A Quote by Sam Abell
It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.
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There's something about the idea of writing, and thinking about writing as a form of prayer - the way as a writer you call out into the world and throw your words into the world. You're not praying to a god, but you're almost conjuring a reader to arrive. That's what books do: they're an invitation to readers.
All writers are autobiographical to a degree and writing about the nature of their inner life. My inner life has always been a struggle between my conception of myself and the world versus reality.
I tend to start with a kernel, a vague concept, and just begin to write things down - notes about a character, lines of dialogue, descriptive passages about a place. One idea fires another. I do that for about a year. By then there's a story, and I'll go on to a complete first draft that sews many of those ragtag pieces together.
I like the idea that Ernest Hemingway always wrote about certain things he knew, he knew the ins and outs, back to fronts of what he was talking about. I love that as an inspiration for myself, to keep it true to what you know. I'm always writing little lines and saving them for later.
I found that life intruding on writing was, in fact, life. And that, tempting as it may be for a writer who is a parent, one must not think of life as an intrusion. At the end of the day, writing has very little to do with writing, and much to do with life. And life, by definition, is not an intrusion.
Many times, what people call 'writer's block' is the confusion that happens when a writer has a great idea, but their writing skill is not up to the task of putting that idea down on paper. I think that learning the craft of writing is critical.
When I begin writing, I have no idea what my novels are ultimately going to be about. I don't have a plot. I never consider a theme. I don't make notes or outlines.
But I think writing should be a bit of a struggle. We're not writing things that are going to change the world in big ways. We're writing things that might make people think about people a little bit, but we're not that important. I think a lot of writers think we are incredibly important. I don't feel like that about my fiction. I feel like it's quite a selfish thing at heart. I want to tell a story. I want someone to listen to me. And I love that, but I don't think I deserve the moon on a stick because I do that.
Medicine may be the lens through which I see the world, but since I think of medicine as 'life +', a place where life is exaggerated and seen at its most vital and poignant, I'll be writing about life more than I will be writing about medicine.
Sometimes I'll have an end in mind, but it's always false, always corny, just a dumb idea anyone could have, sitting on a barstool. An abstract thesis with no real life inside it. And then I start writing and the writing itself confounds me, taking away the comfort of knowing the end in advance. How is that even possible? Doesn't the conclusion come at the end? How can you begin with one - that seems odd, right?
People who would not be using the word gender or thinking about gayness or trans-ness may actually, without even thinking about it, be not their own gender in their inner world. I think that's actually so normal, because female sexuality is sold to all of us. It doesn't just reach the eyes of men. You might not care about the idea of boobs or jugs or whatever, but it could impact your inner sexual life.
There have been plenty of things that I've written that other people haven't cared about, but it hasn't stopped me from being a writer. So, I don't even think about other people. I'm just interested writing about human beings so if somebody calls and says, 'We'd like you to do it,' I'd say, 'That sounds like a cool idea.'
I think all writing is about writing. All writing is a way of going out and exploring the world, of examining the way we live, and therefore any words you put down on the page about life will, at some level, also be words about words. It's still amazing, though, how many poems can be read as being analogous to the act of writing a poem. "Go to hell, go into detail, go for the throat" is certainly about writing, but it's also hopefully about a way of living.
If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
Writing about writing is a bit like talking about a conversation you are having; it tends to obscure desperation about where the next word is coming from.
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