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284 ON WRITING WELL<br />

When you get such a message from your material—when<br />

your story tells you it's over, regardless of what subsequently<br />

happened—look for the door. I got out fast, pausing <strong>on</strong>ly l<strong>on</strong>g<br />

enough to make sure that the unities were intact: that the<br />

writer-guide who started the trip was the same pers<strong>on</strong> who was<br />

ending it. The playful reference to Lawrence preserves the pers<strong>on</strong>a,<br />

wraps up a multitude of associati<strong>on</strong>s and brings the journey<br />

full circle. The realizati<strong>on</strong> that I could just stop was a terrific<br />

feeling, not <strong>on</strong>ly because my labors were over—the jigsaw puzzle<br />

solved—but because the ending felt right. It was the correct<br />

decisi<strong>on</strong>.<br />

As a postscript, there's <strong>on</strong>e last decisi<strong>on</strong> I'd like to menti<strong>on</strong>.<br />

It has to do with the n<strong>on</strong>ficti<strong>on</strong> writers need to make his or her<br />

own luck. An exhortati<strong>on</strong> I often use to keep myself going is<br />

"Get <strong>on</strong> the plane." Two of the most emoti<strong>on</strong>al moments of my<br />

life came as a result of getting <strong>on</strong> the plane in c<strong>on</strong>necti<strong>on</strong> with<br />

my book Willie and Dwike. First I went to Shanghai with the<br />

musicians Willie Ruff and Dwike Mitchell when they introduced<br />

jazz to China at the Shanghai C<strong>on</strong>servatory of Music. A<br />

year later I went to Venice with Ruff to hear him play Gregorian<br />

chants <strong>on</strong> his French horn in St. Mark's basilica at night, when<br />

nobody else was there, to test its unique acoustics. In both cases<br />

Ruff had no assurance that he would be allowed to play; I might<br />

have wasted my time and m<strong>on</strong>ey by deciding to go al<strong>on</strong>g. But I<br />

got <strong>on</strong> the plane, and those two l<strong>on</strong>g pieces, which originally ran<br />

in The New Yorker, are probably my two best articles. I got <strong>on</strong><br />

the plane to Timbuktu to look for a camel caravan that was an<br />

even bet not to materialize, and I got <strong>on</strong> the plane to Bradent<strong>on</strong><br />

for spring training not knowing whether I would be welcomed<br />

or rebuffed. My book Writing to Learn was born because of <strong>on</strong>e<br />

ph<strong>on</strong>e call from a stranger. It raised an educati<strong>on</strong>al idea so interesting<br />

that I got <strong>on</strong> the plane to Minnesota to pursue it.<br />

Getting <strong>on</strong> the plane has taken me to unusual stories all over<br />

the world and all over America, and it still does. That isn't to say

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