What was most exhilarating for me, editing this book, was “the hunt,” discovering a new author or story that took me to a fresh place.
I try to write something new at least 3 to 5 times a week, and I tell myself that it doesn’t have to be good.
Lovepain is a short, easily digestible, novel, but that doesn’t mean that it isn’t sophisticated or complex.
Everything I write is part of a life-long continuum of work that informs each other, and if I look at something I’m working now, I’ll see its origin in something I was thinking about maybe twenty or thirty years ago.
Listening to the Beach Boys can be like sneaking a peak into a mythological, idealized version of America that probably never existed
“I don’t know if I’d say that writers “owe it” to be involved in their communities, per say. But I think it’s one way that we can connect to other people and defeat the stereotype that writers prefer isolation/solitary existence.”
Like many of the entities and structures in the stories, I, too, am trying to figure something out or get something straight.
Northeast, Pennsylvania is becoming increasingly important in my work.
[Earlier work is] like seeing an old photograph. Yes, that’s me all right, but I’m not sure I’m that person anymore.
Richard Fellinger is an award-winning short story writer and former journalist who teaches writing at Elizabethtown College in Pennsylvania. His story collection, They Hover Over Us, won the 2011 […]