Catherine Brady Quotes
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For me, what's compelling about sexuality is the way that desire transforms what we take in through our senses, the ways in which our bodies betray us or rescue us by insisting on their own non-negotiable truths. Anything but frank or pragmatic.
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My Irish Catholic mother loved romantic movies, provided they ended with a kiss before the screen went dark. If things went any further than that, she'd complain, Why can't they leave something to the imagination? I sort of subscribe to her philosophy when it comes to writing sex.
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When I decided to stop using quotation marks, it presented technical challenges: you have to conceive of dialogue differently and structure it differently for this to work. So I had a new problem, which makes writing interesting again.
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What I've found as I have kept writing stories is that more and more your way is barred. I feel really choked by what I already know how to do, by the fact that my obsessions nearly always mount a sneak attack, so that I find myself writing another version of the same thing.
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You don't really have a story until you discover the moment when the pressures on a character force a sudden, abrupt shift in direction and she falls through the net that has so far held her in place.
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I think it's very hard to be sexually explicit and erotic - though there are writers, like K. M. Soehnlein, who are just brilliant at this.
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It's hard to write sex because it's hard to write desire, period.
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I've always hated quotation marks: they're ugly on the page and they classify the text for you, putting dialogue in one box and narration in another.
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I love the way a story's ending can force you to read backwards. It's as if you are slowly adjusting a kaleidoscope until a random scattering of colored crystals suddenly falls into a beautiful symmetrical pattern.
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Chekhov used to correspond with aspiring writers, and once he gave this advice to Maxim Gorky when he was encouraging him to pare his wordy sentences: "When someone expends the least amount of motion on a given action, that's grace." The short story, by definition, embodies this notion of grace, because it requires such forceful compression to achieve its effects.
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I wanted to let form lead my thinking, and repetition always confronts you with the interesting problem of how to break out of a cycle that seems so deterministic, which was germane to the story's concerns.
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You have to be able to play: this is spontaneous interaction, and it flexes all the creative muscles you need as a writer. And empathy is one of those muscles.
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If you cross-section anyone's life from one angle and then another, what constitutes goodness looks different each time. It's not an absolute.
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I have to trick myself into writing a story - impose some arbitrary constraint to distract me from the constraints of my past habits or my fear that I don't have much to say.