Watts published her debut novel, No One Is Coming to Save Us, with Ecco in April 2017. Described as “an arresting and powerful novel about an extended African American family and their colliding visions of the American Dream,” No One Is Coming to Save Us has been named one of the most anticipated books of 2017 by Entertainment Weekly, W Magazine, Nylon, Elle, Redbook, and The Chicago Review of Books.
In 2011, Watts published a collection of shorts stories called We Are Only Taking What We Need. While the reflective quality of the short story is something Watts is comfortable with, the final story in this collection is what inspired her to begin No One Is Coming to Save Us.
On campus, Watts spent time speaking in creative writing and English classes about her books, her writing process, and answering student’s questions. She also individually met with several students in the Long-Form Fiction course for tutorials.
“It’s always encouraging to hear from visiting writers about their process, struggles and breakthroughs,” Jennifer Rohrbach, a senior creative writing and English double major, says. “She gave me great advice about how to round out my characters and ways to develop my overall story.”
Watts concluded her visit with a public reading from No One Is Coming to Save Us, which she began by giving a brief overview of how she’s gotten to where she is as a writer. The visit offered students a great deal of writing advice, one of the anecdotes Watts shared, sparking inspiration in Haley Poluchuck, a senior creative writing and English double major.
Poluchuck says, “One thing that stood out to me was a story about Watts and her siblings when they were young, rushing to clean the house before their father came home. Her argument was that you could get a lot done in ten minutes if you really want to, so we have no excuses not to write. Lately, I’ve been inspired to dedicate at least ten minutes to projects I would have otherwise put off.”
During her visit, Watts was also able to sit down with me for a brief interview, a portion of which appears below:
No One Is Coming to Save Us is your debut novel and We Are Only Taking What We Need is a collection of short stories. What challenges did you face in the transition from the short story form to the novel form?
I think they’re very different genres. It’s not like you just lengthen a short story, it’s not that kind of process, so I found it very challenging. No words are lost in a short story. A novel takes you on tangents. You’re allowed more space, literally and psychologically, to develop characters in different ways. It was a real learning curve for me. I found myself resorting to chapters that resembled or felt like short stories. I tried to open them up, so there is at least something you can hook onto for the rest of the story and also to deepen the psyches of the characters.
Do you find that you write your stories chronologically with a plan of attack?
I’ve tried planning, but I don’t find it very helpful. I find that I resist the plan, but I do sometimes have images. If you do have images or sources of signposts in your story, I would encourage you to write them down, because it helps you figure out some trajectory. You may realize you don’t need it, but first worry about getting the story down. With a short story in my collection, I knew there was going to be a scene in a vineyard, I knew there would be bees buzzing all around. Your senses are overloaded because the grapes are kind of rotting and the bees are really intense, flying around your head. I just wrote it down, wrote everything I could think of, so at some point I knew this scene was going to happen.
In an interview with Karen I. Johnson, you say, “Either you will be a writer and try to present the world in all its flawed complexity or you will stop writing anything more substantive than holiday cards or snazzy e-mails.” What do you feel this means in terms of your own writing and literature in general? What is the importance of this writing or the boundaries it can create?
Especially for women writers, writers of color, people that come from a marginalized community, or immigrants there might be an expectation that your writing is going to be directly about social justice issues and that that is the intention of your writing. I think that’s remarkable and important and that writing should exist, but I think writing, above all, is a social justice. It’s you saying this world and these people have a right to a voice, have a right to exist. Doing that is a movement towards social justice. Just by asserting the legitimacy of the existence of the people that you are representing, you are having a social justice moment. You can’t try to chase a trend. You have to write what it is that you write.