Words matter. These are the best Molly Antopol Quotes, and they’re great for sharing with your friends.
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.
I come from a big family of storytellers and, growing up, I liked hearing about the years before I was born.
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.
The stories I love the most are where the author has a lot of empathy for everyone. The author loves their characters and takes their situations really seriously, and you feel like you’re just dropped into a different world.
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.
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 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.
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’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.
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.
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.
One thing that’s always helped quell my writerly anxieties is seeking out interviews with writers I admire.
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.
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’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 love being in the archives, traveling, sitting in dusty places and looking at books with brittle pages. I love reading biographies and researching, to make myself informed about whatever political or historical time I’m writing about. From there, a lot of the emotional truths about my characters emerge.
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.
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.
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.
