Molly Antopol

“One of the things I admire about longer stories is the way writers can work with dead time and slower, more idle moments - not only can they feel expansive, they feel lived-in; the unhurried pacing often makes the endings even more resonant and surprising for me.”

“The idea that we should write towards the unknown aspects of our experience was totally groundbreaking for me. It gave me the license I needed to try to write outside myself. This attitude has deeply informed my approach to fiction, emboldening me to write characters with voices or situations that are vastly different from my own.”

“I can't imagine writing something that didn't address Jewish themes and questions. It's such a big part of my life, a lot of the way in which I experience the world.”

“But for the first time, Boaz couldn't think of a single word to describe this kind of loneliness, so scary and real it required an entirely different language, new and strange and yet to be invented”

“All the stories in 'The UnAmericans' required interviews, travel, hours and hours in the archives. All of that stuff is so important in the beginning, but I reach a point where I have to shuck it away.”

“When I'm writing a story, which takes me a year or more, I can feel my character living with me - they're responding to whatever funny, familial, or social situation I'm in, and I think about their responses constantly.”

“In terms of the Eastern Europe stories, my family is originally from there; even as a kid, it was the Russian writers I loved most, and I've spent a substantial amount of time there myself, traveling and on research grants.”

“I throw everything I have into whatever story I'm writing - and so there's something immensely gratifying about finishing one piece and then starting fresh with a new setting, time period and cast of characters, getting to see the world through a completely different lens each time.”

“In a sense, any story that anyone writes is going to be autobiographical - whether it deals directly with the author's experience or not - because it captures what we're obsessed with while working on that particular piece.”

“I come from a big family of storytellers and, growing up, I liked hearing about the years before I was born.”

“I always tell my students to seek out other writers as models, and though it took me years to heed my own advice, it really was life-altering when I found writers who wrote long stories, full of back story and side plots and sub-histories.”

“As a fiction writer, all I need is a laptop, and when I'm not teaching, I travel as much as I can, applying for every research grant and overseas gig I hear of, then trying to extend those trips as far as the stipends will go. I love to travel alone.”

“One thing that's always helped quell my writerly anxieties is seeking out interviews with writers I admire.”

“I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.”

“I never thought about what I would write. I just come from such a big family of storytellers.”

“I've been religiously reading the O. Henry Prize anthologies every year since college, when I first began trying to write stories. Many of the authors whose work I cherish the most were people I first learned about through The O. Henry Prize Stories - and then I'd go search for their books.”

“I'd be lying if I said that any part of writing is easy for me, but I have always found that setting comes more naturally to me than, say, writing action scenes.”

“I really look up to writers who are able to write compressed, single-scene stories, where everything happens in a kitchen. But I just can't think that way. For me it would be impossible to write a story where I didn't know what someone's parents did and what their grandparents did and who they used to date.”

“I've never believed it's a fiction writer's job to create an exact replica of the past, a diorama the reader can step right into. But it is my responsibility to learn everything of the world I'm writing about, to become an expert in the politics and history that formed my characters' identities.”

“Writing a story is pretty all-consuming for me - it feels a lot like method acting, and for the eight or twelve or fifteen months that I'm working on a story, I'm constantly thinking about how my narrator would react to whatever tangled situation I'm in.”