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BLOG-O-RAMA (not to be confused with Illinois's disgraced governor)


Q and A with Rachel Weaver about her novel POINT OF DIRECTION

1. Tell us a little about your novel.

Here’s the jacket copy:  Hitchhiking her way through Alaska, a young woman named Anna is picked up by Kyle, a fisherman. Anna and Kyle quickly fall for each other, as they are both adventurous, fiercely independent, and in love with the raw beauty and solitude of Alaska. To cement their relationship, they agree to become caretakers of a remote lighthouse perched on a small rock in the middle of a deep channel—a place that has been uninhabited since the last caretaker mysteriously disappeared two decades ago. What seems the perfect adventure for these two quickly unravels, as closely-held secrets pull them apart, and the surrounding waters threaten uncertain danger.

2. I know you spent a number of years working on this novel - did you have the basic story line down when you started or did its evolve as you redrafted? 

I had no idea how to write a novel when I started Point of Direction. I figured I would just start with chapter one and then the story would whisper its secrets to me and I would write them down and when I got to the end, the book would be finished. That’s not exactly how it went. It was fun, finding my way through the story, but there wasn’t much whispering of secrets. Mostly, I started with the idea that it would be crazy to move out to a lighthouse in the middle of a dangerous channel in Alaska and from there I wrote many, many drafts (read: 30) before I really figured out the story and how best to tell it.

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Q and A with Joel Drucker about his new memoir, DON'T BET ON IT. 


1. Tell us a little about your new book.

Don’t Bet on It is a portrait of my 28-year romance with my late wife, Joan Edwards. Our time together was a mix of slumber party, private joke and therapy session – flavored in ways subtle and significant, light and dark, by Joan’s precocious sense of mortality.  By age 27, she had lost both her parents and been diagnosed with lupus, a chronic illness.  Though she was quite healthy most of our time together, notions of health, well-being and the search for meaning cast our love in a certain light.  

2. It took you several years to write this memoir – what were its greatest challenges and rewards?

There was both craftsmanship and the emotional fallout.  I would work in the morning and feel good about putting these words together.  But then, hours or even days later, I would find myself feeling anxious about random things.  Did I run that red light and would I lose my driver’s license?  Was I rude to that supermarket cashier?  Had I been too pushy with a friend?  It’s a good thing I had a psychotherapist and several friends who could frequently talk me down.      

Though I’m often quite guarded about gaining input while drafting a piece, in this case I sought help.  Elizabeth Kaye – an accomplished writer who’d written many superb pieces for the likes of Esquire and Rolling Stone – is a friend who’s long understood me and the kind of writing I want to do.  I paid her twice to review the manuscript.  The first time she strongly recommended a significant restructuring, noting that it jumped back and forth across time too much.  She was right, so I had to make major changes.  Based on her input, I made 5x8 notecards summarizing all 166 scenes of the first draft – and then spread them out on my dining room table, rearranging and editing like a jigsaw puzzle.  And then, once that was done, some more revisions. The current version is now nearly half as long as it once was.

But even beyond the anxiety, coming face to face with all I’d had and lost was at times literally painful.  At one point, I put the piece aside for six months.  Even though in some ways this was a way to continue holding on to Joan, at times even that was too agonizing.

The reward is being able to share this story with others.  While I often think of myself as a loner, when I conducted a recent reading event with a lot of attendees, I realized that maybe this kind of piece is also a way of bringing people together – to commune and understand a lot about love.   

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Q and A with Laura Pritchett about her new novel, THE BLUE HOUR

If you had to give us an elevator speech about your new novel . . .

Eek! I’ll try: The Blue Hour is set in a contemporary fictional Colorado mountain town, and the community members find their paths twisting and colliding after a tragedy inspires a major life-force change in each of them. Basically, they are so stunned that they react by charging into their lives with new vigor—and explore the landscape of passion, obligation, love. It’s very relationship-based (hence it’s release on Valentine’s Day), and the novel really digs deep, I hope, into the hard edge of yearning and of loneliness, and the long road of desire, and the unexpected paths of mourning and lust.

Sounds like there’s lots of sex! Would you consider this novel erotica?

I consider this novel “romance for the rest of us.” Not Hallmark, not Hollywood, not porn, not erotica. Somewhere in the Land of the Real. Messy, problematic, sometimes horrible, sometimes grand. I’ve always been interested in writing about sex—my library looks like a teenager rifled through it to find all the sex scenes! I was studying how great authors wrote great sex scenes.  

I imagined every character’s sex life: What would it be like to be 80, newly single, and falling in love? What would it be like to be young, beautiful, gay, with an STD that really bothers you? What would it be like to keep searching for love and sex and simply not find it? What would it be like to be in tender love, but only be able to orgasm if there was a violent fantasy in your head?

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Q and A with Karen Brown about her new novel, THE CLAIRVOYANTS 

1. Tell us a little about your new novel. 

On the family homestead by the sea where she grew up, Martha Mary saw ghosts. As a young woman, she hopes to distance herself from those spirits by escaping to an inland college town. There, she is absorbed by a budding romance, relieved by separation from an unstable sister, and disinterested in the flyers seeking information about a young woman who’s disappeared—until one Indian summer afternoon when the missing woman appears beneath Martha’s apartment window, wearing a down coat, her hair coated with ice.

2. This is such a skillful cross between a ghost story and a coming of age story, as I see it.  What inspired you to begin The Clairvoyants

The novel started with a short story I wrote after my mother called me from Connecticut one winter to tell me it was snowing. After my move to Florida, I’d become nostalgic for snow. I’d had one brief winter living outside of Ithaca, NY in an old farmhouse on Main Street, and the memory of that winter and Ithaca became the setting for my snow story. “Galatea” was about a young woman, away at school, who impulsively marries a man she meets at a park playground. Their brief, passionate marriage disintegrates during a long winter in which items of her furniture begin disappearing from the apartment, and then her husband, too, disappears.

When I began to write the novel, it became clear that the character was in many ways similar to another character in an older story, “Apparitions.” So, aspects of that story flowed over into the novel, too. It took many drafts to transform the pieces of these stories into the novel, but what remained from “Galatea” were the snow, the erotic tension, and the eeriness that was the husband’s unexplained disappearance, and from “Apparitions” a ghost sighting in a barn. The Spiritualists camp came late in the writing, but it fit in perfectly.

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Q and A with Kathy Fish, coauthor with Robert Vaughan of the story collection RIFT

1. Tell us a little about RIFT.

This is the publisher’s description of our book:

“A stunning collaboration from Robert Vaughan and Kathy Fish, two masters of flash fiction, whove blended their work together in a vibrant explosion that is all of these things: evocative, heart wrenching, rare in the wild. The stories in RIFT explore the gamut of human connection and conflict, where emotions run deep beneath the surface. Divided into four sections: Fault, Breach, Tremor, and Cataclysm, writers Fish and Vaughan thread together their tales of strange encounters, mishaps, accidents, and disrepair. The world of RIFT is riven, tumultuous, and haunting. In here, danger lurks and the fallible human heart lay exposed and vulnerable. Fish and Vaughan leave their readers spellbound, mystified, and eager for the next story.”

2. How did this collaborative book with Robert Vaughan come about?

Bud Smith runs the great small press, Unknown Press. He invited Robert and me to put a book of our flash fiction together in a two-author collection. Creatively, everything else was left up to us!

3. Whose idea was it to organize RIFT in sections that have to do with seismic events (e.g. Fault, Tremor, Breach, and Cataclysm)? 

That was my idea. In the end we had 72 stories for the book and we both felt like all that material needed some organizing principle. Looking at the work, we noticed differing levels of intensity around the theme of, yes, seismic events as metaphor for brokenness and upheaval, so I suggested organizing along those lines, building to the most intense, cataclysmic stories in the final section. It was Robert’s idea to “pair” our stories in the book according to shared elements and I really like how that turned out. 

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