You don't need a dead father to explain a character's sadness. And impressing yourself with wit/cleverness often feels like what it is - authorial intrusion.

A story works when there's momentum, life behind the words. Some stories have this and others don't, and it's difficult to say why this is. If all stories worked, though, writing wouldn't be much of a challenge it wouldn't be art.

I can't remember who said it - I think it was Allan Gurganus when he was visiting the Michener Center - but he told us to spend [our] gold, meaning, put everything you have into a story. Other gold will be waiting for you for your next project.

I want to be able to discuss craft but I also want to teach writers to trust their instincts and learn to listen to themselves above all others.

It's also obsessiveness. I'll spend a lot of time working on a single sentence, debating over a dash or a colon, etc. I want things to be perfect. I know nothing will ever be as perfect as I want it, and this is very sad, but sometimes I can get close.

I haven't taught creative writing all that much (my CW teaching consists of a few summer workshops for elementary school children and an eight-week class for older adults), and I don't really know what my teaching style is yet.

There's definitely a magical quality to writing that can't be explained. I can write something I love in two days, or I can work on a story every day for months and it never comes together.

I wish I knew exactly who I was. I was talking to a friend earlier about the advice people give each other, advice like just be yourself, and how this is particularly awful because it presumes we know who we are. As if people are static and unchanging.

Perhaps adding a line or two of dialogue to try to better capture an emotion. But I've found that if the story isn't there in the beginning, right from the start, I generally can't beat it into shape no matter how much rewriting I do.

I also liked it when professors assigned us stories that they love. In general, I liked workshops more when they were more than just a workshop, when the professor took the time to actually guide us as young writers and teach us things it took them a long time to figure out on their own. I could probably write ten pages on this question.

There are many stories I've wanted to write that I'm simply not able to - sometimes I haven't found the way in yet, and it doesn't matter how hard I try.

Making all of those words work together is difficult. It took a lot of cleaning up, a lot of rewriting scenes in order to make them more vivid. I used everything - every oddity I've ever seen on the side of the road, every interesting memory I could make relevant.

I've learned so much from my professors and have been fortunate to have had so many good ones, including Frederick and Steven Barthelme, Edward Carey, Jim Magnuson, and Elizabeth McCracken.

I think there simply comes a point at which you're beating your head against the wall with revision, when you're making something different but not better. For me, revision usually has more to do with making the language prettier, finding clearer images, using more active verbs.