I wont deny that I have a far more productive writing life without the Internet, mostly because I rekindle my ability to concentrate on one thing for a period of longer than three minutes. My curiosity is channeled inward rather than Internet-ward.
A logic proof is: you get a starting point and an ending point, and you have to get there through all these different steps and tautologies. I approach novel writing that way. When I get to the end I have to go back and connect everything.
I think the one reason that writers marry other writers - one of the reasons that I married another writer - was, I fell in love with that writer. But second of all, I had been married before and a source of marital strife was me needing to go away for a couple of weeks to write or it's Saturday and I think I just need to work today and not hang out with you.
I want the plot to be as complicated as possible. Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.
When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.
Structure is, for me, the most fun challenge about writing novels.
As such, anything is always possible, even if your protagonist is a plumber. But it's the possibility, the limitless possibilities, of any fake life, that make writing about it so challenging.
Whether I'm writing about plumbers or psychics or psychic plumbers, I want to find a creative space that imprisons me usefully, so I can deviate with purpose.
