We’re joined by the author of three books—most recently, Salmon—to talk about a very strange, and strangely funny, novella.

We're joined by Libby Cudmore--author of the "hipster mystery" novel The Big Rewind--to talk about her experiments in flash fiction, her relationship to genre, and why she loves Dave Housley's LOONEY.

We're joined by fiction writer Sarah Anne Strickley (Incendiary Devices) to talk about what it's like to be one half of a literary power couple. Plus a strange Brian Evenson novella, Sarah's path toward weirdness in her own fiction, and whether the Iowa Writers Workshop will live inside our heads forever.

We're joined by the founding editors of Great Place Books--Emily Adrian and Alex Higley--to talk about why they started a new press, and the kinds of books they're hoping to publish. We also discuss Rivka Galchen's short story, "How I Became a Vet," from a recent issue of The New Yorker.

We're joined by Nic Brown, author of several books, most recently the memoir Bang Bang Crash, about his life as a rock drummer. Nic was also a grad school classmate of ours at the Iowa Writers Workshop, so we decided to revisit Stop-Time, the famous memoir by Frank Conroy, who was in his final years of running the program when we were students there.

We're joined by John Cotter, author of the memoir Losing Music, out this week from Milkweed Editions. The book is about an incurable inner-ear disorder that came on suddenly, and inexplicably, and how John has had to reckon with the gradual loss of his hearing, and the host of other issues that brings with it. John picked a famous Maxine Hong Kingston essay for us to read, one that offers an interesting model for writing about what we don't know.

Return guest Christopher Gonzalez (I'm Not Hungry But I Could Eat) joins us to talk about the difference between gay stories and queer stories, writing long, and how not to be a creepy weirdo on Twitter.

We're joined by fan favorite Laura McGrath, who is back on the show to help us understood the cultural phenomenon that is Colleen Hoover. McGrath, our colleague at Temple University, studies the business of literature--and teaches a class on best-sellers--but she hadn't read any Hoover until we forced her to do it for the podcast. So we hope you're appreciative, listeners!

We’re joined by the short story writer Art Taylor—winner of multiple Agatha awards, and author of two collections—to discuss an unconventionally structured story by Joyce Carol Oates. Art also teaches creative writing at George Mason University in Virginia, and we spend some time talking about how we approach structure with our students.

We’re joined by author Tod Goldberg to talk about what Elmore Leonard taught him about crime fiction

We’re joined by V. V. Ganeshananthan to discuss Horacio Castellanos Moya’s Senselessness, the first of his novels to be translated into English, and which a friend of hers recommended, several years ago, when she was deep in the throes of her own novel, Brotherless Night.

We’re joined by writer and editor Aaron Burch, whose novel Year of the Buffalo came out in November. Aaron is also a long-time literary editor, having founded Hobart in the early 2000s and, more recently, HAD, which has made “skull collecting” the newest badge of literary coolness. We talk about what makes a work of fiction feel dated–which may go against conventional wisdom–as well as risk-taking and having fun as a writer.

We’re joined by several of the Barrelhouse editors for our annual holiday episode. This year we’re reading the David Baldacci novel The Christmas Train, which follows a salty, Mark Twain-loving writer on a cross-country train trip filled with heartwarming hijinks.

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