The Millions Interview
March 24, 2015
by Kaulie Lewis
I’m endlessly fascinated by myself and my past and by what has happened to me and how I’ve changed, and I wanted to show that.
March 16, 2015
by Edan Lepucki
There’s something about putting your brain where you hands are that frees up the word-centers of the mind, maybe a bit like meditating.
March 13, 2015
by Jacob Rubin
The second novel is where things get tricky. All I can say is that it was much more difficult than the first. You become more aware of all the things you aren’t capable of doing.
March 10, 2015
If I’m working very hard on a project it is important for me to show up at my desk on a regular basis, but also a lot of the work is done at an unconscious level and you want to make sure you’re giving yourself space to do that.
March 10, 2015
by Paul Morton
I would say that in the past decades, there weren’t that many comics like this one, in terms of the way it incorporates reader participation, [which is] something I see in manga but rarely see in American comics.
March 5, 2015
The trouble with plots in novels, the resolving kinds of plots, is that they can move in such a dreary groove. One sees the same old thing coming a mile off — after a strong beginning, the novelist allows the plot to write the rest, letting the old, lazy hook do all the work, instead of sustaining the fresh vision of the beginning.
February 27, 2015
Many Latin American immigrants could tell us stories if we took the time to listen to them. The trouble is, if we did, and we really took these stories in, it would be much harder to rationalize the billions of dollars spent “securing the border” against a conveniently faceless menace.
February 19, 2015
The mechanics of plot and the market-driven expectations that drive most American novels kept me from attempting fiction for a long time.
February 9, 2015
The strengths of a writer also come from said writer realizing how much they suck at certain aspects of writing. Which means you lean hard on the things you can actually figure out how to do. There’s no point in being well rounded.
January 21, 2015
by Amy Feltman
I’m not ever interested really in people’s parents or their backstory. I mean, some writers — and especially screenwriters — that’s just part of your homework, where everyone’s come from and what their whole psychology is. It just doesn’t get me going.