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“I wanted to write about a father and daughter in a building made of time.” Madeleine Thien talks about the genealogy of ideas and yearslong process of writing her novel The Book of Records (Norton, 2025) in this Toronto Public Library event with Elamin Abdelmahmoud. For more from Thien, read “Hopeless Hope: A Conversation With Madeleine Thien” by Renée H. Shea.
Earlier this month, the National Endowment for the Arts notified hundreds of independent publishers, theaters, museums, residencies, and nonprofit arts organizations about the termination of their funding, affecting countless writers, visual artists, dancers, performers, actors, and directors. How can artists continue to create when their support is suddenly taken away? Write a short story about an artist who finds themselves without the support they need—whether financial, emotional, or otherwise. Where does your character turn and how do they keep going? Will your story take on elements of fantasy, horror, tragedy, satire, or dark comedy?
With The Emperor of Gladness, forthcoming in May from Penguin Press, Ocean Vuong crafts a story of intergenerational connection—of labor, love, memory, and care—while bridging the intimate and the epic, the lyric and the narrative.
“Everything will take longer than you feel like it should, and this is a gift.” —Rickey Fayne, author of The Devil Three Times
In this event hosted by Prince George’s County Memorial Library System in Maryland, Kevin Nguyen talks about how his experiences in journalism, and the histories of Japanese American incarceration and the Vietnam War, shaped his second novel, Mỹ Documents (One World, 2025), and the ways in which he sees this book as “an imagination of policy” rather than speculative fiction.
The author of Duet for One (Regal House Publishing, May 2025) recommends writers research vocabularies specific to their characters’ lives to ensure the novel’s world feels believable.
“It’s an opportunity for a character, whose story could not have been told by [Mark] Twain, to have his story told.” In this short video, Percival Everett speaks about his novel James (Doubleday, 2024), a reimagining of Mark Twain’s Adventures of Huckleberry Finn told from the enslaved Jim’s point of view. Everett won the 2025 Pulitzer Prize in fiction for James.
Pangolin: Kulu’s Journey, a new documentary directed by Pippa Ehrlich, who won an Oscar for My Octopus Teacher, chronicles the rescue of a pangolin from wildlife traffickers in South Africa. In one sense, the film is about the progression of a baby pangolin named Kulu who learns skills such as foraging, gains a healthy amount of weight, and heals from his trauma before being set free in the wild. But another rescue enters the story as Gareth Thomas, a middle-aged man with a troubled past, volunteers for a nonprofit pangolin center and finds meaning in his life after spending over a year rehabilitating and eventually letting go of Kulu. Write a short story in which your main character is on a rescue mission and ends up being healed or redeemed in an unexpected way. What are the obstacles along the way that provide moments of comedy, suspense, or pathos?
The author of Duet for One (Regal House Publishing, May 2025) recommends writers discover their structure as they write.
In his introduction to The Best American Short Stories 2019, guest editor Anthony Doerr lists several dos and don’ts one often hears about writing short stories and describes his love for reading and writing stories that break those very rules. Some of the rules Doerr mentions are: “Don’t start with a character waking up. Jump right into the action. Exposition is boring. Backstory slows you down. Stick with a single protagonist. Make sure he or she is likable. Don’t break up chronology.” This week, think carefully about the reasoning behind one of these oft-cited rules, then write a story that explicitly goes against it. How can the incorporation of an aspect of experimentation or innovation effectively push against the possibly clichéd rationale behind the original rule?
