“I write to make sense of my life.” —John Cheever

I’ve been reading Blake Bailey’s Cheever: A Life, and it’s been extremely illuminating in many ways. John Cheever, considered one of the best 20^th Century short story writers, struggled at times, as most writers do, to trust his impulses in creating short stories and novels. Many of his works first appeared in the New Yorker, and for much of that time, William Maxwell, long-time editor at that magazine, was both his good friend and editor. This relationship eventually became a problem for them both.

Maxwell, a fine writer himself, wore blinders when his writers attempted to move beyond the traditional realist fiction that he favored. At a critical time in Cheever’s life and career, Maxwell refused to publish any Cheever stories that didn’t fit into this narrow groove, causing Cheever to doubt his craft.

I’ve been thinking recently how writers are like detectives. They need to be constantly observant, picking up clues from what people are wearing, how they gesture, the words they speak, the way they interact with others. They study people’s facial expressions and what they suggest, storing away the data in their memory banks or taking notes in a writer’s journal that they’ll refer to later.

Detectives need to ask questions, the right questions, without arousing the suspect’s suspicions. Writers are also usually operating undercover in this way, querying their family members, friends, and acquaintances on unfamiliar subjects, building up their store of knowledge.

A good detective, like an amateur psychologist, also is skilled at looking beyond surfaces, trying to discover the hidden meanings in words, expressions, gestures, aware that most things have multiple meanings.

Many great stories start with the author asking themselves, “What if x then y?” And a new story is born. “What if there was a boy who lived in a cupboard who was actually a wizard?” These two simple words have incredible powers in a writer’s mind.

One of the tutors for my Masters programs preaches the power of “what if.” If you’re stuck for a story idea, just start writing out a bunch of what if possibilities. -What if aliens came to the universe on a motorcycle? -What if the earth stopped spinning, and a 10 year old girl was the only person who could set it right again? Just think of as many what ifs as you can, until your brain hurts, and then go back through your list and start writing the one that sticks out in your mind the most.

One of the reasons I keep traveling out to Tucson each March is to attend the Tucson Festival of Books, which has become one of the country’s top book festivals by attendance and by the quality of authors it attracts. This year 140,000 patrons were exposed to books and authors––fiction and non-fiction, geared to readers of all ages. I prefer sessions where I can hear fiction authors talk about their books and writing careers. Here’s a sample of authors readers might look for in their librarys and bookstores.

Rachel Kadish. Kadish is the author of The Weight of Ink, a complex historical novel that took her 12 years to write. The story takes place in London in two time periods—the year 2000 and the mid-17^th century and traces the lives of two women––a history professor nearing the end of her career and an orphan who becomes the scribe to a blind rabbi.

In my day job, I am a project manager. I can’t help but notice some parallels between getting projects done and what we go through as writers. For example, in the continuum between the “Pantsers” and the “Planners,” I have late in life embraced the Planner philosophy. Map out your direction and then write to that plan. As someone who struggles with procrastination and closure-phobia, I value Plannerism as a way to actual complete something rather than draw it out into eternity. In project management, we would call pure plannerism the “Waterfall” methodology. 

Construction or aerospace engineering projects have always benefitted from extensive planning with the final product design in mind. By all means, Boeing, keep covering every little safety detail, please!

As a fiction writer, I often ask myself why people read novels and how can I convince them to read mine? That question occurred to me again recently when I finished a novel that had me questioning why I read fiction. The book was engaging enough. The writer was competent and had created characters that seemed believable (though that isn’t necessarily a criterion for me). There was enough tension to keep me reading in order to discover more about these lives I had immersed myself in. But the experience felt flat, and I wondered why I had spent several precious hours on something that wasn’t more satisfying.

So why do I read? For me, reading isn’t necessarily to escape my daily life.

As my first post on Late Last Night Books, I thought I’d introduce myself. 

So hi there! My name is Hannah, and I am currently working toward my master’s degree in Bath, UK. Bath Spa University has an amazing MA program called Writing for Young People. Yes, the obvious answer to your question is—I’m loving it. 

Even though I earned my BA in General Creative Writing, I focus on young adult literature. It’s what I write, read, and love. There are often stigmas surrounding writers who choose to write for young adults. People believe that YA is not true art or is mindless reading. But I beg to differ. If you look at some of the amazing literature that has come out of both the Middle Grade and Young Adult genres, you’ll be quite surprised at the social change they are making, as well as the beautiful literature they are writing.