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You don't have to write like David Foster Wallace or James Baldwin or Maggie Nelson - indeed, you shouldn't. Those writers are doing it better than you ever could.

Melissa Febos

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Melissa Febos
Age: 44
Born: 1980
Born: September 28
Journalist
Writer
Indeed
Baldwin
Writers
Wallace
Write
Maggie
Better
Foster
Ever
Nelson
Writing
David
Like
James
Shouldn

More quotes by Melissa Febos

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All our stories are part invention - the way we've decided to make sense of what has happened.
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The other reason I didn't want to fictionalize it is because one of the main points of publishing a memoir in nonfiction was that I wanted to write about what had been a very lonely experience. The books that most saved my life as a kid were the ones that articulated lonely experiences that I had thought were mine alone.
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I tell my students all the time is, for better or worse, no publisher is going to come wrench your story out of your hands before you're ready to let it go. You will have time to take stuff out. You don't have to show it to anybody. That's what I did.
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Anyone who makes a life of what they love is a hero to me, and it's important for those people to be visible in every kind of life, every kind of love, every kind of work.
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The craft work becomes a mediator between me and my secrets, between me and the listener.
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I have replaced my instinct for secrecy with an instinct for confession.
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Children's stories force logic upon the gruesome facts of our lives. They mirror our troubles and submit them to a chain of causality.
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The story of the memoir is a story of me creating certain narratives so that I could live with my own experience and with the uneasy relationship between what I was doing and what I believed in - or what I saw as an uneasy relationship between those two things.
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Most of the smart things I've ever thought or written came vis-a-vis my body.
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The frustration of being marginalized often gets misdirected at the most visible members of one's own community, because they are more accessible than the real agents of marginalization.
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Our lives are a long series of acquiring and then sloughing narratives.
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Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
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I see consensual S&M no differently than I see consensual anything: as beautiful, and never any one thing.
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When I was in college I started writing prose, because a very smart professor asked me what I like to read and I said, Novels, and she said, You should be writing them then. Memoir never even occurred to me. I think I was afraid of nonfiction and I was afraid of navel-gazing, and of being seen.
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Music isn't seeking to comment on the experience or transmit some finding about it - it is only seeking to express it. The vicarious experience is much more accessible. We all recognize the sound of that howling, because we all have a similar howling inside of us, however we heed it or hold it or muzzle it or repress it or live in bondage to it.
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I think that's the job of the writer, right? Not to introduce new ideas or feelings, but to name the ones we know most intimately but are afraid of speaking, or don't have the words. That's what I find most powerful anyway.
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I can still discern people's weaknesses, but it doesn't make me want to exploit them it makes me want to hug them.
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New York at night, from its bridges, is a miracle. When I first came to the city, it took all my fantasies and set them on fire, turned them into flickering constellations of light.
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Letting go of the cozy stories you've been carrying around is devastating. But there's more room for new stuff after you do it.
Melissa Febos
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I'm always writing to a younger version of myself, or a young woman who is like I was. I want that girl to know that I really existed and that it all went down that way.
Melissa Febos