My first encounter with Staci Greason’s writing was in the fall of 2020 after we met at an online feature-script retreat organized by CineStory, a screenwriting-focused arts organization. I read her screenplay Treed and was particularly impressed by her assured comic touch and her ability to write about complex themes—environmental conservation and marital anomie, in this case—without being heavyhanded. She had also written Treed as a novel—albeit with a different title, The Last Great American Housewife. Soon after we met at the retreat, Greason, who has also acted, sold a different novel, All the Girls in Town, to indie publisher […]
Q&A with Staci Greason: ‘All the Girls in Town’ and Making the Grief Bearable
by Christine Sneed
