A Quote by Rivka Galchen
The writing process for a short story feels more like field geology, where you keep turning the thing over and over, noting its qualities in detail, hammering at it, putting it near flame, pouring different acids on it, and then finally you figure out what it is, or you just give up and mount it on a ring and have an awkward chunky piece of jewelry that seems weirdly dominating but that you for some reason like. I could be wrong about field geology here.
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When I moved out here to California, I became obsessed with geology. It's impossible not to be interested in the earth if you live in a place like this. I started to read a lot of geology, much to the horror of my friends.
I want to give you something.” He slid the ring off his finger. “Up until this week, I’ve never wanted anything more in my life than to wear this ring. Not as a piece of jewelry, but because I thought I could find meaning in saving others, in being a hero. But the meaning I’ve finally found in my life is from meeting you.” He set the ring on the palm of his hand and held it out. “I want you to have it.
You can say, like, planet Earth has an existing geology, and what we do as human beings and as architects is that we try to sort of alter and modify and expand the geology.
You put yourself out there in the truest way you can and hope others do the same. You'll connect or you won't, but you did what you could. It's like playing ball in some way. There are guys on the team, like Cody, I'd give my life for. But you have to be willing to lay down your life for all of them if you want to put the best you on the field. Every guy on that field has to believe you'll bring nothing back off the field with you.
You have to surrender to the fact that you are of too many in a highly competitive field where it is difficult to stand out. Over time, through your work, you will demonstrate who you are and what you bring to the field. Just stay with it and keep working.
I actually don't wear any makeup when I'm on the field. I like looking nice, but my main concern is how I play - to me, if you look and feel good, then you play good. On the field, I only wear Coppertone Sport SPF 30. I like it because it feels like I'm putting on lotion rather than SPF.
I heard, one of my producers told me this story where like the Hollywood studios brought all these high-end consultants in to try to figure out how to improve their process and make films more efficiently, and these consultants like studied the process for years and finally came up with this report they put together about how studios can improve the efficiency of their process, and the conclusion was "have the script ready by the time you're shooting.
Ever since I was like 13 and 14 writing music, I said, I have to be able to do different types. Because if you just keep doing the same thing over and over again, it will just get boring.
It's all just so fraught when you're writing and then going through the editorial process. It feels like this shape-shifting thing. When it's done, and you can't change a single word, it's a totally different thing. I was surprised by what that thing was.
It's like a novelist writing far out things. If it makes a point and makes sense, then people like to read that. But if it's off in left field and goes over the edge, you lose it. The same with musical talent, I think.
I feel like the older I get, the more I start to think about life in general. All the clichés that people tell you, the ones that you hear over and over and over again, there's a reason they're cliché, there's a reason you hear them over and over again, because it's all true. As much as you don't wanna hear it, it's true. You'll find out later on, like "Man, they're all right."
After being on the field for so long and feeling like you have some control over the outcome or what's happening out there, now I'm upstairs, and I have no control over anything. I'm working through that.
Writing 'Men We Reaped' broke me in different ways at different spots in the drafting process. The first draft was hard because I was just getting it out. In some ways, that draft failed. I was really just telling the story, not making assessments - this happened, then this. Just putting those facts down on paper was really painful.
That's the one thing I say about the great British shows. You know, I see it on the series on HBO where the season is shortened to like 12 or 6 or whatever it is. You know there's a reason why there's a quality behind that. Because I think the writers as well as the crew and the cast do get burnt out after doing continuous episodes after and over and it feels like a factory rather than something of a creative process. And we get tapped out. That's just my opinion.
Too much detail can bog down any story. Enough with the history of gunpowder, the geology of Hawaii, the processes of whaling, and cactus and tumbleweed.
Blood had long since ceased to beat from one end to the other, but one could sense, from passages marked with fresher traces of wheels and hooves, that once the meaning and even the very idea of a long journey was lost, sleep had not descended over it in one fell swoop: it had continued to steal a march here and there, in a discontinuous way, and over short distances, like a laborer who feels his cart jolt on a section of Roman road that crosses his field.
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