Quite recently, someone asked me about my “process.” This someone wasn’t asking about the creative parts—the meandering through the dark, schlepping a bag full of puzzle pieces and seeking out the elusive slots where they might fit—but quite literally about what I do during my waking hours, which hours those might be, and when and if I stop for snacks. She was asking about the nuts and bolts.
What I wanted to say is that I know nothing (and that of course I stop for snacks). I’m just winging it. I’m still waiting to be found out. Still, I wrote 336 pages that will be printed and bound and on (some) shelves in just a few weeks, which is something one teensy bit better than nothing.
1. Get dressed every day (except when you feel like the very heart of what you’re writing is delicately wound into the fiber of your socks and robe)
2. Stop and move for food (except when you must, just must, have your fingers centimeters from your computer at all times)
3. Exercise in any form: stand up, walk, run, go to a yoga class (except when all the jostling around risks dispersing your very precious thoughts, and then stay put, very very put)
4. Get by with a little help from your friends (except when talking to anyone at all about anything at all will sully everything, make you forget or derailed or soft or sleepy)
5. Find inspiration in art, music, literature (except when they might be toxic to your work and undo all your efforts to find voice)
There you have it. Fool’s gold.
In the end, I think, anything you can do is my actual answer.
Also: do the best you can, however you can, every day that you can. Take care of your body, your wrists, knees and eyes. Take care of your computer, and back up what matters. Take care of your bills because Verizon doesn’t care that you’re writing the Next Great American Novel. Take care of the people that love you. They will be there when you pick your head up, but only if you play your cards right.
The process is long, there is no end to it—at least, not really—so don’t be dramatic and pull eight all-nighters just to show us that you can. Or do, if you can. Do.
The first step for me in writing fiction is deciding which of my characters is telling the story. I might sense an entire novel taking form inside of me but if I start writing from the wrong point of view I cannot find the story I want to tell. My most recent novel, The Imposter Bride, is a case in point. The first scene of the novel seemed to write itself. It describes a young woman named Lily arriving in Montreal immediately following the Second World War, having taken someone else’s identity to cross borders and gain entry to a new life in a new country. The first drafts of the early chapters told the story from Lily’s point of view but each time I tried to move beyond that first scene I hit a wall. A first person account of a Holocaust survivor’s life during and after the war simply did not feel like it was mine to tell, nor did it feel like I was gaining entry into the heart of the novel I felt within me. I kept writing and rewriting from Lily’s perspective for longer than I care to admit, aware that it wasn’t working but not pinpointing that the problem was one of perspective and point of view. Finally, one morning another voice came into my head. It was the voice of a six-year-old girl, the daughter of Lily, living in Montreal in the 1950’s. As I began to follow that voice the story opened to me. The details and story lines that had eluded me for so long poured out. It became a story of the intergenerational effects of trauma within a family and within the community in which I was raised.