I don’t like talking about “how to write fiction.” I don’t like “craft” terms. Discussions about craft reinforce what feels to me to be an institutionalized paradigm for fiction dictated by the publishing industry. When I think of “narrative,” conventionally speaking, my mind refers to this: a character (with thoughts, feelings, instincts, will, an archive of experience and habituated mannerisms) appears in an environment. A situation, usually borne out of conflict or desire, presents itself. The character does something. Oftentimes the outcome is compromising. Drama ensues. A new aspect of the character is created out of adversity. The character does something else. The effect births a new reality. The character has been changed. It’s all very reasonable. It’s also very limited. In my writing, I like to use the mainstream paradigm and fuck with it to point out its limitations. I’ve found that this is one way to expand consciousness without alarming people of their own delusions too violently.

OTTESSA MOSHFEGH