A conversation with the professor at the Taub Institute for Research in Alzheimer’s Disease and the Aging Brain at Columbia University.

Our “insidious” digital overconnectedness can pose a major challenge.

What the philosopher can still teach us about grief versus stoicism and “the role of emotions in the good life.”

The military ethicist believes Abu Ghraib represented an ethical breakdown “from the top down.” But have things changed under Obama?

From the Iliad to Afghanistan, the field of military ethics has tried—not always successfully—to impose rules on the chaos of mass slaughter.

We’re taking better psychological care of soldiers than we used to. But with deployments getting longer and longer, far more needs to be done.

Maddening boredom. Utter numbness. Comradeship so intense that it threatens family ties. War’s worst psychological effects can be the ones you’d never expect.

From mangled bodies to the twisted psychological world of Abu Ghraib, the stories Middle East veterans tell Nancy Sherman reveal a side of war not shown on TV.

In some ways, the psychology of combat hasn’t changed since Troy. But modern wars have also brought their own unique traumas.

The “Untold War” author first became interested in the psychology of combat by observing her father’s tight-lipped silence about World War II.

A conversation with the Georgetown philosophy professor and author of “The Untold War.”

The most successful leaders of business and government gain that power by being able to persuade their constituencies with a compelling story.

The screenwriting guru talks about what it was like to see himself portrayed by Brian Cox in the film “Adaptation.”

Film has hit a dead-end as a storytelling medium, says McKee, because it’s expensive and conservative—and what experimentation there is exists more to show off than to provide meaning.

Don’t try to put plot points on specific page numbers, says the screenwriting guru.

We spend more time than ever consuming stories. Do we need them more than we used to?

Dialogue and description are relatively minor parts of the creative process in television and film.

Advances in digital technology don’t change the way writers tell stories, but they do have an effect on the content of the stories that are told.

The biggest mistake that novice screenwriters make is trying to follow what’s trendy.

The main difference between screenwriting, playwriting and prose is the degree of conflict that interests the writer.

A conversation with the author and screenwriting guru.

What burdens does the author of “The Things They Carried” still bear?

Reflections on the younger generation, and on growing old.

The author and former veteran sees none of his generation’s “edgy,” questioning attitude in the modern military.

The rebellious anger of the Vietnam era hasn’t stopped war. In fact, “a slight stink of the hip” now surrounds our cultural memory of the event.

Writing about dead loved ones can’t bring them back—or even preserve their memories, really. But it’s something.

For Tim O’Brien, “true war stories” can be lies, or take place years before or after a war. Here he shares one that made him want to cry—and reminds him […]

Part of a writer’s job is to puncture our clichés about subjects like love and war with irony, edge, and ridicule.

How to convey the horror of war to someone who’s never witnessed it? It’s language, not the pain of remembering, that makes the task so hard.

Two decades after his masterpiece, the author reflects on war, fatherhood, and the passage of time that’s made him feel like “a stranger to the person who wrote that book.”