Greg Baxter. Photograph: Alan Betson Greg Baxter in Dublin: ‘Writing affords me the opportunity to be alone. I want to be reading books and writing books, and the internet, Twitter, all that stuff just distracts me.’ Photograph: Alan Betson

When writing his latest book, Munich Airport, Baxter put everything he had into it. The journey into a horrible death, scattered f(...)

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

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