I am beyond grateful for the opportunity to share my writing in the “Daily Shouts” column in The New Yorker online. Today, the column published “Hacks For Dealing With Your Closetful Of Apple Boxes.” This piece was born out of a Facebook post (maybe an Instagram one?)
BY SCOTT ALEXANDER HESS When I wrote my new Lethe Press novel The Butcher’s Sons, a book about three brothers living in their father’s butcher shop in the gritty world of 1930’s Hell’s Kitchen, I spent two weeks in Ireland researching their great-grandfather’s back story.
BY CAMERON CONAWAY “In the beginner’s mind there are many possibilities, in the expert’s mind there are few.” —Shunryu Suzuki Beginner’s mind can be a pain in the ass. My palms sweat and I bite my nails and I pace around the house all while
A couple years ago, I started saving quotes by writers – kind of like Rachel Toor refers to in her article on The Chronicle of Higher Education. I wasn’t writing nowhere near as consistently as I am now (and by “nowhere near” I mean that
In this week’s journey Behind the Prose, I interview teacher and writer Joan Dempsey. Before discussing the way she crafts character actions (she’s got a technique that will certainly show you how committed she is to authenticity in her work), we talk about how she’s
Think you got what it takes to write a novel? How about a novel that gets picked up by one of the hottest directors around (Ava DuVernay) on one of the most influential television networks – Oprah Winfrey’s OWN TV? Well, if you can commit
So in case you’ve been living under a literary rock, Sarah Gerard’s debut novel Binary Star is a cosmic force in its own right. According to Wolf Literary Services, Gerard’s made EIGHT best lists for 2015. Count ’em: ONE: GQ‘s Six Best Books of January TWO: Buzzfeed’s
BY JENNIFER GENEST Objects are a writer’s friend. Almost any object is loaded if you think about it long enough. I am always surprised when objects in a story end up doing the “heavy lifting (explaining difficult or emotional things)” without it seeming forced or obvious.
Slow and steady wins the race. That’s the impression I got after my interview with writer Aimee Baker who discussed her nonfiction essay “This Monstrous Heart” which ran in New Delta Review last December. Aimee admitted that she doesn’t have time to put words on