The Work of Art: How Something Comes from Nothing

Editing[*] is deliberating—choosing a word or a thought, dismissing or advancing; it comes up often in this book as a way to describe artistic decision-making. And in my journalism career, editing had served me well. My temperament was well suited to it. I always had trouble writing—I was too self-conscious (you can see a pattern). And I couldn’t b

I’ve always been a freak for the zealous pursuit of the better, especially where culture is concerned. I love the story of it, and also the motive. So that, too, is what this book is—a celebration of the art that happens when instinct meets rigor.

Then Michael wrote Cooked, and his agent—this was Binky Urban, a really powerful agent—read the part of the draft which described me, and she said, “Oh wow, what a charismatic character. Does she have any book ideas?” And he said, “Well, yes actually, she has an idea.” So I told her what I was thinking, and she said, “Yes, this is a good idea but i

Editing[*] is deliberating—choosing a word or a thought, dismissing or advancing; it comes up often in this book as a way to describe artistic decision-making. And in my journalism career, editing had served me well. My temperament was well suited to it. I always had trouble writing—I was too self-conscious (you can see a pattern). And I couldn’t b

Sometimes I feel I would have twice as many followers if I learned to play the game better. Other times, I don’t know. I truly wish that I could just check out most of the time right now.

The true value of unbaked scrawls and sketches and whatnot is as a window to an artist’s process. Process is an ugly-sounding word—pedestrian jargon for the inherently wondrous act of creation—but it describes a method by which a thing evolves, which has always had a hold on me.

On the trip, we were talking and I told him, “I’ve been putting this pressure on myself to come up with an idea of a book to write that would be groundbreaking.” He said, “Write the book you already know.” I said, “I guess the book should just be this philosophy that I have: salt, oil, acid, heat.” He said, “No one’s ever said that before. It’s a g

Adam Moss: I was hoping we could discuss the relationship of anxiety to drive, because I think it’s an important note for the book, and people often, at least implicitly, bring it up. And you’re candid and articulate enough to— Ira Glass: Nice flattery! As a fellow interviewer, I’m respecting the flattery. All right. I need a harsh deadline to get

Adam Moss: I was hoping we could discuss the relationship of anxiety to drive, because I think it’s an important note for the book, and people often, at least implicitly, bring it up. And you’re candid and articulate enough to— Ira Glass: Nice flattery! As a fellow interviewer, I’m respecting the flattery. All right. I need a harsh deadline to get

This is a book about following associations—and about how they cohere into something tangible. And, in retrospect, this string (how my mind was looking to put something together before I was aware of it) was this book’s genesis: If I could somehow make the process legible, I might find making art myself less intimidating and begin to make headway.