Salon.com Books | The Salon Interview: Neal Stephenson: "I had been reading all these accounts by other writers about how they produced their magnum opus and they all followed something I'll call the distillation narrative. Which was: 'I sat down and wrote a manuscript that was a foot thick and it had some good stuff in it, but it was too long. So I rolled up my sleeves and went to work and edited. Toiled. I cut and scraped. I hacked. I shortened and rearranged and got it down to six inches, but it still wasn't good enough. So I went back and yada yada yada. And eventually I wound up with this trim little manuscript that had all the good parts in it.'

That was a reassuring theory of how to write because it didn't require you to sit down every day and turn out good material. Instead it required you to sit down for eight hours a day and produce a huge volume of material and hope that there was something good in it. Then you'd go back later and cut out all the crap. Whatever works, but it failed for me, and it failed kind of expensively in the sense that I spent two or three years on that and produced a miserable, incoherent pile and sort of ruined a decent enough idea. I ended up feeling very anxious when I got to the end of the process and came to terms with the fact that this was not a publishable book. Then I panicked and wrote another book very quickly that got almost immediately accepted for publication and that was 'Zodiac.'

How did you change your writing process after that?

I did figure out that I tended to write good stuff first thing in the morning. So I had all this free time in the rest of the day that I had to occupy with something other than writing. Because if I sat and wrote, I'd just bury the good stuff I'd written in crap and have to excavate it later. I did some construction work with a friend of mine. Basically the work habit I developed out of all that was of setting things up so I could write in the morning and then stop and exercise my penchant for getting into the nitty-gritty details of physical things. Not because that was productive in any way but because it kept me from screwing up whatever I happened to be writing. I tried to pattern things that way ever since. That's worked fairly well."