Recently, I began a weekend creative writing workshop with this exercise: write your sexual life story in five sentences. Short of gratuitous usage of semicolons, there was no wrong way to do this; the five-sentence story could be as abstract or as concrete as my students wanted. It could be a chronological list of the five most high-topography sexual events in their lives, or it could be a list of images more akin to a surrealist poem. After the allotted five minutes, they all set their pens down with a touch of weary accomplishment. Then I asked them to do it again. This request was met with stares, some uncomprehending, some with a touch of contempt. I pressed on. The only requirement was that they not reiterate any of the previous five sentences—they could zoom in to a single event, zoom out to a philosophical summary, make it silly, make it emotionally opposite, make it more honest, make it less or more abstract. After they’d finished, I asked them to do it for a third time. A fourth. At this point, many of their stares implied that I was unhinged, sadistic, or simply ridiculous. Eventually they stopped staring and started writing faster. Here’s the point: Their writing got better. It became truer. It became more theirs. I told them, We could do this all day. I meant: and not run out of ways to tell that story. More importantly, they would bear witness to something greater than mere improvement. Over the years, I’ve come to look forward to the point in my own writing at which continuing seems both incomprehensible and loathsome. That resistance, rather than marking the dead end of the day’s words, marks the beginning of the truly interesting part. That resistance is a kind of imaginative prophylactic, a barrier between me and a new idea. It is the end of the ideas that I already had when I came to the page—the exhaustion of narrative threads that were previously sewn into me by sources of varying nefariousness or innocuity. It is on the other side of that threshold that the truly creative awaits me, where I might make something that did not already exist. I just have to punch through that false wall.

"It's like a hole in my life, an eight-year hole. That's what I find interesting in people's lives, the holes, the gaps, sometimes dramatic, but sometimes not dramatic at all. There are catalepsies, or a kind of sleepwalking through a number of years, in most lives. Maybe it's in these holes that movement takes place."

“You can write only if you know how to reflect endlessly, mathematically, asking yourself, What’s the name of this thing I am seeing and that I have never before seen? It takes time.”