“Preparatory notes are like the pre-draft visualizations athletes use to prepare themselves for a difficult competitive task. If we want rich first drafts that will throw us into robust revisions, then it’s in our best interest to be free—even profligate—with our preparatory notes.” Steven Wingate talks about managing the work we do on our tales when we’re not actually writing them.
“I wrote out of a kind of homesickness, I guess, and out of a sickness of spirit over what was happening at the border, the dehumanization of children.” Melanie Bishop interviews Beth Alvarado about her new collection, Jillian in the Borderlands, out this week from Black Lawrence Press.
Edward Hamlin talks with Rachel Swearingen about her debut collection, How to Walk on Water, as well as her roots as a writer and a Midwesterner, challenges women face in harmonizing public and private personas, and more.
“She kept coming back, speaking to me in the night, adding to and deepening her story, so in a way the realization that I needed to write a novel about her was very natural: she led me there.” Maxim Loskutoff talks with Steven Wingate about his novel Ruthie Fear, the gravity of Montana, and the freedom of the natural world.
“When it comes to the Holocaust and the Apollo program, we have an added sense that they both seem impossible. These two events represent the worst of what we are capable of doing to each other, and also the best of what we are capable of doing together.” Hannah Redder talks with Patrick Hicks about Nazi concentration camps, America’s space program, and his second Holocaust novel, In the Shadow of Dora.
“I saw a parallel in the way the body attacks itself in an autoimmune disease to the way guilt attacks the mind. The bodies of many of these characters define, in some ways, the boundaries of their lives.” Alexander Tilney talks with the most recent Prairie Schooner Book Prize winner, Megan Cummins, about her short story collection If the Body Allows It.