An Interview with Vu Tran – Author of the “top notch mystery,” Dragonfish by Phuong Nguyen

Vu TranVu Tran is the Assistant Professor of Practice in the Arts, Department of English, University of Chicago. He is the author of the “top notch mystery” Dragonfish, his debut novel based on one of his short stories published in The Best American Mystery Stories, 2009. This is a novel about an Oakland cop, Robert, and his ex-Vietnamese wife, Suzy, who is found missing in the underworld of Las Vegas. She tries to flee from her new Vietnamese husband, Sonny Nguyen, a violent smuggler and gambler, after she discovers terrible things that Sonny did to her and also horrible things she committed without any memory of it. Pursuing Suzy, Robert finds himself chasing the past that haunts Suzy—her refugee life after the fall of Saigon and her denial of being a mother. Everyone related to her is caught up in a life and death situation. Charles Bock, New York Times bestselling author, put this about Dragonfish, “Note-perfect. Heartbreaking. Profound. Dragonfish is a polished dagger of a novel that will cut out your heart.”

Dragonfish really proves Vu Tran is a rare storytelling talent that can gracefully combine a thrilling detective noir with a poignant Vietnamese immigrant story into a haunting crime fiction. In this interview, Vu Tran reveals many interesting stories behind the 5-year process of giving birth to Dragonfish.

Q: So, what is the specific idea that sparked you to write this novel? Was it a combination of a suspense crime, the characters carrying their baggage about Vietnam War and the connection hurdles between Vietnamese and Americans?

dragonfishA: When you write, you don’t think about these things at first. They only come later; you know, they come while you are writing it. I first started this novel because I was asked to write a crime story, a noir story, for an anthology, a noir story based on Las Vegas, where I was living. The editor asked me whether I could write a story about Chinatown. I said, “Ok, sure.” Then, I just came up with an idea for a story set in Las Vegas, Chinatown. I thought it would be interesting to have an American cop who divorces his Vietnamese wife, who then remarries a Vietnamese man. I thought that would be an interesting plot. That’s how it was started. When you write, these ideas come out, and I realized that I had a story about immigrants, the kind of the story that immigrants carry their own stories around. If you are an immigrant, you are from another country; you have all these stories that you don’t always tell. You have baggage; you have secrets and the idea of secrets, the idea of shadow, what you hide in your life, what you hide from others, are very conducive to the crime fiction, to the noir.

Q: Why did you choose the title “dragonfish?” You wrote in the book that dragonfish “brings good luck, brings the evil away and keeps family together” when those are actually the total opposite of what’s happening in the book. Can you share the story behind the title?

A: Honestly, the original title of the novel was “This or any desert.” That was the original title of the short story for a long time. But in the end, my editor said that we needed to change it for that very reason. When I tell people that title, people were confused [about the title].” They couldn’t understand it. That was actually her idea to call it Dragonfish. I edited those lines about the dragonfish later on. First of all, I just found that it was a nice title. But it’s not terribly important outside of the fact that dragonfish tend to live deep in the ocean, in the shadow. People never see them. I feel like that’s true to many characters in the story. They disappear; people can’t find them. But that line: “the dragonfish brings good luck, keeps evils away and brings family together.” I put that in because it’s actually right and I like the irony that none of those happen.

Q: It seems to me that you used the novel-within-novel technique to tell one story using the letter that Suzy wrote to her daughter telling her own life from her perspectives, and the other connected story from Robert, her ex-husband. That was really smart. How did you come up with that idea? And how is it important to tell the story that way?

A: I think it’s important because there are several reasons. In a detective novel, a crime novel, or a classic detective noir, the narrative often has a hero, a villain, and a very beautiful woman, who’s usually mysterious. I thought about that idea a lot and I thought how it would be interesting to actually have part of the novel be a detective novel, a complete detective noir novel; but then have another novel, within the novel, that’s not a detective novel at all. Therefore, I am giving the woman the voice that she usually doesn’t have in a novel. In the detective novel, the hero is usually the detective who falls in love or they tend to fetishize women and I like the idea of keeping the woman mysterious in the detective novel but giving her her own narrative so that she has her own voice. I thought it would be interesting. And again, the novel is a lot about someone who does not have access to someone else’s world and I didn’t want to give Robert access because that’s how it is in life. You love people but sometimes you can’t connect to them. And even though you want access to them, you don’t get it. But the readers get the access to Suzy. Robert doesn’t. He never knows any of that stuff.

Q: Did you write the novel with that idea in mind right from the beginning or did you edit it later in the middle of the novel? 

“I like the idea of keeping the woman mysterious in the detective novel but giving her own narrative so that she has her own voice. I thought it would be interesting. And again, the novel is a lot about someone who does not have access to someone else’s world and I didn’t want to give Robert access because that’s how it is in life.”

A: I had that idea pretty much at the beginning because I’ve always liked that idea. When I just had the short story, I didn’t have the idea of her writing a letter. Then when I was expanding the short story to a novel, I realized that it needed another narrative; it needed Suzy’s story, but Robert didn’t know the Suzy’s story. That was very important that he didn’t know Suzy’s story. Originally, it was Suzy writing to her sister but that didn’t work. I really felt like I finally understood the novel when I made the decision to have Suzy write to her daughter. I think that was when the novel came together.

Q: The way you give the female character her own voice is very feministic and I felt connected.

A: I think that it’s very much a feminist novel. I think it is very important to me that people read it as a feminist novel because a lot of the book is about Suzy. She is a Vietnamese woman and you know in Vietnam, everyone has obligations; everyone has a role to play, in your family and in your society. This is the novel about a woman who was uncomfortable with a role that was forced on her. So much of her life was trying to kind of deny that role. She doesn’t want to be a mother and that’s okay; it’s not necessarily a bad thing. Vietnamese tend to think it’s a bad thing but it’s not.

Q: What do you think is the climax of the story and what is your purpose of building that climax?

A: I think the most important scene of the book is in the bar, when Victor is telling Suzy’s story to Robert and Mai. I felt it’s dramatically important because it reveals the reason why Suzy did what she did. It’s also the point when Suzy was trying to wake us up.

Q: It was a very sad ending. People are apart; we don’t know what happens to them after that and people get killed. Why did you choose that ending?

A: I felt I had to be true to the characters. I knew at the beginning that I didn’t want Robert to get the information he wanted. The familiar narrative in America is a white foreign man coming to a foreign world and ultimately he wins, he takes over, or he triumphs in what he wants. I didn’t want Robert to be in that narrative because the most important thing that makes the whole story flow the way it is is that Robert can’t get access to Suzy’s world. He comes that way; he leaves that way. It’s important that people don’t get what they want all the time.

Q: Whom did you write this book for?

A: Honestly, I don’t have specific target readers in mind.  I wrote this book just to please myself because as a writer, if you can’t please yourself, you can’t please anyone. As soon as you start writing for a specific audience, I think your writing becomes weaker.

Q: If you have one thing to say about Dragonfish to the reader, what do you want to say?

A: I just hope that people can enjoy the novel on different levels. I hope that people not only can enjoy it for just an entertaining, exciting crime novel, but also can read it as a story about love between family members and about marriage. If it can be better, I would like people to take it as a postcolonial narrative, a story about how immigrants survived in another world when they are forced to lose their own world.

Call for Submissions

Philadelphia Stories (PS Books) and the students from Rosemont College’s Publishing Program are collaborating to create an anthology celebrating women writers 50-years old and above. If you are a woman 50+, we invite you to submit your short story, flash fiction, novel excerpt, poetry, or creative nonfiction for consideration in this anthology.

The students in the Operating a Small Press course will select the works, edit them, consult with the authors, choose the layout and design, and do take the project from start to finish. Furthermore, they will create a marketing plan. The anticipated launch date will be in the Spring of 2016.

Submission Guidelines:

Submit to

Submissions will be accepted between June 29th and August 31, 2015

Multiple submissions will be accepted as follows:

  • 3-4 pieces of flash fiction
  • 3-5 poems (limited to 30 lines per poem)
  • Up to 2 short stories or works of creative nonfiction (stories limited to 4,000 words)
  • Only 1 novel excerpt – please (limited to 5,000 words)

Please attach each piece (as a word document) to your email.

We are looking for previously published work (please note initial publishing credits), but will consider unpublished work as well.

In the body of your email, please include a 125-word bio (submissions without a bio, will not be considered).

Thank you for considering submitting your work for this great project! Should you have any questions, please do not hesitate to contact either of us:

How to Get Ahead Over Summer Vacation

I realize it snowed just a few weeks ago, but for grad students, the spring semester is nearly finished. I have a stack of theses more than 18 inches high on my desk. For those of you who are halfway through your studies, it’s time to think about summer vacation. While most of us want lazy days at the beach or to sip lemonade under a wispy willow tree, grad students should be thinking about how they can better position themselves for their careers.

Grad students (and undergraduates, too) should be planning and securing internships for the months between the spring and fall semesters. Whether or not it is paid or unpaid, an internship will provide you with marketable skills and experience to add to your resume. Building your resume over the summer is crucial to securing a job come next spring.

Keep in mind employers in the publishing industry are looking for well-rounded individuals. Jack Farrell, Managing Director of Jack Farrell & Associates, recruiters for educational, professional, and trade publishing, visited the Acquisitions Editing class last week. He told students to get multiple internships, because it makes them more attractive to potential employers. He also said, “get digital” experience as soon as possible.

What exactly does well-rounded mean? It means that students who concentrate on editorial need to get experience in marketing and visa-versa. We are no longer in a world or industry where jobs are so narrowly focused. An editor needs to understand how a marketer thinks. The cover designer needs to understand what is trending. Marketing personnel need to know what constitutes a “good story.”

Well-rounded also means embracing technology. The summer is a great time for you to “get digital,” if you aren’t already. I would recommend that you start a blog (WordPress is free) and create profiles on social media sites such as Facebook, Twitter, LinkedIn, Pinterest, Tumblr, and Instagram. You don’t have to post everyday, but you should keep up an active presence online.

This summer, go out into the world of publishing and secure an internship, work as hard as you can, learn as much as you can, build your resume, and enhance your digital footprint. Come back in the fall ready to discuss your experiences in the classroom with your professors and your peers.

Have a fun, productive summer!

Anne Converse Willkomm, MFA,
Director, Graduate Publishing Program

And the Winner Is…

Last Friday night, the graduate students of Rosemont’s publishing and creative writing programs gathered to celebrate the American Library Association’s (ALA) slate book awards for children’s literature, children’s illustrated books, and young adult novels, including the Caldecott, Printz, and Newbery awards. We also announced the winners of Rosemont’s mock awards.

For the mock awards, we nominated, read, evaluated, and chose winners in each of the same categories, and compared our results to the ALA’s winner list, announced earlier in the week. Nancy Kotkin, a degree candidate seeking a MFA in creative writing and a MA in publishing, led the awards process. She worked with Cathy Fennell, Executive Director of Library Services at Rosemont, and formed three committees. Each committee spent the winter break reading dozens of books. They also met and debated over which books should win the prizes in each category.

Our winners were:


Winner: The Adventures of Beekle: The Unimaginary Friend by Dan Santat *


Julia’s House for Lost Creatures by Ben Hatke

Little Elliot, Big City by Mike Curato

Remy and Lulu by Kevin Hawkes & Hannah Harrison


Winner: The Impossible Knife of Memory by Laura Halse Anderson


Threatened by Eliot Schrefer

I’ll Give You the Sun by Jandy Nelson ^

Lies We Tell Ourselves by Robin Talley


Winner: Upside Down in the Middle of Nowhere by Julia Lamana


Greenglass House by Kate Milford

Gracefully Grayson by Ami Polonsky

Saving Lucas Biggs by Marisa de los Santos & David Teague

* Winner of the 2015 Caldecott Medal

^ Winner of the 2015 Printz Award

Before the announcements were made, the library displayed many of the nominated books so that the faculty and students could flip through them.

According to the participating committee members, the award selection process was challenging and involved much more than just flipping through a pile of books. Nancy Kotkin said, “I came to appreciate how difficult it was to look at the whole pool of books, narrow it down, and make objective decisions. Books are art, and it was difficult not to project our own aesthetic preferences into the evaluation process. Ultimately, I came to fully appreciate how supportive librarians are of books and their patrons.”

Students and faculty, including those not focused on children’s and young adult literature, were stunned to learn that there were no cash prizes associated with the awards. While it might not be difficult to imagine that an award would increase sales, I don’t believe that the students present last Friday night understood the significance of winning a Caldecott, Printz, or Newbery award. Anita Silvey, the editor of Children’s Books and Their Creators, an overview of twentieth century children’s books, former publisher of children’s books at Houghton Mifflin, and former editor-in-chief of The Horn Book Magazine said, “As a publisher, I knew how important the awards were. You could have a book that eked out sales of 2,000 copies when it was published sell 100,000-200,000 in a year after winning the award.”

In a 2012, The Record published an article on its web site, Books: Newbery and Caldecott Prizes for U.S. Children’s Literature Awarded, which stated, “Within hours of the prizes announcement, Dead End in Norvelt and A Ball for Daisy were both in the top 50 on and both out of stock.” The increased sales don’t just peak for a brief period of time, but rather the books earn a longer self-life. They often become part of secondary school curriculum. Of the books awarded the Newbery Medal from 1922 through 2015, all but three are available on Amazon today. Of the three titles not readily available—Tales of Silver Lands (1925), Daniel Boone (1940), and Rabbit Hill (1945)—two of them are available as used books or through a third-party vendor. More than ninety-seven percent of the titles are still in print. Think about the sales of these books over the years!

The Caldecott, Printz, and Newbery Awards, unlike the National Book Awards, are open to every book that fits the specified criteria. Per the requirements of the National Book Awards, publishers are required to pay a $135 entry fee per title nominated, plus agree to pay all of the travel costs for the author to attend the finalist ceremony. Publishers must also agree to “contribute $3,000 toward a promotional campaign if a submitted book becomes a finalist ($750 for presses with income of under $10 million).” This makes it difficult for small presses to nominate any of their titles, let alone multiple ones. In contrast, because the nominations are wholly objective and open to any book that meets the basic requirements (publishing date, citizenship of the author/illustrator, etc.) the Caldecott, Printz, and Newbery are truly unbiased awards.

Students and faculty alike walked away with a deeper appreciation for the awards, how books were nominated, and how the winners were selected. They learned about the inherent value of the awards, not only for an author’s or illustrator’s reputation, but also for the publisher’s sales. Thank you to all who participated!

Pick up an award-winning book today!


Student Post: Maintaining and Operating a Small Press

by Sally Beeson

Each Wednesday, I, along with eight other publishing students, meet in Mayfield Hall for class. This building, recently reopened, now houses the Publishing and MFA programs here at Rosemont and, with this new home, comes a new project. Each week when we congregate in Mayfield Hall, we embark on a journey to start Rosemont College’s very own small press.

If you were to enter the classroom where the Operating and Maintaining and Small Press class meets, you will be met with pictures of ravens, lions, and rising suns taped to the wall, a seemingly random list of adjectives on the board, as well as themes and possible titles for our first book. Our first publication will be an anthology of poetry, short stories, personal essays, excerpts, and flash fiction written by Rosemont faculty and MFA alumni. The book, titled “Another Breath” so as to symbolize the republication of these pieces, will launch at the MFA holiday party on December 11, 2014, meaning we’re on a strict time frame to get everything ready to send to the printer. It can get frustrating and overwhelming (especially since all of us are taking multiple courses), but one thing the Small Press class is teaching us is the whole messy process that occurs before we can print and sell our book, the frayed ends that will eventually tie together as a neat package. I hope to take you all through the process of what we’re learning and offer some insight into what goes on behind the scenes at a small press.

The first order of business is department roles. Who is going to edit? Who is going to design the layout? Each student leads one of the four teams-Editorial, Business, Production, and Marketing, but we all take part in multiple aspects of the process. In just the first few weeks of the semester, as a class we have already:

  • Read submissions and either accepted/rejected each piece
  • Drawn up a contract for the authors
  • Estimated words per page for the layout of the book
  • Come up with a mission statement for RC Press
  • Developed a logo for RC Press
  • Created a title for our first book
  • Created and posted to social media sites about the press

The cover for Another Breath has also been a topic of great discussion in class. It was decided pretty early on in the process that publishing alum Sarah Eldridge would take on this task. It has been a packed few weeks that already has us balanced on the brink of insanity and with the final push upon us, the weeks to come will be even busier. Errors are bound to happen in any new venture, and in this course, mistakes are not only inevitable, they are encouraged. Though we are frazzled, we’re all quickly learning that even though it is stressful and tiring work, it is also incredibly rewarding to one day look at this anthology with the knowledge that it is very much our own creation.

If you want to receive updates and learn more about Rosemont College Press, please take a little time to “like” us on Facebook or follow us on Twitter @RosemontCPress.

A Career in Publishing: Is Grad School the Right Option?

Students from across the country, some seniors in college, others recent grads, are wondering if they can turn their love of books into a career with an undergraduate degree or is graduate school necessary to move forward?

While virtually all entry-level positions in the publishing industry do not require an advanced degree, it is nearly impossible for students with only an undergraduate degree to get publishing jobs. Last year, I sat on a Publisher’s Weekly panel at Random House on the job market. There were a number of undergrad students in the audience who asked the same question. These were not English majors who were nearing graduation and hadn’t thought about jobs; many of them had several publishing internships on their resumes.

So what do I tell students? I tell them that a graduate degree will be beneficial in two ways: it opens doors (practical knowledge learned & networking) and, from my experience, students get promoted sooner.

If you’re still reading, you are likely wondering about choosing a school. The simple response – there aren’t but a handful, so you won’t have to whittle down a list of 50. So how to choose the right school for you? Grad school isn’t quite like undergrad. I think there are different criteria that come into play when choosing the right program. Let’s start with the word “program” – the program is more important than the school, .so focus on the program and what it offers versus what the college or university as a whole offers. While the general focus of each program is similar, there are differences. There are some clear and rather obvious criteria perspective students should explore: location, size, availability to internships, professors, course offerings, cost, etc., but I think the not-so-obvious criteria are equally as important.

I tell perspective students that grad school is a gift to themselves and it is the opportunity to forge life-long friendships and connections that will one day be beneficial in their career. These types of relationships are forged out of the community built around the program. Thus, it is important to ask about the community: is it an active community, who is involved, is it welcoming, how do people know about it, get involved, etc. Students excel when they are part of a greater community.

Community is just one of the not-so-common criteria. There are a host of others such as where do the other graduate students come from, are there related graduate programs on campus, how involved is the program in the greater community, what type of support is available to graduate students (this could include the counseling center, academic support, etc.), how accessible is the director, are there opportunities to mentor undergraduates, are their volunteer opportunities, and how active is the program in regional and national conferences.

I wish any of you who choose to pursue grad school the very best as you embark upon your journey. I challenge you to think about the standard questions, but also think about how the program will shape you as an editor, designer, content developer, marketer, etc. Who will help you achieve your goals – certainly your professors, but what about your peers? Think about the not-so-common questions as you progress in your search and no doubt – you will make the right decision for you!

Good luck!

Anne Converse Willkomm MFA ’10
Director of the Graduate Publishing Programs
Rosemont College

Thoughts on Banning Books

I’ve tweeted a fair amount this week about Banned Book Week. Every year it bothers me. What are people thinking? I was naïve about the practice of banning books until my daughter’s school (which she didn’t attend for very long) banned the Harry Potter series. I didn’t know much about Harry Potter at the time, but decided I had better read the book to see why the parents and the school were in such a panic.

At the time, it wasn’t the act of banning the book that I found so shocking, but rather the multitude of reasons parents and administrators wanted the book banned. I sat there speechless as Biblical quotes about devil worshipping were slung across the room. Don’t let me mislead you, however, into thinking this was simply a religious objection. Concerns about living in a fantasy world, practicing magic to defeat evil was unrealistic, Harry and his pals are rule breakers, they don’t listen to the adults, teachers are portrayed as strange and/or unsympathetic or too sympathetic, Hagrid is a bad influence, what happens is too unrealistic, and the list went on and on and on. I was left then to quote a colleague, “Are you joking me?”

I would not presume to tell parents they must allow their child to read a certain book – that is no better than banning; but I would ask these same parents to make sure they are accurately informed about the content of a book and converse with their child appropriately. By all means make your own choices for your children, but please do not prevent books from getting into the hands of other children – it simply is not your right.

For some kids, a book may be their only companion. The story may be their story, and a character may help give them insight into to the world. Books with difficult topics could lead to great conversations about beliefs, morals, and all of the gray area we navigate every single day.

My hope is that there won’t be a need to celebrate Banned Book Week going forward, and books will no longer be banned for their themes, content, characters, or situations. The needs and wants of the few cannot be forced upon the many. But unless those of us who are shocked by book banning do more than sit in shock, unless we all say “NO,” books will continue to be banned.

I say “NO.”

Anne Converse Willkomm
Director, Graduate Publishing Programs
Rosemont College