Abby Sher, MISS YOU LOVE YOU HATE YOU BYE

Abby Sher, MISS YOU LOVE YOU HATE YOU BYE

Abby: This book is about a sixteen-year-old girl named Hank, short for Hannah Louise, and her best friend Zoe, who is self-destructing. Hank has to decide whether she can save her or if it's better to walk away. I've been toying with not saying this, but I didn't want to write this book. [laughs] This was like the last thing I wanted to write, but it kept on coming out. All my characters were kind of skirting the issue of an eating disorder and self-destruction. Then my daughter, about a year ago, came home one day and said, "I saw this thing on YouTube where people want to be skinny so they make themselves throw up." I just lost it. Then I knew that I had to write this book. I think that there's been a lot of books about the process of going through a disorder or an addiction, but not as many about being a friend watching it happen and not knowing what to do about it.

Chris Bohjalian, THE RED LOTUS

Chris Bohjalian, THE RED LOTUS

Chris: I will ride 3,500 miles a season in Vermont on my bike. When I decided that I wanted to explore a novel in Vietnam, it seemed natural to research it on my bike. I do my best work, in some ways, on my bike. I don't recall who said this, but someone once said the most important tool a writer can have is a walk. For me, it's a bike ride. I do so much thinking about my characters. Who's going to live? Who's going to die? What are their anxieties? What are their dreads? What is their heartbreak? I've pulled over on the side of the road on my bike so often and written whole scenes on my iPhone.

Malcolm Hansen, THEY COME IN ALL COLORS

Malcolm Hansen, THEY COME IN ALL COLORS

Malcolm: I have a very quirky relationship with the whole -- I wasn't an early reader. My father, I felt, was a very heavy-handed father. Both his activism, his politics, and his ideas about schooling were things that I resisted, I think, by nature. I'm a very resistant person. I have to kind of come to certain realities on my own. Early on, I resisted them. Then sure enough, I came around. Then I began to see the light in its ways and then became quite a heavy reader. I always felt like I had something that I wanted to write, but I lacked the courage to do it. It took me going on a professional route after I graduated college and seeing the flesh and blood of what the realities of the professional life looked like, even for a business or a profession that was valued and supposed to be exciting and new. I'm referring to internet and software in the mid-nineties. I was very disillusioned with it and didn't find much meaning in it and figured that if I was going to be miserable, I may as well be miserable pursuing my dreams. I think that was the first step.

Stephanie Wrobel, DARLING ROSE GOLD

Stephanie Wrobel, DARLING ROSE GOLD

Stephanie: I first found out about Munchausen by proxy, which is what Patty has, from my best friend who's an elementary school psychologist in Colorado. She unfortunately has experience with this syndrome through her work with her students and their parents. She told me about it. I was immediately riveted and horrified. I went down this rabbit hole of research. I was really surprised to find that the perpetrators are typically women, and often mothers. We think of this mother-child bond as sacred, but it's not in these cases. I wanted to explore why that was. Even though Rose Gold is the titular character, it was really Patty who I was interested in getting in her mindset, figuring out, does she know that she's lying? Does she honestly believe she's doing what's best for her kid? It was the why behind these people's behavior.

Anne Bogel, DON'T OVERTHINK IT

Anne Bogel, DON'T OVERTHINK IT

Anne: When I started writing, I thought that I would write the things I knew about and the stories that I had that I wanted to tell. I've realized over the year that I write to figure out a certain topic or I write to figure out what I think, this is a topic, as you know, as you've read, this is a topic that has mattered to me for a long time.

Jenny Lee, ANNA K: A LOVE STORY

Jenny Lee, ANNA K: A LOVE STORY

Jenny: Anna K is a novel that is a reimagining of one of my favorite books, which is Tolstoy's Anna Karenina. I took the same sort of plot structure, but I moved it to modern-day using New York City and Greenwich, Connecticut, instead of Moscow and Saint Petersburg. In 2012, I was in New York City for Christmas with my mom. The Joe Wright version adaptation of Anna Karenina came out with Keira Knightley as the star. We went to see it at the Ziegfeld. It's so sad it's closing. We went to see it. We had this magical time. My mom had read the book in Korean and in English. I had read the book twice by then. We were talking about it. We had this great discussion about it and how tragic it was for the ending of Anna. Then I just kept thinking what it would be like in modern day. Then later that night, I couldn't sleep. I snuck down to the lobby of the hotel. I just was like, oh, my god, Anna Karenina is a book about first time, major time, that you're in love. If you wanted to translate to modern day, it needed to be teenagers now because obviously in the late 1800s in Russian society, they were all in their twenties and thirties. Now the first time you usually fall in love is when you're a teenager.

Cécile David-Weill, PARENTS UNDER THE INFLUENCE

Cécile David-Weill, PARENTS UNDER THE INFLUENCE

Cécile: The point of the book was to share my experience as a parent and to have it cross-examined by the specialist to which I talked during the very serious research I did for years. I put all this in very regular mom words. The book is about the huge gap between the usual stuff we're told about parenting, things like all you need is love or trust your gut, and the reality of parenting which I found out from my own experience is much more complicated, anyway for me. Of course, love is totally indispensable. It's crucial, but it's not enough. You need also, as in any relationship I think, guidelines and advice and work because love can hurt even if it's well-intended. As for the gut part, I thought it was the expression of our love for our children when I was thinking, trust your gut. In fact, I found out that it is more the reproduction of our own upbringing.

Jan Eliasberg, HANNAH'S WAR

Jan Eliasberg, HANNAH'S WAR

Jan: Hannah's War started with a very, very tiny inspiration but an amazing story that I read in The New York Times on the headline on the day that we bombed Hiroshoma, read "Truman vows rain of ruin. Atomic bomb explodes." In that issue of The New York Times, they basically had to explain the whole history of this project because it had all been developed in secret. Under the fold, I saw a paragraph that said the key component that allowed the allies to develop the bomb was brought to us by a female, non-Aryan physicist. That was The Times's way of saying Jewish, which they couldn't say at the time. I read that and I thought, how is it possible that I haven't heard of this woman? Who is it? She's clearly critical to this, to the atomic bomb. Yet there was no name, nothing. It was just that sentence. It sent me into basically ten years of research, not to find her. Once I understood that there was this woman, I actually found her fairly easily.

Kate Elizabeth Russell, MY DARK VANESSA

Kate Elizabeth Russell, MY DARK VANESSA

Kate: I started writing it when I was a teenager. What drew me to this story then, though it took a very different form back then, but that was around the age I started to become aware of how teenage girls were sexualized in our culture. That was confusing, being a teenage girl myself. Writing fiction was my way of making sense of that. That was sort of the seed of it, how it started. Then over the years, draft after draft has evolved. I had a real breakthrough around my thirtieth birthday which coincided with starting a PhD program in creative writing. It was then that I figured out this present-day plot line of another student coming forward and accusing that teacher. Once I figured out that plot line, it gave me the answer to this question of, why tell this story now and what is propelling this story forward? It gave the whole narrative a sort of urgency. Then after that, Me Too started to happen, which is I guess a whole other conversation. That was one of the most surreal things about the writing process, was arriving at this plot line and then seeing something really similar play out in the real world at the same time.

Glory Edim, WELL-READ BLACK GIRL

Glory Edim, WELL-READ BLACK GIRL

Glory: This all started from me developing this community, Well-Read Black Girl, online. I had this love for books that I had read in my childhood and at my college, Howard University. I wanted to share that same feeling of being this well-read, educated, vivacious, curious black girl in the world. I felt like there weren’t enough representations of black characters. By starting a book club, starting this online platform on Instagram and Twitter, I was able to pull everyone together. We were just sharing the love of our first books, whether it was Toni Morrison or Alice Walker or Maya Angelou. We were having these great conversations about what it means to be in a black woman in the world and what it means to be sometimes feelings a little bit isolated and how we can come together and change the perceptions of what it meant to be a black woman. It really, really started because my partner made me this shirt that said Well-Read Black Girl. I would wear it on the subway. People would start having conversations with me and talking to me. I was like, there is something here. I want to really elaborate and expand what this means to be a well-read person. Now it's turned into this whole literary movement from that one shirt and that one idea. It's really grown into this whole other new experience.

Brenda Janowitz, THE GRACE KELLY DRESS

Brenda Janowitz, THE GRACE KELLY DRESS

Brenda: The Grace Kelly Dress is about an heirloom wedding gown and three generations of women whose lives are influenced by this dress and changed by the dress. It takes place in three different timelines, which is something I've never done before. In 2020, we see our modern bride. She's under pressure from her mom to wear this heirloom gown. In 1982, we see the bride's mother who's really excited about wearing the dress herself. She's gearing up to wear the dress and make it her own. Since it's 1982, you know that means Princess Diana sleeves, of course. [laughs] Then in a little twist in 1958, we see the dress being made. We see the seamstress's life and what she's going through as she creates this dress. It's really a look at an heirloom item and three generations of women and how things have changed throughout time.

Caitlin Mullen, PLEASE SEE US

Caitlin Mullen, PLEASE SEE US

Caitlin: Please See Us takes place over the course of a single summer in Atlantic City. At the beginning of the novel we learn that the bodies of two women are hidden in the marsh behind this seedy Atlantic City motel. No one knows they're there, even that they're missing. Then we meet Clara. Clara is our first main character. She is a recent high school dropout. She's working as boardwalk psychic. She and her aunt run this shop, but they're having trouble making ends meet. The casinos have been shutting down. There haven't been as many tourists in Atlantic City. Clara also starts having these disturbing, violent, powerful visions. She doesn't understand what they mean or where they're coming from. Then we meet Lily. Lily's our second main character. Lily has recently moved back to Atlantic City after starting her career in New York City in the art world. That all fell apart in one disastrous, ill-fated evening for her. She's working as a receptionist at a casino spa. Lily and Clara set out to try and figure out what Clara's visions might mean. What is happening to women in Atlantic City? Is there any way they can possibly help these women?

Laura Zigman, SEPARATION ANXIETY

Laura Zigman, SEPARATION ANXIETY

Laura: Separation Anxiety is about a couple who can't really afford to get divorced, and so they have to live together and stay in the same house. They live in separate parts of the house. The cover for their newly teenage son is that one of them snores. Of course, it's Judy who snores, but she claims that it's Gary who snores. He sleeps in the basement in a spare bedroom. It's also about Judy who has gotten to a point in her life at fifty, where a lot of us get at that age, where loss seems to be the prevalent thing. She's lost both of her parents. Her career has gone downhill. She can't seem to get things going. Obviously, her marriage is challenging. Her son is now a teenager who becomes the typical quiet, secretive, kid that she can no longer snuggle. In that emotional space, she one day looks at the dog and decides to start to wear the dog in an old baby sling that she never even wore her son in. She was cleaning out the basement to try to declutter and suddenly finds a sling and thinks, oh boy, I'm going to put the dog in there. That's her form of self-comfort.

Jewell Parker Rhodes, BLACK BROTHER, BLACK BROTHER

Jewell Parker Rhodes, BLACK BROTHER, BLACK BROTHER

Jewell: I had this policy that when I was writing as the kids were growing, that I would leave my office door open. I actually got this from Toni Morrison because there's a picture of her trying to write and edit at Random House and her children are toddling and crawling along the floor. My theory was that any task of mine writing that couldn't withstand the interruption of a child, then the idea wasn't good anyway. You know what I mean? [laughter] The kids would come in and out. True enough, the ideas that really had legs would stay with me. I would continue writing them.

Meng Jin, LITTLE GODS

Meng Jin, LITTLE GODS

Meng: Little Gods is a story about migrations, migrations through time, place, and class. It is centered around a Chinese woman physicist named Su Lan. The seed of the idea, which was in the opening scene, came to me maybe six years ago. That was the idea of a child being born on the night of June 4th, 1989 in Beijing and her father disappearing that night. Very much like the reader, I didn't know what had happened to this child, who she was, and who her father was, and why he had left. I spent some years trying to figure that out through many abandoned drafts. [laughs] Then the book really came together for me when I realized that Su Lan was going to be this intentional absence in the narrative and that the narrative would revolve around her.

Joanna Guest, FOLDED WISDOM

Joanna Guest, FOLDED WISDOM

Joanna: Folded Wisdom is an illustrated story. I like to throw in the word illustrated to give people a sense of how much color is in the book. It's the story of the morning notes my dad wrote to my brother Theo and me every morning before we went to school. The notes started in '95, not to give away our ages or anything, but they started in 1995 when my brother was in preschool and I was in the second grade. They continued every school morning from then until we both graduated from high school. The book is obviously centered around my dad and the story of how he managed to write these notes and what the lessons were inside. I would be remiss if I didn't shout out the unsung hero of the whole thing who's truly my mother who managed to, after all these years, save them somewhere in the house. My mom sifted them all out and somehow - I think my back-of-the-envelope math says that he probably wrote us like 4,800 notes. We have a little more than 3,500. It's very wild.

Alexandra Silber, WHITE HOT GRIEF PARADE

Alexandra Silber, WHITE HOT GRIEF PARADE

Alexandra: White Hot Grief Parade is a memoir about the six months around the death of my father when I was eighteen years old. Beyond that plot point, I tell it in a very up-to-the-moment blogger voice. I break all the rules, I think, of writing memoir. There's a maze. There's a word search. There's things that are written as plays as well as more traditional prose. I think that's the parade. It's that when you're in the middle of a grief storm, it feels like one thing after another is hitting you. I wanted the style of the book and the format of the book to reflect that bombastic experience. It really focuses on my relationship to father, obviously, my relationship to my extended family. The real stars of the book are my remarkable eighteen-year-old friends and my mother. This point at the crossroads of childhood and adulthood, what does one do when they're hit with this thing that every culture fears the most? It doesn't even matter what animal you are, actually. Every time period, every era, every socioeconomic class, every language spoken fears losing someone they love. Yet it's this thing that we don't talk about very often. We don't talk about it very well when we do talk about it. On top of all of that, there aren't a lot of resources for people in between childhood and adulthood. I wanted to make a point that young adults are remarkable. The big question of the book, I hope -- I don't necessarily address it directly, but I hope it emerges. What does it mean to stand back up? We hear so many books about how bad things are, chapters and chapters and chapters of describing the bad. Then you get this fast-forward moment where it's like, ten years later, here I am and I'm fine. But what happens in that fast-forward? What is it like to stand up? This book, hopefully, is an homage to that because it's very universal.

Suzanne Falter, THE EXTREMELY BUSY WOMAN'S GUIDE TO SELF-CARE

Suzanne Falter, THE EXTREMELY BUSY WOMAN'S GUIDE TO SELF-CARE

Suzanne: When I talked to really busy women, women with small kids who were also working full time or sometimes even super busy retirees, remarkably, they all kind of had the same issue. We have this inner dialogue about how we have to push and strive and achieve and do more and more. Teal was all about undoing and being very present. One of the things she wrote on many pages in this journal was "Be, and you know" or "Just be." She used to say that to me. She’d be like, "Mom, just be." Needless to say, I had no idea what she was talking about it. It was very funny, that whole "Just be" thing. Now what I really know is that I am here to do this healing work because I've gotten so much out of it. My life is dramatically different. I'm in a great marriage now and living a blissful life. I can only put it that way. There's balance. I had to learn how to slow down and tune in and listen to myself and be able to answer the question, what do you need right now? a remarkably difficult question for some of us to answer.

Dolly Alderton, EVERYTHING I KNOW ABOUT LOVE

Dolly Alderton, EVERYTHING I KNOW ABOUT LOVE

Dolly: I've always had lots of different things on the go in my early twenties. In my twenties, I had an actual grown-up office job where I was a TV producer. Then I was a freelancer writer in the evening and at weekends. Then I went solely over to freelance writing when I was twenty-six. Beyond that, I started a podcast four years ago. Then I did a newsletter for a while. Then I also was writing scripts. I've always wanted to straddle lots of different types of writing and conversations and interviewing formats. One wasn't really enough to keep me stimulated initially. I'm like that across every aspect of my life. I've always been someone who really just wanted to do it all intensely and feel a lot, a lot of the time. I really channeled a lot of that ravenousness into pursuing lots of different avenues with work.

Sara Shepard, REPUTATION & PRETTY LITTLE LIARS

Sara Shepard, REPUTATION & PRETTY LITTLE LIARS

Sara: Just keep at it. Try to crash a Christmas party if you can. [laughter] Try to get in there how you can. I just think persistence. I have been rejected many times. Even as an author of many books, I will pitch ideas to editors and they will reject. You have to kind of get used to rejection because it's going to follow you through your life. Also, read as much as you can. Write as much as you can. Don't be afraid to show your work to people. For so many years, I was afraid to show anybody what I would write. A critique is a good thing. It helps you learn. Just keep at it. A lot of people ask, you're sitting down, and do you ever get writer's block? What is that like? To keep from writer's block, you just have to keep going. You have to keep writing. Even if it's bad, just get something out. Just type something. You can always fix it later. I have many, many days where what I write, I feel like, is terrible. Then I come back the next day and it's like, oh, well I did at least write five pages. That's something. I think a lot of people just sit down at the computer and think, my first sentence needs to be perfect. My next sentence needs to be perfect. They don't. They can be terrible. You just have to get something there. That's kind of how you build a book. It's not always fun. You just have to keep doing it.