The world of adolescence offers endless exploration.
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Everyone told Elissa Altman no one would read long-form food narratives online. Two memoirs and a James Beard Award later, Altman can finally say: Everyone was wrong.
These writers and editors have refused to let their youth impede their careers.
Megan Mayhew Bergman moved from short form fiction to nonfiction to a novel. She says she’s not a thrill seeker. But her work may prove her wrong.
It takes a big federal agency to capture (and support) the diversity and aesthetic tastes of a melting-pot nation. The NEA is on a mission to keep excellent writing a national priority.
The short story writer looks slant at real life to create compelling fiction.
Diane Ackerman combines her love of writing with a deep dedication to science.
From childhood fears to workshop mentors, Violet Kupersmith channels the
voices of the past for successful storytelling.
Ayelet Waldman takes on an ambitious project with her newest novel.
How to find the story between cultural pressure and personal desire.
Spoken word poet Sarah Kay discusses writing, listening and the freedom to give poetry a try.
Ward found out the hard way that writing memoir is a very different experience from creating fiction, and that it is something she’ll never attempt again. Memoirists and novelists alike will find something of value in Ward’s thoughts on her latest work.
Bill Cheng, author of “Southern Cross the Dog,” chats about writing first chapters and how the rhythm and themes in the first chapter continue throughout the novel.
An author makes many choices before settling into his or her novel’s voice and characters. We asked Maksik to uncover his process for pinning down those sometimes elusive concepts.
Working as a bookseller has unintended perks, such as stumbling upon titles you may never have picked up before.