MH: If you could change one thing about publishing, what would it be?
CB: That's easy. The percentages. Instead of 88% straight, upper middle class, Judeo-Christian white women—65% straight white women and the rest a complete and shifting mix of gay men, men of color, gay men of color, queer and trans men and women of all colors, straight women of color, people with disabilities. Muslim women and men, Buddhists, others, just for starters. Give us 35%. Do even that and we'll start getting somewhere.
The dynamic between light and dark is also important in how I edit the texts, in terms of what’s going to follow. I put a lot of weight on getting the balance right. I’ve always been fascinated by a passage from To the Lighthouse by Virginia Woolf, when the artist Lily Briscoe talks about composing her pictures. She says that shadow here needs light there, and she realizes in a sudden insight that she has to put the tree in the painting further to the middle. And that’s been my guideline, really, for how to compose: I have to put the masses in the correct balance, and there has to be a center.
I am excited by writing that functions at once as art and philosophy, and that works carefully and in an unexpected way at the level of the sentence. I am excited by writing that jokes compassionately and writing that I am on the very edge of understanding, that oscillates in and out of clarity, and that can’t be exhausted in a single reading or even multiple readings, and that takes formal chances.
I’m always working on a few projects at once so I never get bored. Lately I’ve been switching between novels and screenwriting. I have a series of Sci-Fi-ish books I’ve been writing for years about a cult in the Ozarks, along with a YA time travel book and a YA novel set in the grunge 90s. I’m also collaborating on a Sci-Fi script based on the Malaysian flight that disappeared and a TV pilot that reimagines Norman Mailer as a P.I. I also just finished a draft of a script set a hundred years in the future about a Trump-like villain as our President. Wait, did I say the future? I meant now.
What are you working on now? Christine Sneed: I finished a novel manuscript at the end of the summer and currently I’m only working on short fiction, which is a relief, I have to say. A novel is a marathon, and a short story is more like a 5K.
I remember with great clarity the moment I realized I was a translator. It wasn’t even a realization, exactly; I didn’t think, “Hmm, I’d like to be a translator.” It was more like an irresistible force.
I’m working on two projects. The first stars the only character I’ve ever created vaguely based on me. The protagonist of Enemy Combatant, a braver, stupider, more fucked up version -- crazed by substance abuse and rage against Bush, Cheney et al around 2004 -- runs across evidence of CIA secret prisons in Georgia (the country not the state) and Armenia and with his even more deranged old friend tries to release a prisoner.
Suszanne Dottino: What are you working on now? Terese Svoboda: A novel about harpies and one about Irish immigration, a rewrite of Our Town for Selfie Theater, a new manuscript of poetry called Safari with ecological concerns, and a short story about a cougar I almost ran over.
S.D. If you could change one thing about T.V. what would it be? N.A. The lighting. 85% of the lighting on TV shows is awful. It looks like the inside of a Walmart. Part of the problem is that it's just shot so fast there isn't a lot of time to do meticulous lighting. On Hannibal we had a great DP and it looked beautiful.