12 or 20 (second series) questions with Patti Grayson
Patti Grayson
is the author of two award-nominatednovels and one award-nominated short fiction collection. Her debut novel,
Autumn, One Spring
, was translated into German and was a popular book clubselection. She lives and writes from the prairies.
The Twistical Nature of Spoons
is her fourth book and was published in fall of 2023.1 - How did your first book change yourlife? How does your most recent work compare to your previous? How does it feeldifferent?
The first bookchanged the interior of my life within the context of personal accomplishment.Following publication, I received an email from a high school acquaintance thatread: “You’ve managed to fulfill your dream.” At that point, I was in my 40s,and it was surprising to me that people who knew me in my teens understood and rememberedthat I’d aspired to become a writer. Having the first book out in the world allowedme to refer to myself as an author without a full-blown imposter-syndromeattack every time. And my exterior world was definitely enriched. Publicationprovided me with opportunity to encounter readers and to engage with peers atvarious events. Both those aspects were very rewarding.
I’m hoping that thenew work reveals that some writerly growth has taken place. Structurally, this novel is more complex thanany of my previous projects, which were all more straightforward narratives.This work definitely feels more strenuous.
It also feels moreinstinctual—metaphorically speaking, there was less checking over my shoulderin the fear that validation was refusing to follow me down the path. For betteror worse, I granted myself permission to proceed unaccompanied with what I wascreating.
2 - How did you come to fiction first,as opposed to, say, poetry or non-fiction?
Actually, when Idecided to become serious about my writing, my initial focus was poetry, andalthough I never pursued a collection, I did have pieces published in literaryjournals before I turned to short fiction. I’d always favoured poems that leanedtoward storytelling, so it felt natural for me to begin to concentrate onnarrative fiction. Once I started writing short stories in earnest, I suddenlyfelt that I’d never be able to write another poem. It was almost as if thatarea of my sensibilities sealed shut and was no longer accessible. For me,poetry and fiction remain quite distinct from one another in terms of what theyask of me as a writer. Non-fiction terrifies me, so that was an easy evasion.Fiction continues to be my preferred fit.
3 - How long does it take to start anyparticular writing project? Does your writing initially come quickly, or is ita slow process? Do first drafts appear looking close to their final shape, ordoes your work come out of copious notes?
I tend to plungeright in when I get an idea, but then the process most often turns into a slowcrawl. I think it would be helpful if I could work from an outline (sometimes,when I start revisions on a completed draft, I have to create a thumbnail chaptersummary for quick reference, but I’ve never started with or followed an outlineotherwise). I seem to prefer the wandering, loitering, and dithering thatresult from the lack of one.
When it comes torevising, my projects have varied in terms of number of drafts, and of theoverall overhaul that they produce. I also do tend to become obsessed withminutia; I can easily spend an entire morning reconstructing a single sentenceand then delete it at noon.
4 - Where does a work of prose usuallybegin for you? Are you an author of short pieces that end up combining into alarger project, or are you working on a "book" from the verybeginning?
Each of my publishedworks has originated in a different manner. Core Samples was adetermined march toward accruing a collection of short stories. Autumn, OneSpring was originally a series of connected stories which were intended toserve as the backbone for Core Samples, but I pulled them out at a latestage and replaced them. I felt that the main character wanted more of myattention, and that perhaps I was ready to tackle a novel for her sake. Thoseconnected stories were significantly altered when I subsequently began thelarger project—but their solid roots remained. Ghost Most Foul, my novelfor younger readers, came from a single spark of inspiration that was literallygifted to me while I was taking a walk with my dog. The entire story arc presenteditself, and every time I sat down to start a new chapter, its purpose anddirection were clearly defined in my head (despite not having an outline). Atthe opposite end of the spectrum, The Twistical Nature of Spoons, mynewest adult novel, has had numerous false starts, including the completion of ahefty number of chapters for a forerunner that was totally abandoned (otherthan one minor character and the vague essence of a single scene that insistedon accompanying me out of the debris). Spurred on by research that led me downabsurd paths and produced notebooks of ideas that were never included, Ifinally did manage to write one-half of a chapter that I knew immediately wasgoing to stick. What it was going to stick to was a complete unknown, but itroused enough curiosity in me that I was compelled to find out, and see it throughto completion. I’d have to say that I equally despaired and revelled in myinefficiency.
5 - Are public readings part of orcounter to your creative process? Are you the sort of writer who enjoys doingreadings?
Despite theanxiety they instill, I love to take part in public readings. Reading aloud ispure joy to me, and sharing with an audience is bliss.
6 - Do you have any theoreticalconcerns behind your writing? What kinds of questions are you trying to answerwith your work? What do you even think the current questions are?
At times, I’m plaguedby the question of relevance in my own work. Why not leave the writing of booksto those who have wider scopes—those who are more politically situated or who havemore socially relevant stories to tell? Wouldn’t it be prudent to leave it towriters who are addressing environmental issues, race relations, humanatrocities, the increasing polarization of ideologies, economic disparity, theencroaching dominance of social media in our lives?
But there areother aspects to our humanity that exist within the scope of our daily lives.I’m drawn toward those more interior factors and feel compelled to explore themcreatively. We all live within the framework of our families and ourrelationships, and within the context of community, be it geographical,cultural, or endeavour-based. The everyday questions that swirl within thoseboundaries fascinate me. What drives human beings to forge bonds, betray, aspire,achieve, jump to conclusions, accept defeat, hold a grudge, love, harm, hope? Whatmakes us human? And what can we do about that? These are my questions.
7 – What do you see the current role ofthe writer being in larger culture? Do they even have one? What do you thinkthe role of the writer should be?
As I ponder thesequeries, the WGA (screen writers) strike is ongoing, and there is anever-widening discussion of the threat of AI within the creative community at large.I think the role of the individual writer is so crucial within society today toensure that humanity’s story is safeguarded and continues to be widely interpreted—whetherit’s recording broad-sweeping historical moments, or creating the scene inwhich a fictional character raises an eyebrow and pandemonium breaks loose.
Yes, AI canstring together sentences from data bases too large to imagine, but it can’t smellthe sweetness of a baby’s head, can’t feel the stinging cruelty of a racialslur, or slowly emerge from under the heavy blanket of a close friend’sbetrayal. AI can think it knows these things, but it doesn’t. Writers do, andcan tell us about them in a way that is uniquely their own.
8 - Do you find the process of workingwith an outside editor difficult or essential (or both)?
I’ve justrecently wrapped up the editorial process on my new novel, and both thesubstantive edit and copyedit were definitely essential. With my editors’ keeneyes on the manuscript, I was afforded a glimpse of the work from outside myown head, and the book benefitted from the collaborative efforts in terms of diggingdeeper and adding vertical depth. I’ll admit the process of addressing all theeditorial notes was challenging—at times, exhausting—but absolutely worth it.
Improvisationaltheatre is mentioned in this book, and one of improv’s guiding principles is the“yes, and” rule: If someone presents an idea, you say “yes, and” adding thenext idea to build the scenario, rather than saying “no” and blocking the scene.I decided to try and adhere to that rule during this book’s editorial process. Irecall one particular substantive suggestion that seemed quite unworkable to me,so I tamped down my resistance with the “yes, and” rule. The revisions that Imade, using my editor’s suggestion, not only resolved the original concern, theyadded extra value. The suggestion was also a far more natural fit than I firstimagined possible when my initial impulse was to question or reject it.
I couldn’t bemore grateful to all the editors I’ve worked with on each of my books.
9 - What is the best piece of adviceyou've heard (not necessarily given to you directly)?
When it comes towriting advice, I can never get enough of others’ wisdom. I do, however,consistently rely on one single, straightforward suggestion that I receivedfrom a mentor: “Just keep your derrière in the chair.”
Recently, afamily member gifted me a thirty-minute hourglass timer that complements thatbit of advice. It’s a beautiful object, and while the sand is descending, I’mvery reluctant to get up and walk away from the keyboard. Turn the hourglassover a couple of times, and something usually gets accomplished simply becauseI’ve stayed put long enough to do the work . . . perhaps even long enough tohave entered the “zone” where time falls away, and upon resurfacing, I have noidea when the hourglass last clocked out.
10 - How easy has it been for you tomove between genres (novels to short stories)? What do you see as the appeal?
I don’t tend tobe one of those writers with multiple, concurrent projects actively on the go.I literally do full stop on one before moving to the next (that has happened tome while smack dab in the middle of a project). However, after taking abreather, my plan is to turn back to short stories for awhile, and I doubt Iwill even think about the longer format again until I’m story-satiated.
As for appeal,I’ve been totally content residing in one novel’s world for quite a few yearsnow; it will be equally satisfying to bop in and out of places for shorterdurations, an aspect that the short story accommodates more readily. For me,the appeal is the immersion—disappearing into the work—regardless of theformat.
11 - What kind of writing routine doyou tend to keep, or do you even have one? How does a typical day (for you)begin?
In early days, Iused to be quite consistent at writing in the mornings until about 2 p.m.Within that system, there would often be gaps of several months, but then I’dreinstate. That routine is no longer in play. It’s been replaced by a catch-as-catch-cansystem, and if that means 2 a.m. insomniac writing, I give in, get up, and doit. I still believe that breakfast at my desk with a large pot of Earl Grey teais the ideal way to start a writing day.
12 - When your writing gets stalled,where do you turn or return for (for lack of a better word) inspiration?
When I’m stalledout on a specific problem, listening to music always helps. It seems to “pop” me out of the negativedoubts and struggles. Sometimes I dance along. (In the past, I’d often turn tolong walks or long showers/tub soaks to free up my mind).
If a more generallack of commitment is circling, there is no better way to motivate me againthan to pick up a book and read. Contemplating the work of others justnaturally inspires me to want to create again. Fortunately, the sources forthat stimulus abound! (I will never complete my bedside TBR stack because mycompulsion to add to it reigns supreme over my ability to reduce it).
13 - What fragrance reminds you ofhome?
Evergreens/haylofts. I’m half Canadian Shield/half Prairie.
14 - David W. McFadden once said thatbooks come from books, but are there any other forms that influence your work,whether nature, music, science or visual art?
Apart from theaforementioned music, I do turn to the visual and theatrical arts for stimulus.Nature is providing more rejuvenation than inspiration as of late. Socialscience tends to take the win over science for me, although my abandoned novel containeda scientific component that excited me—perhaps that will resurface.
15 - What other writers or writings areimportant for your work, or simply your life outside of your work?
So many writershave influenced me and continue to do so. I’m not sure I would have everimagined becoming a writer if I hadn’t encountered the work of Margaret Atwoodand Kurt Vonnegut in my early days. Since then, I’ve stayed the course with Ms.Atwood, but there have been dozens of other contemporary writers along the way whosebooks have taught me, inspired me, changed me, or expanded my understanding ofhow to situate myself within my own work. My incomplete list (with apologies tothe many not mentioned) includes: Alice Munro, Di Brandt, Catherine Hunter, Margaret Sweatman, Katherena Vermette, Wayne Tefs, Sheila McClarty, CS Richardson, Joshua Whitehead, Patrick deWitt, E. Annie Proulx, Douglas Stuart, Zadie Smith,Jennifer Egan, Lily King, George Saunders, Richard Russo, Ann Patchett, Donna Tartt, Maggie O’Farrell.
16 - What would you like to do that youhaven't yet done?
Screenplay. Stagedrama. Children’s picture book.
17 - If you could pick any otheroccupation to attempt, what would it be? Or, alternately, what do you think youwould have ended up doing had you not been a writer?
That’s aninteresting question because I’ve worked professionally at a variety of thingsin my life, including bank teller, hunting/fishing-store clerk, puppeteer,office assistant, trophy engraver, educational assistant, advertisingcopywriter, school librarian, and actor. Another occupation? Concierge? Thinkof the stories!
18 - What made you write, as opposed todoing something else?
As indicated inthe previous answer, I’ve done a fair bit of the ‘something else’, but I’d haveto say that being told that I was a good writer by teachers probably had a lotto do with me pursuing the written word. (I loved school in that teacher’s petkind of way. During my elementarygrades, my spare time was filled with visiting the library and writing my ownstories).
19 - What was the last great book youread? What was the last great film?
I’m answeringthis question strictly on the basis of most recent . . . I just finishedEleanor Catton’s Birnam Wood, and so admired her ability to maintain adiscourse on societal issues alongside a captivating portrayal of characters ina snarl of subtle, oscillating power balances. The last film I viewed was Coda(not the recent Academy Award winner, but a film by the same name, directedby a Canadian and partially shot here). It’s a film that invites contemplation about classical music, self-doubt,aging, and grief—understated and ‘engaging’ (TNG Trekker pun was unavoidable).
20 - What are you currently working on?
At present, ashort hiatus is on the schedule as I prepare to launch The Twistical Natureof Spoons, but my husband and I have recently been discussing the law ofunintended consequences (or the knock-on effect), and I’m curious as to how Imight create a short story around the concept. Hopefully, its unintendedconsequence will be a positive outcome with an unanticipated benefit. Fingerscrossed.
