A Mid-Atlantic Turning Point in My Writing: The Final Installment

(This is the conclusion of an essay, serialized on this site, on my gathering courage for gutsier writing--and doing it on a crossing on the QE2. It ends with my three secrets for writing bolder. If you've made similar decisions in your work, please do share them in the comments. )



Staking out the lounge outside the dining room, I'd waited almost half an hour, when Francis Ford Coppola, in flowing Hawaiian shirt, arrived for lunch. "Hi," I said, getting to my feet, careful not to block his way in case he wanted to bolt and run. Could I speak with him, I said, waving my notebook as a credential, about writing on board the QE2? Was he working on a script?

With weary patience, he gestured us to two chairs, plopped down the sack holding his laptop computer. He has been writing on this voyage, he said, as he has done on this ship before.

Outside the window, fog hung thick over the water. A somber cello played from the speaker in the corner of the room. The father of the Godfather movies settled back in his chair. On this same ship, he said, he wrote sections of Godfather III. This trip, he was adapting John Grisham's novel The Rainmaker.

He likes to work by day at the gaming tables downstairs in the casino. They're the perfect height; and the process of the writing: "it's like a game." The ship is a place, he said, "in which you can have privacy, a chance of not being interrupted." I looked up from my notes. So passengers haven't been pestering him? "Only you," he said, an amused smile.

"I'll let you go," I said, half-hoping he would defend his privacy.

"No, no," dismissing the idea with a wave.

At that point, Ray Bradbury, formal in coat and tie, stopped to say hello. Coppola had a question for him he'd been meaning to ask: what were his favorite science fiction movies of all time?

"Close Encounters of the Third Kind," Bradbury began, "it's flawed, but the closing minutes are transcendent, with hope for the future...."

Bradbury went on to his table, and Coppola to his, to lunch with his young granddaughter. I went for a walk. Outside, the fog felt damp and oddly warm, the ocean moving in big grey swells. New York's bright skyline, its publishing offices, were more than a thousand miles behind us.

Like Coppola, I decided, I'm going to put aside my privacy, enough to tell an unguarded story. Like Bradbury, I'll stick by what I love, even if the other kids laugh. Like the Welsh, struggling to save their language, I am going to speak in my own voice. In the coming 25 years, I will tell stories that are peculiarly mine: the ones that rise, irrepressibly, to the surface, weird as sea creatures. I'm going to write those stories, whatever shape they take, whatever they cost me. I've half-known this for a while. Out here in the middle of the ocean, I can look back and see that, some time ago, I crossed a line, steamed into this territory that is new and, at the same time, home.