Colin Winnette discusses his new novel, The Job of the Wasp, the nature of horror and his approach to writing it, and the fear at the heart of the book.
The Rumpus Book Club chats with Michael Helm about his new novel After James, the line between paranoia and caution, and the use of poetry as a plot device.
When Ottessa Moshfegh wrote the thriller Eileen, a novel recently shortlisted for the Man Booker Prize, she did it to get rich, reports Paul Laity for the Guardian: She didn’t want to…
Writing for the Guardian, novelist Val McDermid disputes the recent study which suggests that “literary” fiction readers are more empathetic than “genre” readers: There is no doubt that, historically, there was a valid…
James Patterson’s new imprint promises to solve our modern conflict between reading and time. But the problem it diagnoses may be more for writers than for readers: Does Patterson want…
At the Guardian, Alison Flood wonders whether or not genre writing, particularly romance writing, is primarily “rubbish.” In her investigation, she points out how assumptions are often made about the…
Some authors feel insecure about writing genre fiction and consider literature a luxury brand. Genre fiction, after all, is supposed to be the goose that lays golden eggs and includes…
Like a detective novel, these books are characterized by a central mystery and the process of detection that leads to solving that mystery. The mystery, however, is not a crime—it’s…
At Esquire, sci-fi author Jeff VanderMeer and Living Colour guitarist Vernon Reid discuss genre fiction, and how one art form can inspire another. Reid says: Fiction has always evoked pictures and…