Sophie Beck’s essay “Pinterest for the Apocalypse,” about her sewing hobby, maker culture, and . . . yes . . . the apocalypse, appeared in our winter issue. Beck, the founding co-editor of the Normal School, lives in Denver. TMR advisor and University of Missouri journalism major Rosie Siefert interviewed her about essay writing and how her original ideas evolve into a finished essay. You can read “Pinterest for the Apocalypse” here.
Rosie Siefert: It took “years” to formally introduce yourself to your sewing machine repairman, Steve, and then “ages” to write the essay. Why? Where did your inspiration come from?
Sophie Beck: I never write the essay I think I will write. I thought I was going to write about the intergenerational aspect of sewing and the psychology of passing down manual skills. My mother and stepmother both sew. I learned from them and they in turn learned the skill from their mothers. My mother-in-law is an incredible seamstress who initially learned from her grandmother.
Someone had mentioned to me that Steve’s grandfather taught him to repair sewing machines, and I thought that this had an interesting relevance to my passed-down skills idea. I’m enough of an introvert that I procrastinate very effectively about conducting interviews. When I finally did talk to Steve, I found out he didn’t learn his avocation from his grandfather at all.
Meanwhile, the essay had shifted. I’d become interested in the “makers,” and the maker movement has little to do with this familial learning process. Sewing fell off dramatically for a few decades, but has recently undergone a small renaissance among young women. These women aren’t usually learning from their mothers; they are taking classes. And their motivations are different. They don’t learn to sew because they need the skill; they learn because they want some skill, and this is the one that intrigues them.
Why do we cultivate the skills we do? That was the new question. I was working on a separate essay about pop cultural interest in apocalypse narratives, and I started to consider the concepts to be interesting bedfellows. It took me some time to figure out how to make the two parts speak to one another.
Siefert: How did you begin the writing process? Once you began did it come easily, or did you run into roadblocks?
Beck: For me, plugging in statistics about how much clothing Americans buy each year comes first and visualizing my poor sewing machine repairman blown up by aliens comes last.
Research gives me my point of entry. There are approximately 60 sources woven into this essay, ranging from Aristotle to profit figures for Godzilla. Factual data and the adept observations of others are the scaffolding I need before I can start working with my own material. When I have a stack of quotes and concepts on notecards, I treat the draft like a college essay and methodically move through my sources and arguments. That provides the structure. Then I begin lacing in my own experiences and more personal ideas, as well as experimenting with imagined sequences.
When I get stuck, which is often, I revise a lot and rearrange the elements. Meanwhile, I’m thinking about the piece incessantly, so I keep a notebook and pen with me all the time. Many people have helpfully pointed out that I could use the “notes” feature on my phone, but I have the heart of a Luddite—a Luddite research librarian, it seems—so I prefer paper and pen.
Siefert: Did you have expectations for the essay?
Beck: A lot of my initial ideas are boring. I’ve learned to hope for a bit of alchemy during the process.
Siefert: Did anything about the writing process surprise you?
Beck: Wasting time bothers me, but not enough to keep me from trying things that may not work. I often write sections that get dumped later on, so it’s pleasing when I try something oddball and it actually works. This essay has quite a few goofy elements in it that I didn’t necessarily expect to come out well. I wasn’t sure that Japan would stay in the final draft, for example. I wasn’t sure high school debate competitions would stay in either. I have a couple of people who give me feedback on my writing, and I just trust them to tell me when something I’ve tried just doesn’t come together.
Siefert: Has your work as an editor changed your writing style?
Beck: Editing changed everything. I work on a fairly eclectic magazine, and the contributors are often experimenting with form and content in very creative and inspiring ways. It’s humbling as a writer, but it also gives me an excellent vantage point on what is being achieved in essay right now. I was a heavy reader before I ever became an editor, but the work I read had already been validated. It was published; it was praised; more often than not, it was old. If I read something that was risky, it had already succeeded.
Editing involves understanding how writers approach risk in real time—the elements are all in play, the decisions are not cemented, the playfulness is in progress. I aspire to be much bolder than I am. I’m mostly a conservative writer, and I hew to very traditional structures. Editing the magazine helps me think bigger. My work has also changed along with form; essays have changed. I think memoir, journalism, fiction, and even academic writing have been poaching from one another quite successfully over the past decade or so and now each is less delineated. Essay, most of all has expanded in definition.
To be honest, becoming a parent has altered my work at least as much as editing has and then some. I had three kids in rapid succession and none of them slept well as babies. I was overwhelmed. I stopped writing because I was so sleep deprived; I felt I had lost my capacity for creative thought. It was all I could do to continue editing, let alone turn my attention to my own work. It was a fallow period for me, which was disconcerting, but by the time everyone marched off to school, I found that my voice and perspective had strengthened.