Ten Questions for Colin Pope
“When I’m in good spiritual shape, I set the timer on my desk for twenty minutes and then look at a blank page. If something comes out, great. If not, better luck tomorrow.” —Colin Pope, author of Losers
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Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
“When I’m in good spiritual shape, I set the timer on my desk for twenty minutes and then look at a blank page. If something comes out, great. If not, better luck tomorrow.” —Colin Pope, author of Losers
The author of The Grief Artist (Sarabande Books, 2026) recommends writers observe the world closely and open themselves to daily opportunities for inspiration.
“I write while walking my dog. Most days we walk for an hour in the morning and an hour in the evening.” —Keith Pilapil Lesmeister, author of Ask Me About the Money
The author of The Grief Artist (Sarabande Books, 2026) encourages writers to experiment with poetic forms in nonfiction.
“I find joy in nature and others’ laughter at my jokes and my dogs. I joke, I’m funny, and as long as that’s the case, it’s enough.” —Emma Smith-Stevens, author of Greyhounds
The author of The Grief Artist (Sarabande Books, 2026) encourages writers to reflect on someone they’ve lost through the symbolism of objects and new experiences.
“All the life things that seem like they might endanger writing—parenting, especially—are what make the work happen.” —Lindsay Turner, author of Middle Slope
The literary agent Annie Hwang discusses founding her own agency, Renegade Literary, resisting the biases of the publishing industry, and representing poets.
The PSA is transforming the neighborhood around its Brooklyn storefront, adding poems to the outside walls of bookstores, public schools, community gardens, cafés, offices, and public housing.
Currently based in Philadelphia, Common Notions Press publishes primarily nonfiction books on topics of social justice and radical imagination.
Under the leadership of Roxane Gay and Debbie Millman, the iconoclastic literary magazine has launched several new editorial and programming initiatives.
The storied subscription service celebrates its centennial of reading and sparking conversation about books.
The first lines of a dozen noteworthy books, including No Such Thing as Monday by Siân Hughes and Lion by Tina Chang.
Hundreds of digitized audio recordings from decades of literary events at the Unterberg Poetry Center make iconic readings accessible online.
Sara Elkamel highlights journals that have published her translations of Dalia Taha’s poetry, including Modern Poetry in Translation and ArabLit Quarterly.
Compose a poem based on close observations of your immediate surroundings, vignettes about human and nonhuman characters that reveal multiple points of view, or a lyric essay braiding early memories with stories passed down from ancestors.
For one nonfiction writer with autism and ADHD, perfectionism threatens to “harden the creative process into something punitive.” A sustainable creative practice means regulating intensity, not trying to outrun it.
One writer gets caught in the crosshairs of AI and shares thoughts on how all of us can defend ourselves and our work going forward.
For a time, literary Twitter was a haven for community, pithy criticism, and sharp dialogue about the world of books. But even then, as now, the deepest engagements happen offline.
Substack has emerged as an alternative outlet for short form writing, letting writers reach audiences on their own terms and timelines. Does the platform have the power to displace print publishers?
From a neuroscience perspective, trading the printed page for audiobooks may not necessarily lose the brain benefits of reading—but it may shift what gets read and our ability to engage with it critically.
As readers rely more and more on online retailers, what books get surfaces and centered by websites’ algorithms? And can digital recommendations ever compete with advice from a bookseller?
When we allow AI to make the writing process less difficult, we lose the exploration that leads to new language and new questions, to insight and revelation. A thorny process is in fact the point.
How is technology changing the way we reach readers and shaping the way we write? What’s lost and what’s gained as literary culture goes digital? And how will literature continue to connect us to meaning, deep thinking, and our humanity?
The editorial director of One World discusses writing and publishing in service of freedom, what she’s looking for in a book and what turns her away, and the part of an agent’s query she does not read.