The Creative Nonfiction Podcast with Brendan O'Meara

"I really love this medium. I think cartooning is an incredible medium. There aren't a lot of rules. You can, if you can, really make it up. You can make it suit you," says Roz Chast a cartoonist and artist whose work routinely appears in The New Yorker. So today we have Roz Chast . You know Roz Chast, and if you don’t, quite frankly I hope we never meet. She’s a long time cartoonist for The New Y...

"God, I feel like I'm still enduring that, like it's this sort of ongoing thing where I'm not sure I ever if I'll ever get to a place where I feel like my work and ambitions for the work and daydreams about writing and art-making ever meet my taste," says Patrycja Humienik. For Ep. 485 we've got Patrycja Humienik. She’s a poet and her debut collection is We Contain Landscapes and it is published b...

"I am tyrannical about noise and about quiet. I don't feel that I can control the amount of mess I make. I mean, I know I can, but I kind of can't. And there's just so many things about my character that are really detrimental to having a writing process, which I need, and it's just so opposed to everything that's going on in my disgustoid little spirit," says Rax King, author of Sloppy. As I tell...

"That is the main difference between storytelling for the ear and writing, is that the cost of revisions is so much higher," says Julia Barton. We have Julia Barton. Julia was the third hire, I think I have that right, with Pushkin Industries, the podcast giant founded by Malcolm Gladwell. She was the executive editor of Pushkin and helped develop Revisionist History and Against the Rules, the lat...

"You have to finish it out. You have to report it, even if it's financially a terrible idea," says Matthew Wolfe. OK, it’s that Atavistian time of the month so we’re here to talk about Matthew Wolfe’s “The Talented Mr. Bruseaux: He made his name in Chicago investigating racial violence, solving crimes, and exposing corruption. But American’s first Black private detective was hiding secrets of his...

"Listening to podcasts, it's like, how do I start making them?  That's been my approach, essentially try and take that beginner mindset into anything and try to teach myself new skills," says Mark Armstrong. Who do we have today? It’s Mark Armstrong! He is a producer, a writer, a singer, working at the intersection of storytelling and digital media. Does that make him intersectional? Hell, ye...

"Yeah, join the club of people who feel inadequate," says Dana Jeri Maier, a cartoonist and author of the graphic book on creativity Skip to the Fun Parts. This incredible artist is the author of Skip to the Fun Parts: Cartoons and Complaints About the Creative Process. It’s one of the best books on creativity because it deals with doubt, it deals with jealousy, it deals with ideas, it deals with...

"You're an outsider. And as you linger in that space, you start to become an insider ...  but you're still an outsider. Don't forget that, even though you know more about it, you're an insider and an outsider," says Jeff Sharlet about when he's reporting on, say, far-right religious groups. OK, we’ve got Jeff Sharlet, which is pretty stunning when you think about it. I mean, this guy is the a...

"I'm a guy who needs a lede. I need the lede to work. I need it to be compelling. And it doesn't have to be the best place to begin. It just has to be a place to begin that works and that amuses and sucks you in. I. So once I have a lede, then that will lead to another place," says Nick Paumgarten. Wow, so today we have Nick Paumgarten and can I tell you something? Nick has long been my favorite N...

"It's honestly one of the biggest gambles I've taken in my career," says David Howard, the journalist behind "Conversations with a Hit Man," this for the Atavist Magazine. David is a journalist and author, and in this conversation we talk about: Nonverbal stuff, so the importance of doing this stuff in person The grand puzzle of a piece Looking for stories to believe in Keeping his mind as clear a...

"The story is the horse, and the writer is the rider of the horse, and you as the editor, need to help guide them along. And if the rider starts to fall off, you put them back on, and it's your job to lead them safely into the barn. At no point should you shove the rider off the horse, get on yourself and ride it into the distance," says Amanda Heckert, executive editor of Garden & Gun. Amanda...

"If you don't cultivate other interests or travel or spend time with friends, this and that, you don't have anything to write about," says Dane Huckelbridge, author of Queen of All Mayhem (William Morrow). Dane returns to the show to talk about his latest book, but also a smattering of other juicy writer topics such as: Procrastination Writing around the uncertainty Not having much of a routine Sp...

"One of the things I've done is to reconfigure the fireworks. The fireworks for me now are getting to have this thing off my desk so I get to work on something new. That's the firework," says Yi Shun Lai, an author, writer, and instructor. Our occasion for this show was an essay she wrote for Writer Magazine about "arrival fallacy," this notion that once we get "there," wherever "there" is, we wil...

"I would say my books are about three quarters research and sort of mining my research, and then one quarter writing," says Hampton Sides, author of several New York Times bestselling works of narrative history, including his latest, now in paperback, The Wide Wide Sea. It's published by Doubleday. So Hampton was great. There was a moment halfway through where my dogs got to barking, then howling,...

"I talked to my wife, and she was like, 'You're probably tired. You've been writing this book non stop for six months, and you probably just need a break. Like, go get a gelato and chill out.' And I was like, 'I can't,' then I was like, 'All right, fine, I will.' And then I  ate a bunch of ice cream and watched the Pam Anderson documentary on Netflix in the middle of the day. And after, I don...

"We are sort of drinking from a fire hose of content right now. And it makes me wonder, because I feel like I'm stuck on this wheel that I have to produce all the time. Do I even want to write for money anymore? I don't know," says Cassidy Randall, author of the book Thirty Below, and back for her second Atavist story "The Longest Journey." Writing is in her bones, so she's not quitting, but the f...

"I've also learned in this rewilding experiment that so much of our time as writers takes place off the page, as we're thinking about our concepts, as we're doing research, and when I actually do come to the page and have a chance to actually type out these ideas, I've done so much pre-writing over the course of the previous season that that draft comes really easily to me," says Megan Baxter, aut...

"I don't feel envy. I don't think. Maybe in some deeper and maybe even more troubling psychological level. I do feel competition with with people, competition over resources, trying to claim certain ideas, stake a claim to certain ideas before other people can, especially when you're working with the subject that's in the public sphere. You don't have any personal, any real wider claim to somethin...

"I genuinely feel that those of us writing books need to remember that we are writing them simply because we feel the desperate need to write that particular thing. And unless I feel that way, I shouldn't be writing it because it's not for the financial benefit. It is not because it gives me more time to do things with other people. It doesn't matter how many books or lengthy features you write, i...

Will Bardenwerper grew up playing baseball and even was a member of his college team at Princeton. As a result, he has a great perspective to write about baseball as he does in Homestand: Small Town Baseball and the Fight for the Soul of America (Doubleday). That soul, in this book, is partially under attack from private equity firms gobbling up and eradicating minor league baseball teams. It's ju...

"Mythology can be really a dangerous thing, because  mythology feels like it can't be changed, or it's always been something," says Katie Goh, author of Foreign Fruit: A Personal History of the Orange (Tin House Books). Katie Goh is a writer and editor based out of Edinburgh, Scotland. She’s also the author of the slim book “The End: Surviving the World through Imagined Disasters” about disas...

"You want to be able to nab the details, but then you also want to be able to tell the story of why this matters and who's harmed by this, and finding the harm is oftentimes the hardest part of investigative reporting," Miranda Green, an investigative reporter. Her latest piece is for The Atavist Magazine titled "All That Glitters" about the seedy underbelly of diamond sales, crypto, and sports ti...

"We're sadistic motherf*ckers," says John Glionna, @johnglionna on the Instagrams. John is a longtime journalist and author of No Friday Night Lights (Bison Books). He made a name for himself at the Los Angeles Times pursuing what would be called "Glionna stories," stories about invisible people who have rich lives all their own.  In this episode we talk about The Glionna Story How John didn’...

"It's kind of a mix of reporting to the very last minute to put off writing, and then when I have to write, having a panic attack, and then, like, booking a hotel room for a week and not leaving that room. This is the thing I have done until I figure it out," says Leah Sottile, in a live event at Gratitude Brewing. She is the author of Blazing Eye Sees All: Love Has Won, False Prophets, and the Fe...

"I'm much more interested in how a person achieves something than in what they specifically achieved," says Debbie Millman, the "Pod Mother" and OG podcaster, twenty years in for Design Matters.  She's also the author of the new book Love Letter to a Garden (Timber Press). In this episode, we talk about: The 20 year arc of Design Matters What people she’s most drawn to How she views the narra...