Bird by Bird: Some Instructions on Writing and Life

  Table of Contents

  Title Page

  Dedication

  Acknowledgments

  Introduction

  Part One - Writing

  Getting Started

  Short Assignments

  Shitty First Drafts

  Perfectionism

  School Lunches

  Polaroids

  Character

  Plot

  Dialogue

  Set Design

  False Starts

  Plot Treatment

  How Do You Know When You’re Done?

  Part Two - The Writing Frame of Mind

  Looking Around

  The Moral Point of View

  Broccoli

  Radio Station KFKD

  Jealousy

  Part Three - Help Along the Way

  Index Cards

  Calling Around

  Writing Groups

  Someone to Read Your Drafts

  Letters

  Writer’s Block

  Part Four - Publication — and Other Reasons to Write

  Writing a Present

  Finding Your Voice

  Giving

  Publication

  Part Five - The Last Class

  About the Author

  ALSO BY ANNE LAMOTT

  Copyright Page

  This book is dedicated

  to Don Carpenter

  & Neshama Franklin

  & John Kaye

  Acknowledgments

  I would like to acknowledge the extraordinary debt I owe to the writers who have told me such wise things about writing over the years: Martin Cruz Smith, Jane Vandenburgh, Ethan Canin, Alice Adams, Dennis McFarland, Orville Schell, and Tom Weston.

  I would not be able to get my work done without the continual support and vision of my editor, Jack Shoemaker. My agent, Chuck Verrill, is just wonderful as is Nancy Palmer Jones, who copy-edited this book (and the last) with enormous skill and warmth and precision.

  I want to mention once again that I do not think I’d even be alive today if not for the people of St. Andrew Presbyterian Church, Marin City, California.

  Sam said to me the other day, "I love you like 20 tyrannosauruses on 20 mountaintops," and this is the exact same way in which I love him.

  Introduction

  I grew up around a father and a mother who read every chance they got, who took us to the library every Thursday night to load up on books for the coming week. Most nights after dinner my father stretched out on the couch to read, while my mother sat with her book in the easy chair and the three of us kids each retired to our own private reading stations. Our house was very quiet after dinner—unless, that is, some of my father’s writer friends were over. My father was a writer, as were most of the men with whom he hung out. They were not the quietest people on earth, but they were mostly very masculine and kind. Usually in the afternoons, when that day’s work was done, they hung out at the no name bar in Sausalito, but sometimes they came to our house for drinks and ended up staying for supper. I loved them, but every so often one of them would pass out at the dinner table. I was an anxious child to begin with, and I found this unnerving.

  Every morning, no matter how late he had been up, my father rose at 5:30, went to his study, wrote for a couple of hours, made us all breakfast, read the paper with my mother, and then went back to work for the rest of the morning. Many years passed before I realized that he did this by choice, for a living, and that he was not unemployed or mentally ill. I wanted him to have a regular job where he put on a necktie and went off somewhere with the other fathers and sat in a little office and smoked. But the idea of spending entire days in someone else’s office doing someone else’s work did not suit my father’s soul. I think it would have killed him. He did end up dying rather early, in his mid-fifties, but at least he had lived on his own terms.

  So I grew up around this man who sat at his desk in the study all day and wrote books and articles about the places and people he had seen and known. He read a lot of poetry. Sometimes he traveled. He could go anyplace he wanted with a sense of purpose. One of the gifts of being a writer is that it gives you an excuse to do things, to go places and explore. Another is that writing motivates you to look closely at life, at life as it lurches by and tramps around.

  Writing taught my father to pay attention; my father in turn taught other people to pay attention and then to write down their thoughts and observations. His students were the prisoners at San Quentin who took part in the creative-writing program. But he taught me, too, mostly by example. He taught the prisoners and me to put a little bit down on paper every day, and to read all the great books and plays we could get our hands on. He taught us to read poetry. He taught us to be bold and original and to let ourselves make mistakes, and that Thurber was right when he said, "You might as well fall flat on your face as lean over too far backwards." But while he helped the prisoners and me to discover that we had a lot of feelings and observations and memories and dreams and (God knows) opinions we wanted to share, we all ended up just the tiniest bit resentful when we found the one fly in the ointment: that at some point we had to actually sit down and write.

  I believe writing was easier for me than for the prisoners because I was still a child. But I always found it hard. I started writing when I was seven or eight. I was very shy and strange-looking, loved reading above everything else, weighed about forty pounds at the time, and was so tense that I walked around with my shoulders up to my ears, like Richard Nixon. I saw a home movie once of a birthday party I went to in the first grade, with all these cute little boys and girls playing together like puppies, and all of a sudden I scuttled across the screen like Prufrock’s crab. I was very clearly the one who was going to grow up to be a serial killer, or keep dozens and dozens of cats. Instead, I got funny. I got funny because boys, older boys I didn’t even know, would ride by on their bicycles and taunt me about my weird looks. Each time felt like a drive-by shooting. I think this is why I walked like Nixon: I think I was trying to plug my ears with my shoulders, but they wouldn’t quite reach. So first I got funny and then I started to write, although I did not always write funny things.

  The first poem I wrote that got any attention was about John Glenn. The first stanza went, "Colonel John Glenn went up to heaven / in his spaceship, Friendship Seven." There were many, many verses. It was like one of the old English ballads my mother taught us to sing while she played the piano. Each song had thirty or forty verses, which would leave my male relatives flattened to our couches and armchairs as if by centrifugal force, staring unblinking up at the ceiling.

  The teacher read the John Glenn poem to my second-grade class. It was a great moment; the other children looked at me as though I had learned to drive. It turned out that the teacher had submitted the poem to a California state schools competition, and it had won some sort of award. It appeared in a mimeographed collection. I understood immediately the thrill of seeing oneself in print. It provides some sort of primal verification: you are in print; therefore you exist. Who knows what this urge is all about, to appear somewhere outside yourself, instead of feeling stuck inside your muddled but stroboscopic mind, peering out like a little undersea animal—a spiny blenny, for instance—from inside your tiny cave? Seeing yourself in print is such an amazing concept: you can get so much attention without having to actually show up somewhere. While others who have something to say or who want to be effectual, like musicians or baseball players or politicians, have to get out there in front of people, writers, who tend to be shy, get to stay home and still be public. There are many obvious advantages to this. You don’t ha
ve to dress up, for instance, and you can’t hear them boo you right away.

  Sometimes I got to sit on the floor of my father’s study and write my poems while he sat at his desk writing his books. Every couple of years, another book of his was published. Books were revered in our house, and great writers admired above everyone else. Special books got displayed prominently: on the coffee table, on the radio, on the back of the john. I grew up reading the blurbs on dust jackets and the reviews of my father’s books in the papers. All of this made me start wanting to be a writer when I grew up—to be artistic, a free spirit, and yet also to be the rare working-class person in charge of her own life.

  Still, I worried that there was never quite enough money at our house. I worried that my father was going to turn into a bum like some of his writer friends. I remember when I was ten years old, my father published a piece in a magazine that mentioned his having spent an afternoon on a porch at Stinson Beach with a bunch of other writers and that they had all been drinking lots of red wine and smoking marijuana. No one smoked marijuana in those days except jazz musicians, and they were all also heroin addicts. Nice white middle-class fathers were not supposed to be smoking marijuana; they were supposed to be sailing or playing tennis. My friends’ fathers, who were teachers and doctors and fire fighters and lawyers, did not smoke marijuana. Most of them didn’t even drink, and they certainly did not have colleagues who came over and passed out at the table over the tuna casserole. Reading my father’s article, I could only imagine that the world was breaking down, that the next time I burst into my dad’s study to show him my report card he’d be crouched under the desk, with one of my mother’s nylon stockings knotted around his upper arm, looking up at me like a cornered wolf. I felt that this was going to be a problem; I was sure that we would be ostracized in our community.

  All I ever wanted was to belong, to wear that hat of belonging.

  In seventh and eighth grades I still weighed about forty pounds. I was twelve years old and had been getting teased about my strange looks for most of my life. This is a difficult country to look too different in—the United States of Advertising, as Paul Krassner puts it—and if you are too skinny or too tall or dark or weird or short or frizzy or homely or poor or nearsighted, you get crucified. I did.

  But I was funny. So the popular kids let me hang out with them, go to their parties, and watch them neck with each other. This, as you might imagine, did not help my self-esteem a great deal. I thought I was a total loser. But one day I took a notebook and a pen when I went to Bolinas Beach with my father (who was not, as far as I could tell, shooting drugs yet). With the writer’s equivalent of canvas and brush, I wrote a description of what I saw: "I walked to the lip of the water and let the foamy tongue of the rushing liquid lick my toes. A sand crab burrowed a hole a few inches from my foot and then disappeared into the damp sand...." I will spare you the rest. It goes on for quite a while. My father convinced me to show it to a teacher, and it ended up being included in a real textbook. This deeply impressed my teachers and parents and a few kids, even some of the popular kids, who invited me to more parties so I could watch them all make out even more frequently.

  One of the popular girls came home with me after school one day, to spend the night. We found my parents rejoicing over the arrival of my dad’s new novel, the first copy off the press. We were all so thrilled and proud, and this girl seemed to think I had the coolest possible father: a writer. (Her father sold cars.) We went out to dinner, where we all toasted one another. Things in the family just couldn’t have been better, and here was a friend to witness it.

  Then that night, before we went to sleep, I picked up the new novel and began to read the first page to my friend. We were lying side by side in sleeping bags on my floor. The first page turned out to be about a man and a woman in bed together, having sex. The man was playing with the woman’s nipple. I began to giggle with mounting hysteria. Oh, this is great, I thought, beaming jocularly at my friend. I covered my mouth with one hand, like a blushing Charlie Chaplin, and pantomimed that I was about to toss that silly book over my shoulder. This is wonderful, I thought, throwing back my head to laugh jovially; my father writes pornography.

  In the dark, I glowed like a light bulb with shame. You could have read by me. I never mentioned the book to my father, although over the next couple of years, I went through it late at night, looking for more sexy parts, of which there were a number. It was very confusing. It made me feel very scared and sad.

  Then a strange thing happened. My father wrote an article for a magazine, called "A Lousy Place to Raise Kids," and it was about Marin County and specifically the community where we lived, which is as beautiful a place as one can imagine. Yet the people on our peninsula were second only to the Native Americans in the slums of Oakland in the rate of alcoholism, and the drug abuse among teenagers was, as my father wrote, soul chilling, and there was rampant divorce and mental breakdown and wayward sexual behavior. My father wrote disparagingly about the men in the community, their values and materialistic frenzy, and about their wives, "these estimable women, the wives of doctors, architects, and lawyers, in tennis dresses and cotton frocks, tanned and well preserved, wandering the aisles of our supermarkets with glints of madness in their eyes." No one in our town came off looking great. "This is the great tragedy of California," he wrote in the last paragraph, "for a life oriented to leisure is in the end a life oriented to death—the greatest leisure of all."

  There was just one problem: I was an avid tennis player. The tennis ladies were my friends. I practiced every afternoon at the same tennis club as they; I sat with them on the weekends and waited for the men (who had priority) to be done so we could get on the courts. And now my father had made them look like decadent zombies.

  I thought we were ruined. But my older brother came home from school that week with a photocopy of my father’s article that his teachers in both social studies and English had passed out to their classes; John was a hero to his classmates. There was an enormous response in the community: in the next few months I was snubbed by a number of men and women at the tennis club, but at the same time, people stopped my father on the street when we were walking together, and took his hand in both of theirs, as if he had done them some personal favor. Later that summer I came to know how they felt, when I read Catcher in the Rye for the first time and knew what it was like to have someone speak for me, to close a book with a sense of both triumph and relief, one lonely isolated social animal finally making contact.

  I started writing a lot in high school: journals, impassioned antiwar pieces, parodies of the writers I loved. And I began to notice something important. The other kids always wanted me to tell them stories of what had happened, even—or especially—when they had been there. Parties that got away from us, blowups in the classroom or on the school yard, scenes involving their parents that we had witnessed—I could make the story happen. I could make it vivid and funny, and even exaggerate some of it so that the event became almost mythical, and the people involved seemed larger, and there was a sense of larger significance, of meaning.

  I’m sure my father was the person on whom his friends relied to tell their stories, in school and college. I know for sure that he was later, in the town where he was raising his children. He could take major events or small episodes from daily life and shade or exaggerate things in such a way as to capture their shape and substance, capture what life felt like in the society in which he and his friends lived and worked and bred. People looked to him to put into words what was going on.

  I suspect that he was a child who thought differently than his peers, who may have had serious conversations with grown-ups, who as a young person, like me, accepted being alone quite a lot. I think that this sort of person often becomes either a writer or a career criminal. Throughout my childhood I believed that what I thought about was different from what other kids thought about. It was not necessarily more profound, but there was a struggle going on ins
ide me to find some sort of creative or spiritual or aesthetic way of seeing the world and organizing it in my head. I read more than other kids; I luxuriated in books. Books were my refuge. I sat in corners with my little finger hooked over my bottom lip, reading, in a trance, lost in the places and times to which books took me. And there was a moment during my junior year in high school when I began to believe that I could do what other writers were doing. I came to believe that I might be able to put a pencil in my hand and make something magical happen.

  Then I wrote some terrible, terrible stories.

  In college the whole world opened up, and the books and poets being taught in my English and philosophy classes gave me the feeling for the first time in my life that there was hope, hope that I might find my place in a community. I felt that in my strange new friends and in certain new books, I was meeting my other half. Some people wanted to get rich or famous, but my friends and I wanted to get real. We wanted to get deep. (Also, I suppose, we wanted to get laid.) I devoured books like a person taking vitamins, afraid that otherwise I would remain this gelatinous narcissist, with no possibility of ever becoming thoughtful, of ever being taken seriously. I became a socialist, for five weeks. Then the bus ride to my socialist meetings wore me out. I was drawn to oddballs, ethnic people, theater people, poets, radicals, gays and lesbians—and somehow they all helped me become some of those things I wanted so desperately to become: political, intellectual, artistic.

  My friends turned me on to Kierkegaard, Beckett, Doris Lessing. I swooned with the excitement and nourishment of it all. I remember reading C. S. Lewis for the first time, Surprised by Joy, and how, looking inside himself, he found "a zoo of lusts, a bedlam of ambitions, a nursery of fears, a harem of fondled hatreds." I felt elated and absolved. I had thought that the people one admired, the kind, smart people of the world, were not like that on the inside, were different from me and, say, Toulouse-Lautrec.

  I started writing sophomoric articles for the college paper. Luckily, I was a sophomore. I was incompetent in all college ways except one—I got the best grades in English. I wrote the best papers. But I was ambitious; I wanted to be recognized on a larger scale. So I dropped out at nineteen to become a famous writer.