From the Archives: Celeste Ng offers compelling proof that storytellers aren’t so different from scientists: both explore the same very large, very dark, very crowded room, poking and prodding and tirelessly asking, what if?
“Often I get a really good draft done and then spend years polishing it”: Caitlin Hamilton Summie chats with Steve Yarbrough about her debut collection, To Lay to Rest Our Ghosts, out now from Fomite Press.
From the Archives: Nico Berry talks to Jesmyn Ward in 2009 about her debut novel, Where the Line Bleeds.
“I wrote big swaths of this book operating on instinct, and I had a lot of luck with the instincts later bearing fruit”: Holly Goddard Jones with Danielle LaVaque-Manty on dystopian fiction, Cracker Barrel, and The Salt Line, out this week from G.P. Putnam’s Sons.
“I like characters that get in a jam and have to weasel their way out, usually with disastrous results”: Lee Matthew Goldberg talks with Vincent Zandri about his new novel, The Mentor, out now from Thomas Dunne Books.
“It’s a coming of age story turned up to eleven, sharp and visceral as a gunshot, and just as concerned with violence”: Emily Nagin on Andrew Bourelle’s debut novel, Heavy Metal, out now from Autumn House.
“The characters personify competing ways of getting ahead in American culture”: Mari Carlson on Scott Spencer’s latest novel, River Under the Road, out this week from Ecco.
“I don’t think you can really go home again. I was more interested in what happens if you have to”: Melissa Scholes Young chats with Aline Ohanesian about motherhood, small-town USA, and her debut novel, Flood, out this week from Center Street/Hachette.
“We must lie and lie well in order to make the reader cry, or sigh, or slam their fists on the table in anger”: Neil Connelly and Genaro Kỳ Lý Smith talk about crafting fiction from life.
