1. What genre do you enjoy reading the most?
2. What genre do you enjoy reading the least?
3. What genre do you enjoy writing the most?
4. What genre do you try to avoid writing even at knifepoint?
5. What aspect of writing comes easiest to you?
6. What's most difficult for you to construct?
7. What aspect do you prefer to ignore as much as possible?
8. How do you prefer to put a story together? Do you think about mechanics or character or something else?
9. Tell me a deliciously shameful little secret about you and writing.
1. I really like reading character drama and intelligent historical fiction. Something like The Last Kabbalist of Lisbon or A Prayer For Owen Meany. If it's nice and witty, like Jingo or The Three Musketeers so much the better. Or something bizarrely grotesque, like much of John Irving's work.
2. Romance, especially romance with self-pitying characters who spend their time moping and pining, bores me to tears. Halfway through Anna Karenina, I was rooting for the train.
3. Oddly enough, I find that most of what I write either comes down to family drama or social satire. And that gets divided along stylistic lines. My prose writing tends towards family drama, while my best playwriting is social satire. There are exceptions, of course -- I've written prose satire and a ten-minute play that was pure, 180-proof family drama, but mostly it divides up pretty neatly.
4. Again, that would be romance. No kissing, please, we're equine. I used to hate the idea of writing child characters, but then I realized that I like writing them in prose. I still don't like to write child characters into plays simply because I find child actors difficult to work with.
5. Easiest thing for me to write is dialogue. Most of my formal training in fiction writing has been specifically in playwriting, and for me, it's a very natural thing to tell a story through dialogue. If I didn't consciously keep a lid on it, my prose characters would just chit-chat through reams of story, and everything I wrote would end up with Chekhovian amounts of conversation.
6. What's difficult for me is to write large stretches of non-specific action in prose. A battle or a dance or something distinct like that doesn't bother me -- there's a beginning and an end, and a little mini-story to tell. But non-specific action -- just following characters through their daily business as the story unfolds -- that I find very difficult to write. To me, it always ends up sounding like stage directions. I sound variously like Shakespeare (Portfolio falls.) or Beckett (Blotch takes three steps downstage right. He scratches his nose twice and turns thirty degrees to his left.) or like Wendy Kesselman (Marie and Pierre have an extended scene full of richly symbolic action, described in loving detail, lasting ten minutes with no dialogue whatsoever.).
9. Physical descriptions of characters. I have a hard time remembering them in prose, and in a play, you hardly ever get an actor who looks like that anyway.
8. Usually, I start by imagining the scene. Who's there, what are they all doing, what must be accomplished before the scene finishes? Then I go through each of the individual characters and try to determine what they want to get out of a the scene, how they go about it, and what is hampering them. All that is from acting and directing training. I tend to work very closely with the characters and not so much with literary aspects -- people who consciously write with structure or symbolism in mind inspire boggled admiration in me.
9. I like keeping secrets from an audience. I love plotting out elaborate backstories and scenes from characters' pasts that I will never ever write, but which I will hint at in a text. Then I watch people reading or seeing the finished work, and I cackle to myself, "I know something you do not know!" in the accent that Mandy Patinkin used as Inigo Montoya.
So. I've spilled. Any other takers?