I Had to Leave America to Write, part 1
by Traveling Matt
When I visited New York City several years ago, I went to the New York Public Library for the first time. I walked up between the giant stone lions, past which the Ghostbusters in the 1980's ran screaming. (photo: Wally Gobetz, used with permission) I hopped up an old staircase and found myself in a room filled with glass cases. In one of them was a small hardbound book, with yellowish-white pages, opened to the title page printed in that distinctive, spread-out all-caps old-timey typeface (you know what I mean)–it was Walden by Henry David Thoreau.
Just under the title and author was a small note, written in pencil. I don't remember the exact wording, but basically it said, "To my dear friend Ralph Waldo Emerson" and was signed "Henry David Thoreau."
What I remember most was the fact that it was written in pencil. I don't think Henry was giving much thought to how it would endure in museum displays; he was just writing a note to his buddy Ralph, who was more famous than he was.
But that's not an interesting story, so feel free to go back in time and not read it. The point is that I was thinking about Walden the last couple of weeks. Henry David Thoreau stepped into the New England woods and came out with one of the great beloved books in American history. Every writer is different, of course–some can write brilliantly in the middle of subway trains, NASCAR races, and leafblower conventions. Most of the ones I've met, though, are a little more like Thoreau and need their space. We can go anywhere to read Walden, but Thoreau had to go to the woods to write it.
So when I was invited to go to Maine and Nova Scotia for two and half weeks, I emailed all my web design clients, called a few friends to cancel plans, and left within three days. A dear friend got frustrated with me and said, "You don't have to leave to write! You can do it anywhere." We are no longer on speaking terms.
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In 2003, I was selected for the Sundance Screenwriter's Lab. The Sundance Institute does not just put on a massive film festival every year; they have fabulous all-expenses-paid artistic development programs in film, poetry, theater, and more, and provide a kind of fertile creative soil which I never knew existed and might not have believed had I not been lucky enough (and believe me, it's more luck than talent) to get planted in it. You're housed for a week in the Sundance Village in Utah, surrounded by woodfire cabins, forested mountains, and Academy Award-winning screenwriters. The airfare is paid, the expenses are paid, and there are three grade-double-A buffet meals a day plus social events and–if you stick around a few days beyond the Lab–some free Film Festival tie-ins. There is no industry talk except around informal dinner tables, no producers, no worries, no focus on anything except the art and craft of screenwriting. Plus there's a THX theater where you get to watch prior films by your fellow participants, and get sneak-preview 35mm screenings of films that are about to premiere at Sundance. It was among the very best and happiest weeks of my life.
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