Trauma to Drama: Creating Fiction from My Worst Nightmare
“Write about it? I couldn’t bear thinking about it.” Jaimee Wriston Colbert on the role a traumatic experience played in the development of her novel How Not to Drown.
“Write about it? I couldn’t bear thinking about it.” Jaimee Wriston Colbert on the role a traumatic experience played in the development of her novel How Not to Drown.
Elaine Neil Orr on the mysterious process of fiction writing and the faith it takes to attempt it.
“No matter how well-documented the history of a family home may be, there are gaps… I revel in the license to move into those uncharted spaces; to take a leap of faith from the springboard of memory into the untethered dimension of the imagination.” Ellen Prentiss Campbell on dreams, intuition, and following “the vapor trail of memory” in fiction.
In Part IV of Sebastian Matthews’s five-part interview with Julianna Baggott (who also writes as Bridget Asher and N.E. Bode), the two discuss being prolific, writing practice, and working on more than one project at a time.
“Fiction that recognizes the different forms power can take more accurately mirrors the complexity of life”: Peter Turchi on how power dynamics can and should inform conflict in fiction.
Stephen Policoff discusses the story origins of his latest novel.
Travis Holland on Nicholas Delbanco as a master teacher, as well as Delbanco’s approach to running a writing workshop that matters: “This is good, now let’s make it better.”
