As a glutton for torture (and as a recent parent, which is kind of the same thing), I’ve been taking advantage of early mornings. My kids wake up at 6:30 or so, and I leave for the day-job at 8:00ish — so if I’ve ever dreamed of getting anything done before I leave (ha ha, I said dreamed), I’d better be doing it early.
I often get asked what my best writing times are. Usually I go on for hours — I’m either the best or worst interview you’ve had, if, you know, you’re an interviewer — but that question is simple. Late at night or early in the morning. Partly, it’s because no one else is around to distract you. Partly, I think, it’s that those are the times that are closest to sleep, when your mind is most open and your memories are all jumbled up and free-associating and fictionalizing themselves. Those are the times I started writing Automatic. It’s a book where a lot of things blend together, the people I grew up with and growing up Jewish and working-class and my best friend dying and the music that we were listening to as it was all happening.
Those times are when our inhibitions are at their lowest, too. When you can sort of force yourself to write about all those things that you wouldn’t write about otherwise, unless you were drunk or feeling really intense.
Earliness is in our genes. Abraham was an early riser. He used to pray at the moment the sun rises, and there’s still a tradition that, at the moment the sun clears the horizon, the gates of Heaven are open to any prayer sent their way. One of my favorite bits of Jewish historical apocrypha is this: The first minyan of the morning used to be called the “thieves’ minyan,” since they had to be out early to lie in wait for unsuspecting travelers to pass…and even if you were going to be a thief, you still had to pray.
I remember reading that both Michael Chabon and Salman Rushdie work from 10-3. (I also remember thinking, when I read that, really? They’re both amazing writers, and both masters of the craft, but in my too-hardcore-fanboy estimation, both have gotten a little soft and overconfident with their storytelling. The Chabon who wrote the breathtaking, pulse-stopping first scene of Wonder Boys, I don’t think that could ever have happened at 10:30, between cups of coffee. Same with the page-long description of Saleem Sinai’s nose in Midnight’s Children–which, by the way, I strongly feel should be a mission statement for Jewish writers. Or Jews in general.)
I’m probably venting. Also, I have the luxury of having a day-job and a job writing. Normally, it’s an insane balancing act. But it’s that same stress that keeps my passion intact, I hope. The same way TV shows inevitably go downhill once the two forbidden characters consummate their untouchable lust for each other (Moonlighting, Buffy the Vampire Slayer), great writers always seem to write their greatest books before they get discovered.* I’m not claiming to be a great writer (although I think I’m a pretty good one). But I hope that, relative to the stories I’ve written before, I still have some of my best stuff yet to be written.
*–Or, admittedly, maybe we just claim those books as great, and when they try something else, we inevitably have to compare it, to the new work’s detriment. But all love has to spring from somewhere.
Matthue Roth's newest book is Automatic. He is also the author of three novels and the memoir Yom Kippur a Go-Go, and is an associate editor at MyJewishLearning.com. His screenplay 1/20 is currently in production as a feature film.