Kevin Keck Quotes
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I tend to work most often from the method of ignoring any ritualistic writing for long periods of time, and then I'll spend three straight weeks writing for 12 hours a day and just going through the motions with my worldly business because the compulsion to write descends upon me like a kind of madness. I don't mean to be dramatic, but it feels that way when it strikes.
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What I need to write is a complicated equation. Maybe if I knew I'd be one of those writers, one of the steady ones. I rest upon my assertion that there has to be some balance of energy, or, failing a balance, a focused intensity of ALL energy. I've experienced both, I suppose.
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Not every story lends itself tonally to humor, so you have to navigate that territory properly. You can put a humorous spin on anything, really, if you know what you're doing, but it's not always desirable to have your reader laughing on every page.
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That being said, if you slept with me and are filled with shame at the possibility of the world knowing, then you should have considered that before you hopped into bed with a writer.
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Most writers are lazy intellectuals, and it's a goddamn shame because a writer with an audience has a moral responsibility to make readers think about the world in a different way than what they're used to. Why else would you pick up a book if not to inhabit another realm of existence for a while?
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In fact, I always assumed that most everything I read was true, to one degree or another. I couldn't articulate this fact until after I read Tim O'Brien's The Things They Carried and he discussed Happening Truth, Story Truth, and Emotional Truth. I always understood that the facts of The Sun Also Rises or On the Road were the facts as dictated by a certain narrative structure, but because the experiences of those characters echoed my own feelings about the world. I knew there was a Happening Truth behind them.
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As a writer, I was deliberately creating an alternate world, and then populating it with experiences and people that I knew in this world, but I'd shake up the mix considerably. And about the same time that the memoir was becoming the dominant popular literary form in the mid to late 90s, I started reading writers who were deliberately playing with the notion of "truth" and "fiction" - that struck me as a much more interesting way to tell certain stories, particularly in the realm of comedy.
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Energy seems to be the more critical of those two variables, because if I'm really feeling the push/pull to write, then I'll make the time.
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It all depends on what I'm working on and if there is a deadline involved. Anything that's headed toward a magazine or newspaper is hacked out on the computer; that's a matter of efficiency. I write longer pieces of prose on a typewriter because the act of retyping it for the computer is a useful tactic for revision. Poems tend to be written longhand.
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I've found that depending on the amount of the check, disciplined inspiration can be called upon willingly. I think the name of the lesser known tenth muse was Dollar Dollar Bill Y'all.
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I view my stories as sexual or personal. Curiously, I don't. When I was writing those stories I thought of them as comedy pieces in the vein of performance monologue, such as you might get with Richard Pryor, or Lenny Bruce, or George Carlin. So I don't feel vulnerable because I know the line of demarcation between "Writer Kevin" and "Narrative Kevin."
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Curiously, the balance seems to come when writing is woven into every aspect of my life, like eating or exercising - one flows constantly into the next: I'll wake up and have coffee, read the news, then write a letter or two (always in longhand), then go teach, and after teaching write a bit in a journal - dreams, what I had for breakfast and lunch and why I had it, what's on the iPod, sexual habits, etc. - then read a bit, then work on a real bit of writing...you get the idea.
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Engaging with creativity in a serious way is a shamanistic activity, and by extension when you choose to follow a mystical path you cannot have a "normal" life within the community. Your job is to stand outside the community and hold up the mirror.
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I didn't write poems for a number of years after graduate school because the criticisms of other students in the workshops wouldn't quiet down in my mind when I tried to work.
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I suppose most writers are following Twain's advice to tackle what they know, and my own readings habits drew me to writers who seemed to be writing honestly from their own experiences, whether they presented it in the guise of fiction or not.
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Of course, I don't mean to imply that all writers are working in the deep waters that border on the divine. Most writers are just trying to pay the bills, like anyone else - Stephanie Meyers is the literary equivalent of a television evangelist. Fork over twenty bucks and she'll help you forget your troubles for a while. I certainly don't fault her for her success, but I hope she has no illusions about the quality of her craft or the longevity of her efforts.
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As I've picked up more responsibilities in life, I've found nearly every one of those extra burdens drains me in a way that makes writing more difficult. That may not be the case for everyone - I know plenty of writers and artists who seem to have energy in abundance for all the facets of life; but are they producing anything worthwhile?
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I read a lot; I tried to understand the mechanisms that made the books I liked successful, and I went that route. So, as for readers - when I think about them I like to think they read the same books I do.
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In some sense that was a blessing, because it forced me to focus on prose. I feel my narrative voice in prose is more authentically me because I developed it without ever soliciting the advice of anyone else.
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At the time I was first writing the stories/essays that appear in Oedipus Wrecked, I was still under the impression that people would be delighted to see their name in print. I overlooked the fact that I was writing about intimate matters, and people are a bit touchy about airing their private lives in such a public fashion. Especially when it's done without their consent.
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I've always been a fan of comedy, and I understood from a young age that what makes most comedy work is the immediacy of first person experience. I'd spent a lot of time from 1995-1998 focusing almost exclusively on poetry, and it's an incredibly difficult form in which to achieve a sustained comic tone unless you're Alexander Pope.
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You know, there are those writers who work at writing every day. I'm not one of those guys. I tend to work at varying levels of intensity, based on the amount of time and energy I have available.
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If you're trying to convey a crucial emotional truth, you have to be in total control of the emotional pacing of the story, and if you can only strike one note in terms of tone then you're going to be quite limited as a writer.
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