John Banville: ‘For my Banville novels, the question of voice and point of view hardly arises, since they’re all in the first person. The Benjamin Black books are entirely in the third person, which allows for multiple points of view.’ Photograph: David Levenson/Getty Images

John Banville, Rachel Kushner and Peter Murphy share their wisdom on tone, voice and point of view

Review: The Price

This isn’t Arthur Miller’s finest work, but this Gate production doesn’t leave the audience short changed

Authors Willy Vlautin, Catherine O’Flynn and Paul Lynch convey a strong sense of place

Willy Vlautin, Catherine O’Flynn and Paul Lynch discuss the importance of a novel’s setting

Jenny Offill: fragmented observations

Jenny Offill’s brilliant, risk-taking novel portrays the conflict between routine and obligation pitched against all the other thi(...)

Keith McErlean and Rebecca O’Mara

How does Brian Friel’s 1979 play about a Troubles-era dysfunctional family hold up?

Jon McGregor, Evie Wyld and Donal Ryan

Deciding on a shape for your book can give you confidence and freedom

Michael Cunningham: ‘There’s only one story about people’s relationship with drugs: that it’s foolish, that it’s about escaping from reality, and you have to stop right now.’ Photograph: Ulf Andersen/Getty Images

In his new novel, the author of The Hours set out to avoid the tropes of fictional drug-taking. He talks about how Aids created ne(...)

George Saunders, Paul Murray and Irvine Welsh. Photograph: David Shankbone

George Saunders, Paul Murray and Irvine Welsh on dialogue

Jojo Moyes, Sam Lipstye, Lia Mills, and John Connolly

Tightly wound or free-flowing? Well charted or twists and turns? Jojo Moyes, Sam Lipsyte, John Connolly, Lia Mills and Tana French(...)

More articles