Dear Writing Teacher, We met at the University of Tampa this past week and you gave me your email address in order to get book suggestions from you. I'm working on a young adult novel in close third person with a decent amount of world building involved in the narrative. I've found it difficult to find contemporary novels (and short stories) that aren't written in first person so any suggestions you have, I would really appreciate. Thanks in advance for your help. Best Regards, Tiffany Dear Tiffany, I have to admit that your question, initially, made me giggle. My in-house statistician hasn't crunched the numbers yet (Nate Silver wasn't available so I hired my dog, Omar Little, and, quite frankly, he sucks at the job), but I'm pretty sure the proportion of contemporary novels narrated in the third person is equal to those narrated in the first. Or at least it feels that way. I have so many good third-person novels to recommend to you! Stoner by John Williams. The Thin Place by Kathryn Davis. Off Course by Michelle Huneven. The Vacationers by Emma Straub. Everything I Never Told You by Celeste Ng. (I'm basically walking through my house, calling out titles. I could do it all day. The Fever by Megan Abbott!) Some of these books limit themselves to one character's consciousness, like Stoner or Off Course. Others, like The Vacationers and The Fever, shift between multiple characters from chapter to chapter, or scene to scene. In these novels, the distance between the reader and the events of the narrator, or "the psychic distance" as John Gardner puts it, is fairly close. These narratives reflect what James Wood calls, in How Fiction Works, the free indirect style: "As soon as someone tells a story about a character, narrative seems to want to bend itself around that character, wants to merge with that character, to take on his or her way of thinking and speaking." (If you haven't read Wood's book, you can read the first chapter here. And you can read Jonathan Russell Clark's clever and helpful essay on close third here.) The Thin Place is told in a more elevated, all-knowing third-person point of view that skips from one small town resident to the next, including a dog, which is fitting since the book is about the thin scrim between the cosmic and the mundane, and the connection between all things. Everything I Never Told You also shifts its third person perspective, between family members, and its narrator has more knowledge than anyone; the book's first sentence, "Lydia is dead. But they don't know this yet..." makes that clear, and it emphasizes just how little this family understands about itself. In both these novels, perspective reflects theme especially well. If you're trying for this more elevated perspective, I also suggest you read Edward P. Jones along with 19th-century masters like George Eliot. These writers alight on one perspective and then another and another, deftly providing access to a character's most intimate motives in one passage only to gracefully move away to comment on the scene in the next. They drop Wisdom-with-a-capital-W and it's great fun to read. (And write, I hope!) An omniscient third person narrator feels like a bodiless character who shapes our understanding of the narrative's events. One of my writing teachers declared on multiple occasions that the third person point of view was easier than the first person. I disagree; each is easy and difficult in different ways. The first person has always come more naturally to me. Its performative qualities are revealing; I discover who my character is via language use and voice tics, confession and truth-dodging. Most importantly, there isn't the elasticity of psychic distance that exists in the third person, which requires control and intention so that the reader doesn't feel like she's riding a narrative tilt-a-whirl. It's disconcerting to be deep inside a character's psyche and then, suddenly, to see him from afar. I bet many first drafts of third-person narrations struggle with finding the best distance from which to tell the story. I recommend you decide what your novel's psychic distance is, and stick to it. If you're after a closer third person perspective, keep in mind Wood's image of the narrative bending around the character's mind so that the language and observations reflect and imply that particular consciousness. Also, avoid using "seeing" verbs; instead of, for instance, "She saw the cup on the table," just say something like, "The cup was on the table." Since it's a close third person, you don't need to tell the reader who is doing the seeing -- that's already implied. It's also easy to forget the body when writing in third person (just as it's easy to forget the external world when writing in first person). One way to lessen the psychic distance between reader and story is to include physical experience: not what others see of the narrator, but how it feels, internally, to be this self: how it feels to be tired, to be restless, to be nauseated, and so on. (One of my pet peeves as a reader is when we learn about the hair of a protagonist from a (supposedly) close third person narration; people have very specific relationships to their hair, and they don't view it, can't experience it, from afar. If you're gonna talk about a character's hair, make sure it expresses the experience of having said hair, rather than something like, "She ran a hand through her shoulder-length straight auburn hair..." which puts me outside the character and her experience. In that example, I'm looking at the character, rather than seeing the world with her.) Since your novel requires world building, I also recommend you read the last story/chapter in Jennifer Egan's A Visit from the Goon Squad, "Pure Language," which seamlessly depicts a future New York City and a music industry that caters to toddlers -- or "pointers" as they're known -- from the third person perspective of a guy named Alex. As you read, mark the moments where Egan is providing the reader with expository information about the world. Where does Egan fit it in, and how? Perhaps more importantly, how do these passages reflect Alex's psyche and and shape our understanding of him? For example, look at this passage, where he's describing a woman he's meeting for the first time: Lulu was in her early twenties, a graduate student at Barnard and Bennie's full-time assistant: a living embodiment of the new "handset employee": paperless, deskless, commuteless, and theoretically omnipresent, though Lulu appeared to be ignoring a constant chatter of handset beeps and burps. The photos on her page had not done justice to the arresting, wide-eyed symmetry of her face, the radiant shine of her hair. She was "clean": no piercings, tattoos, or scarifications. All the kids were now. And who could blame them, Alex thought, after watching three generations of flaccid tattoos droop like moth-eaten upholstery over poorly stuffed biceps and saggy asses? I'm interested in how "handset employees" and "clean" are in quotation marks, which allows Egan to not only straight-up define these terms for the reader, but to show that Alex is apart from these communities. The phrasing of "All the kids" shows that Alex isn't as young as Lulu. Overall, the description of her reveals that Alex is attracted to her -- and also intimidated, I think. Egan could have left out the "Alex thought" in the last line -- the sentence would still work without it -- but its inclusion adds a few inches to the psychic distance, which perhaps gives Egan some flexibility of tone when describing this particular future. Part of your quandary, of course, is that you're writing a young adult novel, and I'm no longer giggling because, you're right, there are far fewer third person examples in that genre. Why is that? My friend Cecil Castellucci, who will publish her 12th (!) young adult novel, Stone in the Sky, in late February, has her own litmus test for categorizing a book as YA. Her definition sheds light on why so many are told in first person: For me, a book is YA when it has a young protagonist and the action is happening right now or has just happened. If a book has a young protagonist, but it is nostalgic or self-aware, then it is an adult book. Castellucci argues that a YA book feels like it's happening "in the now," and that this sense of urgency allows the reader to feel as if she's "on the journey with the character as they clue in and grow." The first person, and in particular the first person present, provides the kind of immediacy that the YA genre so excels at. In the third person, a sense of "nostalgia and awareness," which Castellucci says is usually present in adult books with young protagonists, might creep in. Castellucci says there are beautiful examples of third person YA books, so I asked my friend Katie Coyle, who recently published her first YA novel, Vivian Apple at the End of the World, for her suggestions. She recommended Eleanor & Park by Rainbow Rowell, The Disreputable History of Frankie Landau-Banks by E. Lockhart, Code Name Verity by Elizabeth Wein, and Malinda Lo's Ash and Huntress. The first two are examples of realism, the third is historical fiction, and Lo's are fantasies. Now that you have these recommendations, I suggest you ban the first person for at least six months. Read only novels written in the third person. Furthermore, try to read third person novels that have the same psychic distance you're aiming for, be it close third, or an elevated omniscience, or something in between. When I'm struggling with a technical challenge in writing, I bang my head against the wall, write and rewrite and write again, and seek out books that have mastered said challenge. It's useful if the book's content is wildly different from mine -- that way, I don't feel like I will accidentally crib its ideas. For instance, if you're writing an epigrammatic novel about, say, the workplace, it would be helpful to read Mrs. Bridge by Evan S. Connell for its succinct and perfect short chapters. (See also: Dept. of Speculation by Jenny Offill.) You'll be wise to avoid books that share your subject matter. It's form you're after, not content. Aside from all that, I'd recommend writing, to yourself, your reasons for choosing the third person. Why does the story need to be told this way? It's useful for me to articulate and defend my choices when I'm about halfway through a first draft. This lets me move partly (but never wholly!) out of intuition and into intention. Intention feels powerful. "Good luck, Tiffany!" she typed as she tucked her silky blonde hair behind her ear. Sincerely, The Writing Teacher
Welcome to a very special episode of The Book Report presented by The Millions! In a holiday-themed installment that's sure to become an instant classic of weekly Internet shows sponsored by literary websites, Janet and Michael celebrate the end of the year the way they always have: with trivia and regret. Discussed in this episode: tours de force, Geek Sublime by Vikram Chandra, Monstrous Affections: An Anthology of Beastly Tales edited by Kelly Link and Gavin J. Grant, An Untamed State by Roxane Gay, Constance by Patrick McGrath, Joyce Carol Oates, Woody Allen, Lolita by Vladimir Nabokov, Benedict Cumberbatch, emoji, Guns N' Roses, Naked Lunch by William S. Burroughs, Dracula by Bram Stoker, The Picture of Dorian Gray by Oscar Wilde, regrets, 10:04 by Ben Lerner, Jeff VanderMeer, The Fever by Megan Abbott, minor traffic incidents. Discussed in this episode, but cut for time: Guy Clark, Jason Diamond, Emmylou Harris, the city of Memphis, cricket bats, Oy, I'm Right Knackered, Innit? by Zadie Smith, Gerald Ford, whiskers on kittens, cream-colored ponies, snowflakes. Not discussed in this episode: "Sister Christian" by Night Ranger. But why not? Why not?
Fellow Millions staff writer Janet Potter and I enjoy a lot of the same books, and we were both giddy to read The Secret Place, the fifth book in Tana French's Dublin Murder Squad series. Janet got her paws on it early this summer and I read it in a breathless rush last week so that we could discuss ASAP. What follows is our email correspondence about the novel and French's work in general. Janet: I loved The Secret Place. I have been a fan of Tana French since I read In the Woods and The Likeness, but I felt that with Faithful Place and Broken Harbor she was kind of in a rut. Each of her books center on a Dublin homicide detective, and although they're not strictly a series, each new book's detective has been a character in a previous book. She established a sort of trademark formula in which the murder case that the detective was working had resonance in their own lives — usually by way of dragging up bad memories. In her first two books this gave the plot more depth than an average whodunit, but in the second two the personal connections to the case seemed overbearing. The Secret Place seemed to me both like a return to form — in that it was innovative and gripping; and a departure from it — in that she finally dumped the "this case has eerie connections to my personal life but I'm going to keep working it no matter how ill-advised that is" trope. And for this book she bravely took on the world of teenage girls — the murder in question took place at a girls' boarding school outside Dublin and a group of four friends — Holly, Becca, Julia, and Selena — are the chief suspects. French has said that she would shamelessly hang around bus stops and shopping centers to listen to teenagers talk to each other, and my strongest impression of the book is how she used realistic teenage vernacular to convey enormous complexity. I'm a fan of YA books, but the characters in them are frequently aspirational (unless all the super hot, sensitive, artistically-inclined boys in my high school were hiding somewhere). The girls in The Secret Place are very recognizably obnoxious teenagers, and yet their lives and relationships are intricate and compelling — to the extent that I thought they were all idiots, and at one point or another I thought all of them capable of murder. I guess I'm not really ending with a question, other than do you agree? And did you like the book? Edan: I wish I had liked The Secret Place as much as you did! After the first 100 pages, I would have agreed with you--at first, I was compelled by this story of teenage girl friendship and, as always, I found French's trademark prose lively and surprising, phrases like, "little crunch of a grin" and "the acoustics were all swirl and ricochet." Although I hadn't gotten bored of French's mystery formula, as you had, I was pleased to see her attempt something different in her new book. As you say, it was refreshing that this murder case didn't hold a too-strong psychological power over its detectives; Detective Stephen Moran's professional motive (to get him off Cold Cases and onto the Murder Squad by working with the barbed Antoinette Conway) was enough to sustain my interest. I also enjoyed how the narrative switched back and forth between the present investigation, told from Stephen's first person perspective, and the time leading up to the murder itself, told from the teenage girls' perspectives. The structure reminded me of Gillian Flynn's Dark Places, which we've discussed before; such a sweep backward feels simultaneously magical (we can return to an innocent time!) and foreboding (we know the dead body is just around the bend!) The Secret Place plays the present off the past to provide the reader with a much fuller understanding of this private school and its machinations. I also enjoyed thinking about how being a teenage girl is a bit like being a detective, for both roles require a near-constant behavioral accommodation in order to get what you want: from a suspect or witness, or from a friend or a teacher. Dang, Tana, that's good. Unfortunately, for me, the book falters in its representation of the group of teenage girls that Holly Mackey and her tribe don't like. The main mean girl, Joanne, and her hangers-on Orla and Gemma, just don't feel three-dimensional. They never quite emerge from the roles they play, and, unlike Detective Moran, I didn't fully experience the power, tragedy, and thrill of their constructed selves. After about page 200, I grew bored of the drama between the girls; a lot of it felt repetitive. Likewise, the back-and-forth between Moran and Conway began to feel familiar. I wanted a more swift emotional arc. I wonder, if the book had been more taut, would it have worked for me? Generally, reading this just made me long for the terrific leanness of Dare Me and The Fever by Megan Abbott, two novels about teenage girls, secrets, and darkness. Throughout the book, I kept thinking about how Tana French didn't give this book a female victim. I'm glad that The Secret Place doesn't have a True Detective problem--you know, how its only women are dead or dancing naked. But I also wondered if that's what made me less invested in the story (credit wendy at dresshead.com). Did I much care who killed Christopher Harper? And was that because he was just some prep school asshole? As horrible as this sounds, is a female victim more valuable and/or dramatic to me? What are your thoughts? Janet: I hadn't drawn that connection between the adapto-manipulative behavior of teenage girls and detectives. That's really fascinating, and I think it's why those long scenes that are just a detective and one of the girls sitting on opposite sides of an interrogation table are so compelling. French has always relished describing interrogations at length, and goes into a lot of detail as to what's going on in both character's heads — how they're reading the other person, how they're adapting their behavior to regain control in the conversation — and the results could be likened both to a boxing match or a chess game. The interrogation scene in The Secret Place that involved three detectives and one teenage girl — Stephen, Antoinette, Frank Mackey (the protagonist of Faithful Place), and his daughter Holly — was psychologically complex, unpredictable, and good fun to read; perhaps the ultimate Tana French scene and by far my favorite in this book. I agree with you that Joanne's gang was a little two-dimensional, but I opted to think it was intentional. The friendship between our four main girls deepened and strengthened considerably throughout the year, and in the process their interactions with Joanne and her friends seem to bother them less and less. I think the juxtaposition between the two groups shows the change in Holly's group in starker relief. But is "deepened and strengthened" even the right expression? Frankly, the friendship between the four main girls became so important that it took over their lives, reminiscent of the friends in Tartt's A Secret History, and seemingly manifested its own supernatural power. Can we talk about that? What did you make of the supernatural elements of this book? Edan: You're right, French does relish the interrogation scene, and as I said a few years ago, in my analysis of her first three novels, her books teach you how to be a detective. In The Secret Place, we even get detective mythology: "And, somewhere in a locked back corner detectives think old ways. You take down a predator, whatever bleeds out of it flows into you. Spear a leopard, grow braver and faster. All that St. Kilda's gloss, that walk through old oak doors like you belong, effortless: I wanted that. I wanted to lick it off my banged-up fists along with my enemy's blood." That single passage is enough to reveal Detective Moran's weak spot: his desire, and inability, to belong. I loved the first interrogations of all eight girls. I loved seeing how each girl acted around the detectives--what a way to characterize! (It also made me wonder what Moran would sniff out in me: a need to be loved, a need to be sexy, a need to disappear...) By the time the book gets to Holly's final interrogation, though, I wasn't that interested in the mystery anymore, so it wasn't as effective. As for the friendship between Holly, Becca, Julia, and Selena, I thought it complex and magical and tough in the way that these friendships sometimes are. Their relationship did get more intense, almost rigorous in its devotion...but then adulthood and sexual desire and natural human secrecy got in its way, which then caused all sorts of problems. The downfall of their group-friendship felt realistic and dramatic and upsetting. I guess I would have liked to see the same complexity brought to Joanne's circle, too, for certainly they are real young women, and not the paper dolls they pretend to be. The supernatural stuff delighted but didn't totally land for me. I think French does it better in Broken Harbor where the secret of the baby monitors and the holes in the wall are revealed to have logical explanations...but something inexplicable and eerie remains unanswerable. French was edging toward the supernatural in that novel, and finally got there in The Secret Place. Unfortunately, the powers of the girls felt a bit unfocused for me, and I wanted them to play a more significant role overall. I mean--there's their ability to move objects with their minds and stuff, and then there's Chris's ghost. I couldn't connect them--did I miss something? It felt muddled...but I love the idea and I want more of that from French in her next book. Let's talk about my favorite topic: gender roles. Moran was the feminine one, and Conway was the masculine one. He admired beauty in all its forms...and she grunted. What did you make of this role swap? Maybe this comes back to my question about French choosing a male victim--who is found covered in flowers, I might add. Janet: I ignored your earlier question about gender roles (to no avail, it seems), because while there are a lot of interesting gender dynamics, I don't have a unified theory of what French was trying to do with it. Unless she wasn't trying to do anything other than shift roles around and see what happens. Originally I thought the the feminine/masculine, good cap/bad cop dynamic between Stephen and Antoinette was intended to distance them from Rob and Cassie, French's detective team from In the Woods. In that earlier book, Cassie was the bubbly one whose rookie status on the otherwise all-male detective squad was legitimized by having a male partner. In this book, Stephen is the empathetic rookie and Antoinette is tough as nails, perhaps excessively so (but I guess we'll get into that in French's next book). The murder plot also hinges around gender roles — specifically around the psychology and limitations of female friendship and what happens when a guy starts to unwittingly threaten them (erring on the side of ambiguity to avoid giving too much away here). I agree that Chris, even as the murder victim, feels secondary to the murder plot. Solving the mystery requires digging into the social and emotional dynamic between the girls, and I felt that French was more interested in that process than in the fact that it resulted in uncovering the murderer. It's also interesting, then, that Stephen is the one who cracks the case. Antoinette had been there a year earlier and failed. Do you think was intentional? Did the case require Stephen's, uh, feminine touch? Or is he just the hero of the book? Edan: I'm also not sure what French was up to with the role reversals. I agree that Chris is secondary to the murder plot--not only to the book's own untangling of whodunit, but also to the girls themselves and their desires and sense of being threatened. He could have been anyone. And that is a bit shiver-inducing in its own right. I feel the need to quote this line, which, to me, was the best of the whole book, "Who who whose smell in the air of her room, whose fingerprints all over her friends' secret places." It suggests that The Secret Place is not only a bulletin board in the school hallway where girls can leave anonymous messages and pictures and the like, but also...a girl's private parts. I kind of wish the book had been called The Vagina. This theory of why Antoinette couldn't crack the case is intriguing--is it because Stephan could see the world as these teenagers could, connecting with all that they responded to and were repelled by? Perhaps Conway couldn't adequately solve it because she was a woman in a male-dominated squad, which meant she had to listen to her partner even if she didn't like his choices, even if she was supposed to be the lead detective on the case. Also, she was somewhat handicapped by her class-rage, unable to see these girls for anything but spoiled rich girls; Stephan, on the other hand, saw the beauty of their privilege, and longed for it himself. He was able to transform his longing into intimacy with these suspects. Now I want everyone in the comment thread to list French's novels from their most to least favorite. What do you think, Janet? We can do it too!
Martha Graham once said, "No artist is pleased. There is no satisfaction whatever at any time." As extreme as it sounds, it's often true; being pleased with one's work can lead to complacency. In her latest novel, A Tale for The Time Being, Ruth Ozeki writes about the Sixth Patriarch of Zen, who compared truth to the moon in the sky. "Words are like a finger. A finger can point to the moon's location, but it is not the moon." Ah, how many times have I tried, and failed, and tried again, and failed again, to render the world into words! That pesky, beautiful moon! As much as I wring my hands about writing, I also can't deny the small satisfactions it offers me. Be it a turn of phrase, an image, a moment between characters -- these are tiny but distinct pleasures that I can revisit anytime I flip through my work. It's miraculous that these little darlings didn't get killed in the rewriting process. My work never lives up to the dream I have of it in my head and that's the way it should be; Martha Graham calls this "a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others." It's the tension between this "queer divine dissatisfaction" and the fulfillment of writing something that pleases me, however minor, that makes me want to write at all. The flaws of my novel, California, are in conversation with its strengths. And no strengths are too small! For example, I'm especially proud of my description of coconut cake: "She'd never much cared for the taste, but she loved how it looked: as if a cake had grown fur." I also love the fact that a T-shirt bearing the words OFFICIAL PUSSY INSPECTOR made its way into a dystopian novel -- because it makes me laugh, and because it's a phrase from the poem "Valentine" by my friend Kiki Petrosino. I decided to ask some writers I admire to share one or two little delights from their latest or forthcoming books. Their answers made me all the more keen to read their work. Darlings, indeed. Cristina Henriquez, The Book of Unknown Americans: Here are a handful of turns-of-phrase and full lines for which I feel unaccountable affection: "...a traffic jam of silence..." "Sleep was like wealth, elusive and for other people." About blame: "You could trace it back infinitely. All these different veins, but who knew which one lead to the heart?" "Maybe it's the instinct of every immigrant, born of necessity or longing: Someplace else will be better than here." Megan Abbott, The Fever: For me, it was two things that found their way into my novel: 1) The mysterious weather of upstate New York, where I lived for a year, including lake effect snow and other meteorological oddities that struck me as more akin to Emily Bronte or Poe than to any experience I'd ever had in "real life." 2) The inclusion of Rumple Minze, a favorite late-night drink first recommended to me by my friend, the writer Jack Pendarvis. The weird thing is he only suggested it after I'd finished The Fever, which gives the novel (or, more likely, Jack) a certain premonitional quality. I even got to include the fact that if you put Rumple Minze in a White Russian, it’s no longer a White Russian. It’s a Cocaine Lady. Justin Taylor, Flings: There's a story called "A Talking Cure" in my forthcoming story collection about a pair of engaged academics, and I had a great time making up their respective Ph.D. projects. The male protagonist, Zachary, is working on a dissertation about "ideations of Confederate masculinity in late 20th-century Southern fiction,” which gave me an excuse to pay tribute to a couple of writers I admire — Padgett Powell and Barry Hannah — while also having a little fun with them. (Powell's novel Mrs. Hollingsworth's Men is bracingly clear about its disdain for precisely the kind of academic work that Zachary does, and it's hard to imagine Hannah getting past the word "ideations" without reaching for a drink, and maybe a handgun.) But the true depths of self-reference are plumbed not by Zachary but by his fiancé, Lacey Anne, whose work "concerns the appropriation of mythological and folk motifs for use in massive multiplayer online role-playing games." This is a real thesis idea — quoted verbatim — that I had when I was an undergraduate and tempted to pursue academic theory instead of creative writing. Figuring out that I had exactly nothing to say about this topic beyond the single sentence fragment quoted above was a crucial step in my coming to terms with the fact that I was not cut out to be an academic. But where did such an ill-starred idea for a thesis come from in the first place? Some readers will doubtless pick up on the fact that the particular MMORPG Lacey Anne studies/plays bears more than a passing resemblance to the original Everquest, which I played in sickly earnest around the end of high school and the beginning of college — basically, from the time I decided I was "over" my hometown to the time I made friends where I'd moved. I had a gnome necromancer who worshipped the God of Pestilence and was eventually sold on eBay, at level 31 or 32 with decent-but-not-great gear, for $250. Turns out I wasn't cut out to be a gamer or an academic, though of course the second revelation was several years in following the first. Still and all, what can I tell you? Madame Bovary, c'est moi. Emily Gould, Friendship: There's a line about how one of the protagonists has a bank account that's linked to her parents' account and how it's like a "bedraggled, half-rotten umbilical cord that snakes all the way up 1-95" that she refuses to cut. I don't even know what I like about it so much. I guess I like that it's disgusting. Cecil Castellucci, Tin Star: The most fun thing that I manage to fit in are Tuckerizations! In my older novels it was fun to name contemporary characters after long lost friends. Mostly it would be teachers and I'd use the last names of friends from middle school. But with Tin Star (and its upcoming sequel A Stone in the Sky) the best part was naming alien species, spaceships, and celestial objects after friends. Every time I see one in the book, or write one in the new one, I smile. Kind of like I'm hanging out with my friends. Watch out, Lepucki! You might become a planet! Emma Straub, The Vacationers: My favorite weird little thing in The Vacationers is a fake movie -- in my first novel, Laura Lamont's Life in Pictures, I had to make up lots and lots of fake movies, and I guess I just couldn't break the habit. The movie in the new book is called Santa Claws, and it's a Christmas-themed werewolf movie for which one of the characters is the accountant. It was fun to think about things the production would have to spend money on -- fake fur, fake snow, etc. It's really hard to get over making up fake movies. I don't think I'm done yet. Celeste Ng, Everything I Never Told You: Marilyn, the mother in Everything I Never Told You, grew up longing to become a doctor, but -- as many women did in the 1950s -- gave up those dreams when she married and had children. Midway through the book, haunted by disappointment, she visits a hospital and makes a decision that will upend her life and devastate her family. In the scene, she watches with a mix of envy and resignation as the doctors make their rounds: "They were all men, Marilyn noticed: Dr. Kenger, Dr. Gordon, Dr. McLenahan, Dr. Stone. What made her think she could be one of them? It seemed as impossible as turning into a tiger." All of those characters are actually named after friends who are women doctors. It makes me quietly happy to read my little private joke and think not only of my friends -- now accomplished physicians -- but also of how much more is possible for women today than in Marilyn's time. Brittani Sonnenberg, Home Leave: I like this line: "Even the brightest of Shanghai’s blue fall days had been compromised by a thin line of haze, like the giveaway bloodshot eyes of an alcoholic." Having spent three years in Shanghai, as a kid and then later, after college, I always felt bullied by the pollution. It was so satisfying to come up with a description of the haze that emphasized the underlying sadness and helplessness of its presence, the way it could drag even the most gorgeous days down. Adam Wilson, What's Important Is Feeling: I was very satisfied to have snuck in a character wearing a handmade T-shirt that says Kill Me I Love Love, which was the un-ironic title of a wildly over-the-top piano crooner/jam band album -- think Billy Joel on MDMA -- self-produced by a guy I used to know. Julia Fierro, Cutting Teeth: The scene where character Rip talks his 4-year-old son Hank through a wicked bout of constipation in the beach house's tiny airless bathroom was one of my favorites to write. And I was pretty darn proud of myself for finding a way to let breast-milk have a surprise appearance in the book's sex scene. Leslie Jamison, The Empathy Exams: There's a moment in one of the essays -- a piece about a crazy ultramarathon in Tennessee -- when I confess that I snuck away from the action for a little while to watch a few episodes of the Real World Las Vegas, sitting in my car at a campsite in the woods. I loved admitting this: that while all of these people were doing this impossibly challenging thing, I was watching Steven and Trishelle hook up. It was a way to admit my own fallibility as an observer and a narrator, and I was also glad to go on record saying I'd wanted Trishelle to hook up with Frank instead. Image via Coralie Mercier/Flickr