VOL.93/2026.04

 

Writer Jung Dae-Gun

Different in Form, Yet Always a “Story”

 

2025.09.04

 

Human language is generally used for two purposes: to convey information or to spread stories. Both have a profound impact on our lives. If the former is essential for survival and progress, the latter is indispensable for finding meaning in life. It is because our lives themselves become stories, and the empathy gained through them forms the basis for understanding others. The following is an interview with writer Jung Dae-Gun, who conveys this uniquely human language of empathy in diverse and distinctive styles.

 

 

It’s an honor to have you with us on K-Book Trends. Please say hello to our readers and introduce yourself briefly.

 

Hello, I’m novelist Jung Dae-Gun. I once worked on documentary and feature films, but now I am fully devoted to writing novels. I’m delighted to say hello to all through this interview.

 

You studied philosophy, worked on documentaries and independent films, and are now writing novels. Looking back at your journey, it seems you enjoy telling stories and taking on new challenges. Where do your creative impulses and the stories you wish to share come from?

 

Our daily lives are made up of countless coincidences, and many absurd events take place as well. I think I have a particular fear of those things. That’s why I have been writing about the incomprehensible events that have happened to me and the emotions I felt at the time. I think I find stability in the form of a completed, well-structured story. So, while my works are different in texture and style, what they share in common is that they each contain the issues that felt most urgent and important to me at the time I was writing, like questions about dreams and reality ? a matter of failure, or about love, wounds, and recovery.

 

What are the different charms of film and novels? And, what led you to transition from film director to writer?

 

I get this question a lot as I work across both fields. The charm of film lies in its temporality. Only film has the power to hold an audience captive in a dark theater for two hours through visual and auditory images. Novels, on the other hand, can unfold a much more intimate voice. They allow me to explore inner thoughts and ideas, and unlike film, I can freely transcend time and space without worrying about production conditions. If film-making feels like a struggle waged by many people together on a stormy sea, then writing a novel feels like quietly rowing a one-person kayak across a calm lake.
Well, at the time, it felt more like I was “seeking refuge” than expanding my horizons into novel writing. Films can collapse after long preparation, because opportunities have to come from the outside. But with novels, as long as I continue to work diligently, the opportunities are in my own hands. That was very appealing. Besides, I have realized that the solitary work of writing novels suits me much better.

 

 

If film-making feels like a struggle waged by many people together on a stormy sea,
then writing a novel feels like quietly rowing a one-person kayak across a calm lake.

 

 

In your first full-length novel, Film Talk Villain Ko Taekyung (EunHaengNaMu Publishing), and your short story collection I Tinder You (Jaum&Moeum), you feature “independent film directors struggling to get by.” We heard these were drawn from your own experiences. Do you often reflect yourself in your characters? What is your approach to creating them?

 

I try not to write about things I don’t know well. So, yes, I do reflect myself a lot in my characters. When you carefully observe one’s inner world, you will find that there are multiple voices within that single body. I create characters by splitting and developing those voices. While I draw on my own experiences, I don’t directly insert them - I use the emotions I felt through those experiences as raw material. For example, I might dramatize the feelings I had during a very lonely period five years ago into a character, or turn the impressed state of mind I had after a romantic experience in Napoli into a romantic figure.

 

 

Your 2022 novel, The Rapids (Minumsa Publishing), has steadily climbed back onto bestseller lists, and it was recently re-released as a “Love Edition.” Why do you think The Rapids continues to be so beloved? And, what did you think of the new cover?

 

Many readers have commented on how immersive the book is. Despite the many distractions people face today, I think they recommend the book because they found themselves completely absorbed for hours and finished it in one sitting. That makes me happy, because I always try to guard against stories dragging or losing tension.
The new “Love Edition” cover features artist Lee Jin-Ju’s work, In the Middle of Life. When I wrote The Rapids, I felt that her work, which deals with trauma, resonated with the emotional tone of the novel. The original cover was beautiful and popular, of course, but I also really like the cover of the special edition (limited edition). Opening the book feels like owning a piece of art.

 

 

The Rapids tells the story of family, love, trauma, forgiveness, and the growth of Dodam and Haesol. What was the background of the book, and what message did you most want to convey? Also, what should readers keep in mind while reading?

 

The Rapids was born out of a difficult emotional period I went through. I wanted to capture and narrativize those feelings in images and a story. So, while it is a love story, it is also a story about someone immersed in pain who, after a long time, confronts it, heals, and grows.
I don’t think there’s a single right answer to love. I hope The Rapids encourages readers to ask themselves questions about the different forms of love and to reflect on what love means to them personally.

 

 

I hope The Rapids encourages readers to ask themselves questions
about the different forms of love and to reflect on what love means to them personally.

 

 

Are there any Korean authors or works you especially enjoy that you would recommend to international readers?

 

This is one of the hardest questions, because there are so many excellent Korean writers I admire. But, right now, Eun Hee-Kyoung and her novel A Bird’s Gift (Munhakdongne Publishing) come to mind. Having been published in over 100 printings in Korea, the book continues to enjoy lasting popularity.

 

* K-Book Trends Vol. 52 ? Go to the interview with writer Eun Hee-Kyoung

 

 

You also wrote the essay, My Blue, Napoli (Anon Books), based on your trip to Napoli. Beyond novels, are there other genres you want to try?

 

I used to write screenplays, and now I write novels, but in the end, I think I will always be working within the broader field of storytelling. One day, I might film another documentary, or try a webtoon, or write a script for a video. But, for now, writing novels feels the most peaceful.

 

 

Your works cover diverse subjects like internet caf?s, dating apps, and MBTI, each with very different atmospheres. Will your next work also explore new themes? Could you tell us about any works currently in progress?

 

I don’t think I can write about the same subject again, as it would be boring. Also, I don’t think there is much left to talk about it. To be honest, even if I might use the same subject again, I will try to take it in a different direction. I need that spark of wanting to tell the story in order to finish the long marathon of writing a novel, and repeating myself would only make it harder. Right now, I’m working on a story about Social Media and how people are connected in today’s world.

 

Last but not least, could you share your future goals, either as a writer or personally?

 

I am currently working on my third full-length novel, and I hope to continue focusing mainly on full-length stories. At some point, I would also like to write a crime novel and another novel set in Napoli. And, since none of my novels have yet been published abroad, I hope they will be translated so I can meet readers overseas.

 

 

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