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As a writer, I really like working with constraints and getting to play with different structures, voices, moods, and characters. The simple fact that short stories are short gives me all of that.
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I have to know all the jokers they hold in their hand so I know how they would play or hold them—and I think it’s that level of intimacy I’m constantly trying to learn as I write.
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When we act and what language we use to defend ourselves matters; on a craft level, this is useful to know because this very logic reveals character. What do you care about? And how does that show up in your life?
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. . . perhaps humanity is not the pinnacle of what a living thing can be . . .
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. . . I advise any fiction writer who can afford it, to an get a Jungian analyst . . .
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Language is inexact, and will always be an approximation. In my own experience of amnesia, there was a period of time where things didn’t have names, and it was in that nameless, getting-to-know-something that I felt I knew it better.
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All of my writing is guided by the need to feel culturally seen and acknowledged as a vital part of the American identity.
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Elissa Washuta discusses her new essay collection, WHITE MAGIC.
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Agent Rob McQuilkin and editor Helen Atsma discuss AFTERPARTIES by Anthony Veasna So.
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Jonathan Parks-Ramage discusses his debut novel, YES, DADDY.
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Alex McElroy discusses their debut novel, THE ATMOSPHERIANS.
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Gabriela Garcia discusses her debut novel, OF WOMEN AND SALT.
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Melissa Broder discusses her new novel, MILK FED.
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Te-Ping Chen discusses her debut story collection, LAND OF BIG NUMBERS.
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Brit Bennett discusses her second novel, THE VANISHING HALF.
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Maisy Card discusses her debut novel, THESE GHOSTS ARE FAMILY.
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“For me, there’s no such thing as an icon.”
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“[W]e don’t see the complexity of the individual experience.”
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“What do you do when everything falls apart? Anything you want.”
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