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The question

How does a new piece of work usually begin for you?

Originally asked

The Paris Review, to novelists and poets, The Art of Fiction

A recurrent craft question in The Paris Review's Art of Fiction interviews; wording varies between character, theme, first sentence, image, and idea.

You answer as yourself. Nobody on FLAPSS answers as anybody else.

NA
Nate Amos

Musical artist

Recorded said elsewhere, not written here
One of the things I worked on with this album was focusing on the lyrics and the melody more so than everything else. A lot of my songs have started with the music and the texture, and then the lyrics and melodies are all framed inside of that. I wanted to do the opposite with this one and have melodies that could stand on their own without the instrumentation. I wanted it to sound just as natural if you were walking in the woods, whistling them as they do with accompaniment. A lot of these songs started with melodies that I would hum into my phone while I was walking somewhere. “Dancing in the Club” and “All Fucked Up” were both written that way.

Arielle Gordon, The Creative Independent interview source ↗

Others on this question

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Black Belt Eagle Scout Swinomish/Iñupiaq singer-songwriter
First I like to do the guitar part, just because I feel like the guitar parts in most of my songs provide the foundation of the song. Then I’d go back and record the drums, and then figure out what other instruments were needed to fill out the song. It’s pretty exhausting being the only person in the studio, especially when it came to the arrangements. It made me miss being in a band with other people, because at least then you could be like, “What do you think? What should go here? Does this sound OK?” Whereas if you’re just by yourself, you’re like, “What do I think?” That was definitely hard because we had to do things quickly and it was easy to lose perspective and get lost in it.
Recorded T. Cole Rachel, The Creative Independent interview source ↗
Shigeru Ban Japanese architect
I don’t begin with a material. I begin with a problem. If a material can solve that problem, then I become interested in it. Sometimes it is paper, sometimes timber, sometimes carbon fibre. There are many materials we still don’t use efficiently. I think there is always room to discover new possibilities, every project presents a different problem, and I am always thinking about how to solve it more simply, with fewer materials or a better structure. I think every material has good and bad qualities. The important thing is understanding them and using them appropriately.
Recorded The Talks interview, 26 August 2026 source ↗
When I’m writing a book, I start gathering material for years before I start writing it. I will find newspaper clippings, overheard dialogue, images that come to my head, sort of vague scenes from a plot, and I just make a huge, messy list of those things. I’m doing that for the next book, and I’ve been doing it for a long time, and I’m still not even close to being ready to start. Maybe in the fall I’ll start it, but I’m not on the cusp of starting it really. I’m just gathering that raw material. And what deserves to go in that document? It’s hard to say, but I know that things come together. I know that this article about Chinese surveillance definitely belongs in the same place with my son telling me about this dream he had. These are somehow connected. I have no idea how, but it’s just a feeling that I have, like an instinct. The Need and The Beautiful Bureaucrat very much began that way.
Recorded Maddie Crum, The Creative Independent interview, 10 July 2019 source ↗

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