JH: In a lot of ways, I was a critic before I was novelist. There’s a lot to be said for dramatic irony, but sometimes there can be too much dramatic irony for a novel’s own good.ĮA: What excites you most about the craft of writing? How has your approach to teaching shifted over the years? The reader knew pretty early on that Spence had dementia, and was just waiting for Pru to catch up, and that waiting period wasn’t very interesting. For 200 pages, Pru refused to recognize what was staring her in the face, which made her seem more obtuse than she was and drained some of the tension from the novel. As one example, I don’t generally like “big-reveal” novels, but in an early draft of Morningside Heights I didn’t listen to my own advice and it took me too long to get to the Alzheimer’s diagnosis. Joshua Henkin: I’m not a big believer in rules, though I do think there are some general principles worth thinking about.
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