I write about what I know; and I write about things that are new to me, and that I didn't know before.
I love short stories. They're like small imploding universes. They are very tightly bound and controlled. I'd been wanting to write one for ages but just got tangled up in novels. The novel is the same in the sense that it is also a universe, but it explodes outwards with all that shrapnel going in several different directions. I don't see too much difference in the forms except for the fact that writing short stories is like sprinting rather than long-distance running.
I'm not so sure that I can teach people how to, you know, write dialogue or create plot or anything like that. But if I can get them and grab them by the scruff of the neck and say, you can do this, and if I see that fire in their eyes, that's when I think I know a writer.
Ultimately, you can only ever write what you know. It's logically and philosophically impossible to write what you don't know.
If you sort of see yourself writing into a space that you don't always recognize, you sometimes learn things that you knew, but weren't entirely aware of. It's very liberating for a writer to go into a space where she or he has not gone before, because, instead of being a tourist, you're like an explorer now, and you're sort of lost in this new idea.
If you have a structure beforehand, you're sort of stuffing your story into a pre-assembled box. You don't want that to happen. What you want in your writing is to have a sort of wildness that occurs. And then, out of the wildness, a structure emerges.
Personally, I like the social novel. I like writing that gets in and under the hood and looks about - at what's going on. But I don't say to any writer that that's absolutely what they should do.
I write articles, and I do profiles of members of organizations and associations.
That's what sons do: write to their mothers about recall, tell themselves about the past until they come to realize that they are the past.
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