Scott Phillips is the author of three of the most highly acclaimed crime novels of recent years. His debut novel, The Ice Harvest, was a New York Times Notable Book of the Year and won the California Book Award, a Silver Medal for Best First Fiction, and was a finalist for the Edgar Awards, the Hammett Prize and the Anthony Award. It is now a major motion picture from Focus Features. Its followup The Walkaway continued his success, with The New York Times calling it “wicked fun.” His third novel, Cottonwood, is now out in paperback.
Born in Wichita, Kansas, where much of his first two books are set, Scott lived for many years in Paris, and then in Southern California, where he worked on screenplays. Those who frequent Showtime in the middle of the night may see his name on Crosscut (1996). He now lives in St. Louis with his wife and daughter.
Sophie Littlefield grew up in rural Missouri. Her first novel, A Bad Day for Sorry, won an Anthony Award for Best First Novel and an RT Book Award for Best First Mystery. It was also shortlisted for Edgar, Barry, Crimespree, and Macavity Awards, and it was named to lists of the year’s best mystery debuts by the Chicago Sun-Times and South Florida Sun-Sentinel. Sophie lives with her husband and two teenage children near San Francisco, California.
SL: A while back we were talking about whether every writer secretly wants to be a musician. You, and a few other writers I admire, keep wandering over into other media like untethered goats. Why do you think we’re so distractible? I mean, symptom or cause?
SP: It’s that urge to use a different part of the brain, I think. And there’s also the urge to make money, and sometimes other media just beckon. I’m doing a novel in France called Nocturne le Vendredi, which is going to be a TV movie sometime in the next couple of years, so there’s an example of a project existing in two media at once. And then I’ve been playing music as long as I’ve been writing, but in my case it’s mostly been closer to performance art than real music, because I’m not very talented. I’m very envious of my friends who are real musicians, though.
I also go back and forth between genres, which is something you do as well. Do you think you’d go nuts writing the same kind of book over and over again, the way some people do quite successfully?
SL: Uh, yeah . . . and I’m amazed that not everyone feels this way. I was talking to some writing friends, and the question came up: if a publisher offered you a million dollars a book, with the stipulation that you could write only in that genre, would you take it? Truly, I don’t think I could do it.
I have attention challenges. But I have to say, some of the most fascinating people I know are unfocused. Or scattershot-focused. Or going in ten directions at once. Really, I think part of the problem is that all the language we have to describe such a state is pejorative . . . I have a friend who takes a lot of work to keep up with; he’s probably unintelligible to the casual listener. But he’s made the point that by trying to medicate kids (and adults) into a state of uniform mental processing, we bridle and quash the skills that are necessary for certain endeavors — among them writing. Which is not to say that beautiful writing only unfurls from an unquiet mind . . . but that such a state of affairs should not, for some, be discouraged or mended.