The Book Case | Virginia Evans and the Art of Writing Letters
Host: Charlie Gibson, Kate Gibson
Guest: Virginia Evans, author of The Correspondent
Date: September 4, 2025
Episode Overview
In this episode, Charlie and Kate Gibson sit down with debut novelist Virginia Evans to discuss her book, The Correspondent—an inspiring epistolary novel that explores human connection, the complexities of loss, and the personal joys and challenges of letter writing. The conversation uncovers how Evans conceived the novel’s form, her inspirations, and the nuances of character development solely through letters. The episode also features a segment with Becky Dayton, owner of the Vermont Bookshop, and closes with a poignant reading from Evans.
Key Discussion Points & Insights
Introduction to The Correspondent and Epistolary Novels
- What is an epistolary novel?
- Charlie quizzes listeners: “What is an epistolary novel?”
- Kate defines: “An epistolary novel is a novel that is basically just pages and pages of letters. And somehow through those letters, you get a plot or a relationship that is complex or something of that nature.” (02:26)
- Immediate critical and commercial acclaim for the book; anecdote about its rapid sales at a local Barnes & Noble (01:39).
Inspiration and Genesis of the Novel
- Virginia’s motivation:
- “For me, it was the letters. I had read... 84 Charing Crossroad. And I found that book to... do something for me during that time that I needed, which was sort of a healing work or something. That just felt wonderful.” — Virginia Evans (05:53)
- Wrote the book she wanted to read, capturing the ‘healing, kind, human’ essence found in her inspiration.
Crafting Sybil van Antwerp and Her World
- Creating Sybil:
- Kate: “Just in the first couple of paragraphs, I know this woman and I know her... I know this woman. And the chances are, listeners, so do you.” (02:26)
- Virginia: “She’s blunt. I think she’s very kind and has a generous spirit, but she is... a little prickly... But at the heart of her, though, her heart is good.” (07:34)
- Character “arrived” to Virginia fully formed, with her “voice, her way of being” easily accessible as she wrote (07:26).
- Secondary characters:
- Virginia: “I’m not an outliner at all, really... it was sort of a matter of what kind of people would she be writing letters with... There’s a little bit of me in this character. I’m a big letter writer, and I would say I’m pretty bold... and people write back.” (09:33)
- Letter writing as both structure and constraint:
- Virginia started and ended with the intent to write an epistolary novel (11:01).
- Wrote for “play,” wanting to push the boundaries and depth possible in the form, striving for a “360 degree view” of a life through letters (11:01–12:29).
The Art and Challenge of Written Perspective
- Negative space and selectivity:
- Kate notes, “There are some letters you don’t see... how did you decide what to include or not?” (12:29)
- Virginia: “That the negative space tells as much about the story as the letters do.” (12:53)
- Aims for authenticity; avoids “shoehorning” plot into letters, trusting the reader’s intelligence (12:53).
- Distinctiveness of voices:
- “There are times when I can’t tell who’s writing, and I need to be able to tell who’s writing even before I see their signature at the bottom.” (Mentor’s advice, 15:15)
- Virginia discusses the difficulty of differentiating correspondents’ voices, especially those with varied backgrounds and native languages.
Realism and Legalities in Letter-Writing Fiction
- Including real people as correspondents:
- Joan Didion features as a correspondent: “Joan Didion’s work has been really instrumental in my life... And Joan Didion, being Sybil’s kind of ongoing corresponding partner, was in the very first draft.” (16:37)
- Mentions that legalities required her to remove living people’s voices (16:37).
The Ending and Its Emotional Payoff
- The final letter:
- The closing letter to Sybil’s former husband is a major emotional moment:
- Charlie: “That last letter... is searing. Not so much in what she says, but in the form of the letter.” (17:54)
- Virginia: “[They] tried to convince me to take it out . . . But I did fight that. We kept it... There’s a way that there’s grief at the end, that’s there’s something about the end that I think finds the book in balance.” (18:15)
- Kate: “Not only did I think she stuck the landing, but I thought, I think she stuck the landing in such a successful way that it was just, it was uniquely wonderful.” (21:40)
- The closing letter to Sybil’s former husband is a major emotional moment:
Notable Quotes & Memorable Moments
- On writing epistolary fiction:
- “Always when I’m starting to write a new book, I try to write the book I want to read.” — Virginia Evans (05:53)
- On character Sybil:
- “She’s a little prickly... She needs to learn and grow like we all do. But... her heart is good, she has a good heart, and it’s full of generosity and interest in others...” — Virginia Evans (07:34)
- On negative space:
- “The negative space tells as much about the story as the letters do.” — Virginia Evans (12:53)
- On reader trust:
- “I’ve heard it said, like, you should always assume your reader is smarter than you are. And so I did. I leaned heavily into that.” — Virginia Evans (13:48)
- On the last letter:
- “That letter... I wrote at the end and then it stayed. And it, I did change it... but that was really there on purpose... There’s something about the end that I think finds the book in balance.” — Virginia Evans (18:15)
- Kate: “I would have taken up my guns and fought right alongside you.” (19:41)
- On letter writing’s immortality (Author’s reading):
- “I believe one ought to be precious with communication. Remember, words, especially those written, are immortal.” — (38:43)
Bookstore Spotlight: Vermont Bookshop with Becky Dayton
Segment: 28:37 – 36:44
- History: Open for 75 years in Middlebury, Vermont.
- Ownership: Becky purchased the store for a new challenge, having no prior book retail experience (28:57).
- Being a college town bookstore:
- “A lot of people are coming from places where there isn’t an independent bookstore any longer. Visitors are far freer with their compliments than locals.” (30:35)
- Middlebury College no longer sells books in its bookstore—all course materials are online (31:30).
- Reflecting Vermont’s singularity:
- Emphasizes “deep cuts” and a strong literary fiction presence; bestsellers are typically not NYT bestsellers—"Braiding Sweetgrass" is their all-time best (32:33).
- Upcoming recommends:
- “Susan Orleans' memoir ‘Joyride’ (October), Lily King’s ‘Heart the Lover’ (end of month), and Arundhati Roy’s ‘Mother Mary Comes to Me’ (October).” (33:37)
- On bookstore ownership:
- “You have to think about payroll and... all the same headaches as any small business. It definitely has perks. Advanced reading copies are one of them. My favorite thing is engaging with people and talking about books.... I feel like I shine.” (35:24–36:44)
Rapid-Fire Questions with Virginia Evans (22:47–26:39)
- Mark Twain or Herman Melville?
- “Herman Melville.” (22:47)
- Dogs or cats?
- “Dogs.” (22:50)
- Book you feel guilty for not reading?
- “Great Expectations.” (22:56)
- If you listen to a book, have you read it?
- “I think if you listened to a book, you listened to it.” (23:03)
- Favorite bookmark?
- “Usually a piece of small art my daughter has made that day.” (23:18)
- Favorite literary character?
- “Samuel Hamilton from East of Eden.” (23:29)
- Lesser known recommendation?
- “The Boy from the Sea by Garrett Carr.” (23:34)
- Currently reading?
- “Warlight by Michael Ondaatji.” (23:42)
- First section in a bookstore?
- “Classics.” (23:50)
- Book collection organization?
- “General fiction, kids’ stuff, almost no nonfiction, shelf for Irish fiction.” (23:59)
- Most idiosyncratic thing on writing desk?
- “A small jar full of water and stones...a slow growing algae ball that will live for 200 years. I shake it every day because that stimulates growth.” (24:36)
- Kate and Charlie’s reactions: equal parts amused and perplexed.
- Virginia: “My daughter will definitely get the algae ball. She’s the weird one... my son would throw it away if I died.” (26:28)
Memorable Closing Passage: Virginia Evans Reading (38:43)
“I write slowly. A letter might take me an hour or more... It takes patience to say exactly what one means and to think of the right word... I believe one ought to be precious with communication. Remember, words, especially those written, are immortal... you will have created a never ending circuit of curiosity and learning.” — Virginia Evans, reading from The Correspondent (38:43)
Episode Highlights & Takeaways
- Epistolary novels offer unique intimacy and challenge—negative space is as revealing as what’s written.
- Sybil van Antwerp is an intentionally complex protagonist: “blunt, prickly, kind, with a good heart.”
- Virginia Evans wrote The Correspondent in hopes of healing, human connection, and literary play.
- Authenticity in voice and detail—trusting readers to “fill in the gaps”—was central to Evans’ process.
- The final letter’s searing honesty and narrative placement provide emotional resonance.
- Bookstore owners like Becky Dayton underscore the evolving but essential nature of independent bookstores for connection, community, and discovery.
Timestamps for Key Segments
- Epistolary Novel Defined / First Impressions:
01:00 – 04:57 - Virginia Evans: Conception and Craft:
05:30 – 18:15 - Discussion of the Ending / Emotional Resonance:
17:54 – 22:16 - Rapid Fire Q&As with Virginia Evans:
22:47 – 26:39 - Vermont Bookshop, Independent Bookstores & Literary Tastes:
28:37 – 36:44 - Author’s Reading: The Art of Writing Letters:
38:43
Tone and Style
As always, Charlie and Kate approach the conversation with warmth, wit, and a sense of wonder about the literary world. Virginia Evans is candid, thoughtful, and wryly self-aware, while Becky Dayton brings grounded enthusiasm for bookselling and literary community.
For listeners and readers alike, this episode makes a persuasive, heartfelt case for both reading outside your comfort zone and the timeless joy of letter writing.