Interview with Author Stephanie Feldman

Stephanie Feldman Interview

1.     Thank you so much for joining me! For those who don’t know you, could you please introduce yourself and tell us a little about your work?

I’m a Philly-based fiction writer. My first novel, The Angel of Losses, draws on Jewish folklore and history to tell a story about two sisters struggling with their haunted past. My second novel, Saturnalia, veers closer to horror, with alchemy, monsters, and secret societies, and a young woman trying to reclaim the future that was stolen from her.

Author Stephanie Feldman

2.     Congratulations on your upcoming release Saturnalia! Could you please tell us a bit about the story and what the inspiration for this book was?

My first inspirations are always stories. When I sat down to write Saturnalia, I was thinking about the conspiracies in Foulcault’s Pendulum and the doomed partygoers in The Masque of the Red Death. I also wanted to write a story that takes place over one night and use Philadelphia (my hometown) as a setting.

The other big inspiration—or perhaps driving motivation—was the uncertainty of the past five or six years. Society began to feel unstable in a way that was new to me. What happens when we can’t trust our institutions and networks, when we’re afraid of what tomorrow might bring? Will we work together or fend for ourselves? Will we strive for survival or will we give into hedonism? These are the questions driving my characters.

3.     If Saturnalia were ever made into a movie, who would you like to cast as the protagonist?

All actresses interested in playing my main character, Nina, are welcome to contact me! Nina is a particular person, of course—a mid-20s woman from a humble background, someone who has long struggled with her fear of being left in the background. But I like to think her struggles are also universal—ambition vs. self-doubt, pride vs. shame, love vs. fear. It would be exciting to see an unexpected interpretation of her.

4.     Are you a “pantser” or a “plotter” in terms of organizing and writing your stories?

I can’t finish a draft without a plan. For me, an outline is both a critical thinking and generative tool: it helps me consider the heart of my story and brainstorm meaningful and exciting moments for my character. Of course, I always stray when I write, following new idea. Then I create a new outline before tackling the next draft.

5.     In addition to writing, you are also an editor. What is one editing tip that you can pass along to writers that you feel is invaluable to writing success?

Editing your own work is tough. I always get feedback from trusted readers—and I listen to it. Sure, sometimes a critique is off the mark, but if a reader is stuck on something, it’s worth sitting with and considering.

I always read my own work out loud. That’s not a new tip, but it’s worth repeating, because it’s such a miserable task that we often dismiss it. It’s tedious and sometimes emotionally challenging, but if you’re able, it’s well worth the effort. I hear so many things that my eye misses, from repetition and rhythm to plot elements.

 6.     There’s a lot of debate in the indie writing world about the value and/or necessity of earning an MFA in Writing. What would you say is one advantage to having an MFA? Are there any disadvantages you’d like to discuss?

 I may have an unusual perspective. I don’t have an MFA but I do teach in an MFA program. I see so many benefits for my students: consistent writing and feedback, developing a critical perspective, building relationships within and exposure to the industry. Many students value the program because it forces a sustained practice—submission deadlines, assigned readings—and demands a finished manuscript.

On the other hand, not all writers are born to thrive in an MFA environment, and there are plenty of opportunities to take classes and meet writers outside the academy. I’ve taught amazing students through the independent writing program Catapult and built friendships at conferences.

The other major consideration is cost. Publishing income is fickle and teaching positions are scarce. The return on investment here is personal, not financial (at least, not immediately or dependably). For some writers, it’s absolutely worth it, but for others, it won’t be. And there are MFA programs that offer funding, or tuition-free enrollment.

7.     Where can people find you online?

I hang out on Twitter at @sbfeldman and Instagram at @stephanie.feldman. You can also check out my website and mailing list for news on Saturnalia, upcoming events and classes, and coaching and editorial services.