A Quote by Vito Acconci
Especially once those poetry events began, because, yeah, the stuff was still on the page, but the page was starting to spill into real space, spill into air, once you could hear it, once there was a typewriter, once there was a body of a typist, it was getting rid of the confines of the page.
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Once I get over maybe a hundred pages, I won't go back to page one, but I might go back to page fifty-five, or twenty, even. But then every once in a while I feel the need to go to page one again and start rewriting.
I have a horror of the blank page. I simply cannot write on a blank page or screen. Because once I do, I start to fix it, and I never get past the first sentence.
These handwritten words in the pages of my journal confirm that from an early age I have experienced each encounter in my life twice: once in the world, and once again on the page.
My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture.
When I did plays in high school and college, I never remember memorizing my lines, but once I had blocking, I had all my lines memorized. Once I had movement associated with words, it was fine. Before I had blocking, it was just text on a page. Once it became embodied, it was much easier.
Poetry, I thought then, and still do, is a matter of space on the page interrupted by a few well-chosen words, to give them importance. Prose is a less grand affair which has to stretch to the edges of the page to be convincing.
Writing the first draft of a new story is incredibly difficult for me. I will happily do revisions, because once I can see the words on the page, I can go about ripping them up and moving scenes around. A blank page, though? Terrifying. I'm always angsty when I'm working my way through a first draft.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
Every page was once a blank page, just as every word that appears on it now was not always there, but instead reflects the final result of countless large and small deliberations. All the elements of good writing depend on the writer's skill in choosing one word instead of another. And what grabs and keeps our interest has everything to do with those choices.
To my irritation, you still can't flick through an ebook properly; you can't riffle the pages, you can't look at more than one page at once.
The writer marks the changes he wants to make, while a proofreader also goes through the galley, checking it page-by-page against the manuscript. Once all these changes are identified, a second-pass proof is made, and this, too, gets sent to the author and the proofreader, and the process begins anew.
Mo Willems was so helpful. I had met him a number of times, and I knew from his books how funny he was, of course, but it was really neat to be able to have his feedback. He's so great with comic timing. Working with him was like taking a master class in comic timing, because he could pinpoint right away if a section wasn't working. I remember him saying once, "No, you need a beat between this page and this page," and it was like, oh yeah, of course. I hadn't seen it, but being so good at what he does, Mo noticed it right away.
I do think that once you remove the limitations of the page, once you turn text transitive, meaning it can be clicked away from, the forward movement of text can be interrupted. But I don't think this is just a function of technology. It's also a function of cultural preference.
For more than thirty years, Joe Eck and Wayne Winterrowd have been gardening with extraordinary, indeed legendary, results. Part memoir, part omnium-gatherum of horticultural wisdom and practical advice, Our Life in Gardens is at once literate, learned, sensible, and, often, sheer luscious poetry. There are delights to be sampled on every page. From a cultivated life, they have brought forth, once again, a cultivated book.
Keep writing. Try to do a little bit every day, even if the result looks like crap. Getting from page four to page five is more important than spending three weeks getting page four perfect.
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