I love everything Elizabeth Strout writes.
In terms of process I'm quite interested in "Olive Kitteridge" being considered a hybrid, and in the reasons Elizabeth Strout gives for the structure. My other novel, not the one I drafted in March, but the one I've been working on for over two years now, has come to me in a similar fashion. And knowing that kind of hybrid isn't considered as marketable as a novel has done nothing to whip my muse into compliance. I'm not sure why the novel is coming to me through stories, perhaps because the span of time and the subject matter are daunting for me to handle in one neat line. Before I drafted this other novel, though, I thought it was a failing on my part of being able to write a normal novel. I'm proving that theory wrong. (I'm not talking about quality of content, mind you. That will remain to be seen.) And I'm beginning to understand that each project demands its own kind of attention and process.
- Originally from Vermont, I now live in North Carolina. My work can be found in recent issues of REAL: Regarding Arts and Letters, The Jabberwock Review, The Emerson Review, Storyglossia, The MacGuffin, Confrontation, Passages North, SmokeLong Quarterly, elimae, wigleaf, Pank, and Gargoyle #57, among others. One of my stories has been translated into Farsi by Asadollah Amraee, and many others by Jalil Jafari, two of which have been published in the Iranian journal, Golestaneh Magazine. Currently, I'm an assistant editor for Narrative Magazine. I'm also working on two novels and a short story collection. In 2011, I was awarded the Carol Houck Smith Contributor Scholarship for the Bread Loaf Writers' Conference.