply psychological and emotional that draws me to the material in the first place.
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In my twenties, it was so important for me to show people I had all these other books and these other sorts of writing in me, .. A lot of authors, if their first book is a success, they're terrified to write a second one. But in my case, since the first book wasn't considered a literary book, I was really determined to show people I could do other types of writing.
One, something emotional has to be at stake. There has to be something important for me that I'm writing about. And then two, I have to have a formal idea. Something has to be being worked out in poetry.
I basically have two ways I start writing. Either I'll start with something about myself, or something that happened to me that seemed important, or I'll start with some idea I have that doesn't have much to do with me. But one will always lead to the other.
Blogging has mostly been an opportunity to react more immediately to experiences to try out ideas that I may end up using in the print media or in some other place. When I write books, it's a way for me to bring readers into the experience of writing the book, all through the process of writing the books that I write. I talk about what I'm up to in the blog. I let people know what I am doing. To me, it's just part of putting my professional life up in a way that people who are interested in it can access; and learning things from them as well.
My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.
Have more than one idea on the go at any one time. If it's a choice between writing a book and doing nothing I will always choose the latter. It's only if I have an idea for two books that I choose one rather than the other. I always have to feel that I'm bunking off from something.
Reason and emotion are not antagonists. What seems like a struggle between two opposing ideas or values, one of which, automatic and unconscious, manifests itself in the form of a feeling.
I read the first book about five times while I was preparing for the role. I really wanted to completely embody Lissa and, naturally the book gave me much deeper psychological and emotional insight into Lissa than the script.
My kids, they take a lot from me and I always come from an intellectual place. Like intellectually, not emotionally, and most people come from an emotional place and it's unfortunate.
One of the other reasons for writing this book [My Beloved World] was to hold on to the person you first met. More of the world knows about me now and follows me in a way that never happened before. I didn't want me, the inside of me, to change. Because I liked Sonia, the Sonia who has been. So another reason for writing the book was to hold on to that - whatever the best in Sonia was, to try to capture it.
If someone's going to publish a book about addiction, it has to say something new and different. It has to be something we haven't read before. A lot of these books are published because the writing is wonderful. The Frey book has superb writing, and that can be enough to sell a book.
The reason writers are such fragile beings, Marcus, is that they suffer from two sorts of emotional pain, which is twice as much as a normal human being: the heartache of love and the heartache of books. Writing a book is like loving someone. It can be very painful.
a novel is not born of a single idea. The stories I've tried to write from one idea, no matter how terrific an idea, have sputtered out and died by chapter three. For me, novels have invariably come from a complex of ideas that in the beginning seemed to bear no relation to each other, but in the unconscious began mysteriously to merge and grow. Ideas for a novel are like the strong guy lines of a spider web. Without them the silken web cannot be spun.
When I was first writing 'Feed' - which was the first book I published as Mira - I talked about it very openly on my blog, on Twitter, that I was writing this book, and it wasn't until after it was sold that I said 'Mira Grant' wrote this book. And the reason there was really purely marketing-based.
But that initial, comet-blazing-across-the-sky, Big Idea is only the beginning. Each book is composed of a mosaic of thousands of little ideas, ideas that invariably come to me at two in the morning when my alarm is set for seven.
Parker wasn't supposed to be a series. He was supposed to be one book, and if he was only going to be in one book, I didn't worry about it. And then an editor at Pocket Books said "Write more books about him." So I didn't go back at that point and give him a first name. If I'd known he would've been a series, I would've done two things differently. First, I would've given him a first name because that means for 27 books, I've had to find some other way to say, "Parker parked the car."
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