We love TED here at FWR–which, in case you haven’t encountered it before, you’re welcome, and I hope you didn’t have any work to do this month. This is an old TED talk, but one I hadn’t heard before and one I’ve been thinking about–particularly because it challenges the concept of storytelling.
In his TED [...]

It’s no secret that we’re big fans of Eileen Pollack’s work at FWR. In fact, as our Founding and Features Editor, Anne Stameshkin, noted in an addendum to a 2009 interview with the author that we published on the site, Eileen Pollack–and her Contemporary Novel class at the University of Michigan–was one of the inspirations [...]

When Twitter arrived on the scene, its proponents found themselves defending the very short. James Poniewozik put Twitter in historical context, and, in the New York Times, writer and teacher Andy Selsberg argued that writing short could make you a better writer.
Now, in the L.A. Times, Pico Iyer writes a defense of the [...]

This week’s feature is Anna Solomon’s debut novel, The Little Bride, which was published in September by Riverhead. Solomon’s short fiction has appeared in One Story, The Georgia Review, Harvard Review, The Missouri Review, and Shenandoah, among others. She is the recipient of two Pushcart Prizes and The Missouri Review Editor’s Prize. Her essays have [...]

Character likability. “Plot-driven” as pejorative. Research limits in historical fiction. The mail-order-bride as escape route. The double-edged sword of social media. Anna Solomon tells it straight in this conversation with Sara Schaff.

In conversation with Julie Judkins, author Scott Nadelson discusses how the “mad mystic hammering” of Bob Dylan inspired him to become a writer, why being a formerly reluctant reader informs his teaching, and how New Jersey has evolved in his fiction from an actual place to a state of being.

“What a bitch of a thing prose is!” Gustave Flaubert wrote in a letter to his lover Louise Colet in 1852. “It’s never finished; there’s always something to redo. Yet I think one can give it the consistency of verse. A good sentence in prose should be like a good line in poetry, unchangeable, as rhythmic, as sonorous.” In this essay, contributing editor Travis Holland meditates on Flaubert’s influence and legacy in fiction.

Poet Debra Albery examines the influence of Sherwood Anderson on her writing, and on her understanding of her own history and place. She writes: “If I came into writing feeling largely without history or place, writing became a means of discovering both; it also became [...] a means of discovering a way out, the road ahead. Sherwood Anderson gave me a map.”

Writers are continually told to trim their work down, but is that always the best course of action to follow? Not if you don’t know why.

Jonathan Lethem discusses our unwillingness to let go of the Tinkerbell-myth of benevolent power, MFA programs, the idea of New York City as a Ponzi scheme, why in some ways subcultures are all that exist, and his past and future work in this wide-ranging interview with Roohi Choudhry.