I sat and wrote at the kitchen table, the light was perfect and I sat down with relish. These scenes form the climax, and they’re important which makes me feel slightly nervous and insecure, so I can see the passive voice creeping in but I go with it anyway. I’m simply blurting out what happens, then later I can refine it into something more robust.
I’ve fudged things, amplified the amount of attention a weigh in on the undercard probably gets, but I’m showing the scale of the challenge that awaits Andrea, and by proxy, John our protagonist. You never want to undersell things so much that people read it and skip onto something more beguiling. Elmore Leonard talked about how he only writes the bits that people don’t skip. When it’s at this exploratory stage, I’m looking to get the raw foundation down and then later, it’s cutting, proofing and polishing.
I’m still too close to it to say what it’s truly about, the controlling idea comes from distance and contemplation, then once I have that, the book becomes around shaping it around those themes. These aren’t manifestos and I try not to spend too much time navel gazing because it’s a touch conceited and I would rather spend time making new work or working on projects so that when the time comes, I’ve got things to show people.
It’s a beautiful day here, go outside and make eye contact. Do things that remind you that you have a body and senses.