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The Journal

Notes from the desk.

Author interviews, acquisition notes, and the occasional argument about adaptation rights. Also published on Substack — subscribe there, or just check back here.

Author Interview

Naomi Vance on writing the mother she didn't have

The book started as a short story. What made you keep going?
"I kept writing the mother's half of the argument even after the story was 'done,' because I realized I didn't actually know what she would have said. That scared me enough to turn it into a novel."
The shoebox of receipts is such a specific image. Where did it come from?
"My own mother kept every receipt from a single terrible year, for reasons she never explained. I found the box after she died and never got to ask. The book is me asking anyway."
You write silence better than almost anyone I've edited. Any advice for writers trying to do the same?
"Don't write the silence as absence. Write it as a decision one character is actively making, every single scene, and let the reader feel the effort it takes."

More from the Journal

Craft & acquisitions.

What actually changes when a book becomes a screenplay

Notes from optioning Harbor Lights — the three scenes that had to be cut, and the one that got bigger.

Why we said yes to The Cartographer's Daughter

A scouting report, in the editor's own words — and why "for kids" was never the whole pitch.

What gets lost between "onl y" and "only" — notes from copyediting a proof

A short, nerdy post on the difference between a copyedit and a proofread, and why it matters more than readers think.