A lot of people think that they are really cool because they don't outline. In my writing group, they would say, "I will never outline. I let the characters take me." C'mon, man - I outline the story, but it's only like one page. It's a list of possible reversals in the story, like things where everything will just change because of this certain reveal or this certain action. Then I start really digging into the character because, to me, I don't care what the story is.
Matt de la PenaWhen I'm there, it's pure silence. There are other writers there, too, and I get super competitive. I have this weird fear that some guy next to me is writing this amazing novel, so I got to compete.
Matt de la PenaThe second book, which was probably more from a professional standpoint - when I read Junot Díaz's Drown, I was like, Oh my god, you can write these stories and people will actually read them beyond your own little community. This guy's book is blowing up and it seems like [he's writing about] the neighborhood that I grew up in. That was a big deal. I read that in graduate school, so that's when I was really taking writing seriously, but I didn't know you could do it. I didn't know you can actually be an author. It was a weird epiphany.
Matt de la PenaI guess I don't really know what I want to do, either. Sometimes I feel like a shook-up bottle of soda. Like, I have all this passion that wants to explode, but I don't know where to aim it yet.
Matt de la PenaTo me, if the writing doesn't have rhythm, it feels dead. I lose all confidence. The music has to emerge to feel confident enough to move on to the next major chapter.
Matt de la PenaThe Color Purple really floored me. That book was just incredible because I loved the language. The biggest deal of that book was that I loved the poetry of broken English. Broken English and vernacular. It just floored me that you can actually capture the way people really talked. And I also really connected to the social class element.
Matt de la Pena