Rebecca Gransden lives on an island. She is published at Tangerine Press, Ligeia, Expat, BRUISER, and Fugitives & Futurists, among others. Her books include anemogram., Sea of Glass, Creepy Sheen, and Figures Crossing the Field Towards the Group.
There was this thing near San Antonio when I was in high school called the Elmendorf Beast that killed livestock. It turned out it was just a coyote with mange.
Video, broadly speaking, is the medium people interact with most on a daily basis, so I think contemporary fiction has some obligation to engage with it (if aiming to render the world as it exists).
I’ve always been confused about books that attempt to tell a straightforward, filmic plot through the written word. Isn’t that just a less-good version of a medium that already exists? Instead, why not adopt film’s self-confidence?
I grew up surrounded by woods, fields, an old mill, a Lutheran church, a cemetery just down the road, a local "party store" in the other direction, and farmland for miles and miles. It was glorious, really. And thank God for that party store.
Writers who seem to want to write a commercial screenplay in prose strike me as the least interesting sort. The same goes for all attempts at translating cinematic terminology to prose.
Growing up surrounded by people constantly quoting the latest gross-out comedy or something like Star Wars it makes me feel a little dirty whenever I say a line from a movie.