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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.

Buck Meek

Musician

Recorded said elsewhere, not written here
No. I think when I first started writing songs, I was approaching it more literally or narratively in the beginning, but through observing some of my close friends and some of my heroes write, I pretty quickly shifted into at least starting the process from a more subconscious space, or a more instinctual space. And I’ve really come to believe that it’s all there. It’s all already there, and if you can just kind of open the window and step out of the way, at least at the beginning of the process, with your subconscious mind, you can unearth so much raw material, and then go back and sift through that and shape it.

Maddie Crum, The Creative Independent interview, 12 April 2021 source ↗

Others on this question

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Richard Feynman Theoretical physicist; Nobel laureate in Physics, 1965
Then I had another thought: Physics disgusts me a little bit now, but I used to enjoy doing physics.  Why did I enjoy it?  I used to play with it.  I used to do whatever I felt like doing—it didn’t have to do with whether it was important for the development of nuclear physics, but whether it was interesting and amusing for me to play with.
Recorded Excerpt from “Surely You’re Joking, Mr. Feynman”, Engineering and Science / Caltech Magazine, 1985 source ↗
Ron Gorchov American artist
It’s completely spatial. I follow Graham on that a lot. I really think that painting is about space and proportions and where things go; it’s what painting is. Form, if it isn’t the right color, it is not in the right place. And you know you can actually change the relationships a lot by changing the color a little. Yesterday, something happened in my studio. I realized that new things come to you all the time when you work in art. I had forgotten that if Graham wanted to make something slightly off-white, he used violet instead of greying it, and it’s really good. So, last night I remembered that, and the painting worked out.
Recorded Nathlie Provosty, The Brooklyn Rail, In Conversation, 1 April 2014 source ↗
My videos are architecture for sets of ideas. The structure of the video houses those ideas.
Recorded Laurel Schwulst, The Creative Independent interview source ↗
Alice Sheppard Dancer, Choreographer
Obviously, it’s different for everyone. And actually there is a difference for each thing I do. But one way it happens is to just move. [ laughs ] I mean, obviously, you don’t just sort of randomly throw yourself around the room. You move with these ideas and sometimes I find that I’ve already got images in my head that I imagine my body in, or sometimes I have sequences in my head. I think a lot of time I’m listening to what comes next because sometimes the body will tell you that. Often I don’t document it too early in the process because sometimes if you forget stuff it’s worth knowing that the things that you forget maybe weren’t worth keeping. The things that have settled are the things that need to be kept because they seem most urgent. I don’t know. I mean, sometimes it’s about going to the studio and nothing happens for a long time and you just sit there and you’re not feeling it. That’s awful. It’s like when you’re writing and sometimes you go to the coffee shop and you’re like, “So, we’ll just see what happens.” And you end up on Facebook. I think the answer to this is… I really think the answer to this is I don’t know. [ laughs ]
Recorded T. Cole Rachel, The Creative Independent interview, 7 March 2018 source ↗

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