When you’re in the ebb space, it doesn’t mean you get to go on Twitter. I have my golden hours, those early hours, but sometimes there’s just this ebb and flow. I will say too that exercise is a really big part of my process. I do brew my own coffee, but I can’t even say I live on coffee like Lee Child. Are there any clove cigarettes tucked away in your office drawers? I know he smoked clove cigarettes at the end. Sometimes, I just need that.ĮC: Anything else? I’m a big Elmore Leonard fan. Sometimes I feel so exhausted by all the stuff I’m forced to do on a screen that I need to slow down and really get back into that writing space, which is just pen and paper. But it’s also a battle against the screen. If you do know, and there’s a lot of action, it’s better just to get it out and straight into the computer as fast as possible. I can type so much faster than I can write longhand.ĮC: If you don’t know where it’s going, you work longhand. If the work gets big, if it’s high energy, then I might move to the computer. So, if I feel this urge to write in my notebook-if I have to lie on my stomach and write on the floor-then that’s what I do. I maybe don’t even totally know what my book is about, and I definitely don’t know how it’s going to end. LU: My process in general is organic and subconscious. Some books just want to be written longhand.ĮC: What is it that your brain is doing differently when you’re working longhand compared to typing straight into the computer? Some days I type straight into a computer. I might work at the desk, or on the couch. This is my first dedicated writing space. It would be better for me to roll out of bed and go straight to work, but she’s always my first priority, even as a teenager.ĮC: Tell me about what a writing day looks like? Your office is beautiful, by the way. At the moment, my peak creative hours are from seven till noon. She drives her own car now, which is completely crazy. I like to have breakfast with my daughter before she leaves for school. LU: I still wake up between five and six in the morning, depending on factors from the previous night. I was on the road with her for Beautiful Lies by April, 2006.ĮC: How has your process changed as she’s grown more independent?
Then I’d park the car, usually in the Target parking lot, and I’d write longhand in a Moleskin notebook. If I couldn’t get her to nap, I’d put her in the car seat and drive until she fell asleep. That way I had the time to do what I needed before my husband went to work.
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It did change when my daughter was really small and my husband was still working full time. Those early hours are my golden creative hours. I like to write as soon as I get up, as close as I can get to that dream brain. How did you go about structuring your time during those early days of motherhood? If you don’t write during nap time, it’s gone.ĮC: As a father of two with a day job, I totally understand. When you have a kid, the time that you have to write becomes use-it-or-lose-it. That made me become super focused about my time. I had to find a balance between my identity as writer and my identity as a mother. When I was writing, I just wanted to be with her. When I was with her, I was thinking about writing. Nothing in my life had ever rivaled my desire to write until our daughter came along. When my daughter was first born, I felt this deep fracture. There have been times in my life where it’s been hard to carve out that time. That’s not to say it hasn’t been challenging. I’m so grateful I get to do this for a living. The amount of time I spend writing is my most joyful time. It’s harder for me not to write than it is to write. Anyway, I never really set out to write a book a year. LU: You know, I’ve been a writer all my life. So, on a very broad spectrum, what advice do you have for authors who want to write a book a year? That has sustained me through my pretty long career.ĮC: As a guy who spent so much of my life with five days to get ready for a football game on Friday night, that workman-like mentality really resonates with me. The only thing you can control is what you bring to the work.
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The movie deals, awards, bestseller lists-all that stuff is outside your control. You can do your due diligence by connecting with readers, booksellers, and librarians. And the most important thing I’ve learned is you control almost nothing but what you do at the keyboard. I’ve been writing a book a year for twenty years. Lisa Unger: The book that will publish in November is my twentieth novel. In short, I wanted to have talks just like this one.Įli Cranor: You’re on book twenty now, right?