Stacy Schiff, author of The Witches, a brilliant, exceptionally well-researched account of the 1692 Salem witch trials, says her number one requirement when writing her prize-winning nonfiction books is “a big desk, an enormous desk!”
Beginning with the 1981 publication of his first novel, A Good Man in Africa, winner of the prestigious Whitbread Award, William Boyd has been astonishingly prolific—14 novels, four story collections, four plays, countless film and television scripts, essays and reviews.
When her writing is going really well, when she is “all in,” Paula McLain, author of the best-selling historical novel The Paris Wife, calls herself “a head in a jar.” All brain, no body.
Legendary book editor Jonathan Galassi has been at Farrar, Straus and Giroux since 1986 and is now its president and publisher. So why is his rambunctious, captivating first novel, Muse, being published by a rival?
Does photographer Sally Mann really have a bulging file called “Maternal Slights,” as she writes in her courageous and visually ravishing memoir, Hold Still?
Adept at spinning historical events into gripping narratives, Erik Larson couldn't resist the storytelling potential of the Lusitania.
Amanda Eyre Ward had already finished writing The Same Sky, her moving novel about an 11-year-old Honduran girl attempting to reunite with her mother in the U.S., when the controversy about undocumented minors blew up along the border last summer.
Dutch writer Peter Buwalda is keenly attuned to the ironies of being a successful novelist. “A successful writer is living a paradox,” Buwalda says from to his home in Amsterdam, where he moved after his gripping literary debut, Bonita Avenue, became a bestseller in Holland in 2010.
The question that will burn in a reader’s mind when she finishes Some Luck, Jane Smiley’s marvelous new novel, is: How long do I have to wait to read the second volume in The Last Hundred Years trilogy?
The voice behind the popular web series “Ask a Mortician” exposes the grisly, hilarious details of working in a crematorium—and argues that everyone needs to be more closely connected to the realities of death.