A Quote by Lucas Mann
I came to nonfiction through journalism. My first book was journalism, and it was so frustrating to me, while I was writing it, that I wasn't capturing the moments the way they were when I lived them; I was filtering and re-filtering. I had to come to terms with the fact that I couldn't and shouldn't claim authenticity. Then, when the book was published and I gave readings, I'd hear myself read and it was like I was eavesdropping on a dream - even with myself as the narrator. I knew that guy but couldn't exactly recognize him.
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I always knew from the beginning that this was the only way to write Then We Came To The End - that it had to be in first - person plural if it was going to illustrate how the individual becomes part of the collective. I had no interest in writing the book in a more conventional voice. It goes back to that fascination I had with telling a story in multiple ways. It was the only choice I gave myself, really - I said "This is it, pal. If you can't tell a story this way, you're going to have to abandon the book. Write it this way or give up."
From about ninth grade on, I knew I was a writer at heart. I had fantasies of being a great novelist, but I thought that seemed like an iffy way to try to make a living. So I tried journalism while in college, and really liked it. But even in journalism, I've always pursued ways to be somewhat literary, whether writing a column or writing books.
Me writing the book and the subsequent interactions that we had were actually the cap on that experience. We were still in this weird purgatory about it when I published the book. When I gave them the galleys and what ensued after that, then I understood a lot more about our relationships and what the experience meant to them. I'd never wanted to know what they thought about it at all.
When I was 26 or 27, I gave up journalism. I came to England after my mom died, to let serendipity take its course. And I just found myself back in journalism again.
Unfortunately, I have dedicated great effort to the task of compiling this ‘sensitive words glossary,’ and I have mastered my filtering skills. I knew which words and sentences had to be cut, and I accepted the cutting as if that was the way it should be. In fact, I will often take it on myself to save time and cut a few words. I call this ‘castrated writing’ - I am a proactive eunuch, I have already castrated myself before the surgeon raises his scalpel.
I think what's happening with book advances is something that most of the world just doesn't fully appreciate, especially when it comes to nonfiction, because writing a book of investigative journalism is an expensive endeavor, and the system works best if you have publishers making bets on authors.
I used to comfort myself with the idea of a book with serrated, detachable pages, so that you could read the thing the way it came and then shuffle the pages, like a giant deck of cards, and read the book in an entirely different order. It would be a different book, wouldn't it? It would be one of infinite books.
With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.
Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.
I started writing as a child. But I didn't think of myself actually writing until I was in college. And I had gone to Africa as a sophomore or something - no, maybe junior - and wrote a book of poems. And that was my beginning. I published that book.
I started writing as a child. But I didn't think of myself, actually writing until I was in college. And I had gone to Africa as a sophomore or something, no maybe junior and wrote a book of poems. And that was my beginning. I published that book.
About a year after (my stories began being published), magazine editor George Scithers, suggested to me that since I was so new at being published, I must be very close to what I had to learn to move from fooling around with writing to actually producing professional stories. There are a lot of aspiring writers out there who would like to know just that. Write that book.SFWW-I is that book. It's the book I was looking for when I first started writing fiction.
I feel that I'm an essayist and that my best work gets done in that form. I wanted to do a book where the essays could exist on their own terms. A book that was neither a book of essays that were shoehorned into a memoir, nor [one where] the essays had been published elsewhere first, [because] then they would kind of bear the marks of those publications.
I've written one book-length piece of journalism. The Art of Political Murder: Who Killed Bishop Gerardi? That book had an impact. Eight years after it was published it's still having an impact in Guatemala. I remember when I wrote it, a surprising number of people said things to me like, "That is such an amazing story; why didn't you turn it into a novel?"
When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.
I realized that my book readings were boring me. I was going to go up there and read a passage and sleepwalk through the whole event and I needed to make it more interesting. I wanted to be running and jumping and do something so that the event would be so exciting. I had to trick myself into having fun every time.
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