One question interview
We ask the author a single question, drawn randomly from our database. We present them all here for your reading pleasure. Think of it as an interview of the magazine itself.
Have a question you wish we’d ask? Submit it in the comments, and if we like it, we’ll throw it in the mix.
Q: Aliens. Are they out there?
A: In short, yes. Scientifically speaking, we have proof that water and organic compounds exist in space. We have a growing body of evidence that planets are plentiful and that they do exist in the habitable zone of solar systems. Which means life is almost a certainty. If life exists, there’s no reason to think technologically advanced life wouldn’t also exist. I think the one dimension not spoken of in the Fermi Paradox is time. Life has existed on earth for four billion years and in all that time a technologically advanced species has only risen on the Earth once and only in the last 100 years. If we add a time dimension to the Fermi Paradox, I think it answers the question quite nicely of where is everyone. They either have already existed or have not yet evolved. If you add to the Fermi paradox the odds to have developed technology and managed to do so in the same 100-200 years that Humanity has, the millions of alien species that should exist are so spread out over time that their odds of crossing another species are likely pretty remote. We also have no idea of the longevity of a technologically advanced species.
George Allen Miller’s story “” will be published in Metaphorosis on Friday, 3 March 2017. Subscribe to our e-mail updates so you’ll know when new stories go live.
Q: If someone wanted to make an animated series out of your work, based on the title or recurring themes, what would it look like?
A: Regardless of plot – which could be any number of things related to my interests, so long as there were birds somewhere! – the animation would be 2-D, with vivid, definite color palettes.
Kathryn Weaver‘s image “Snails” is the cover art for our March 2017 stories.
Q: If you could have a meal with a character from any classic novel, whom would you choose?
A: One of my favorite classical characters has always been Victor Frankenstein. He dared to uncover the secret of life, a mystery humankind will forever wish to know, and actually succeeded. During the meal I’d ask him if he would do the experiment again, and what he might do differently considering the previous tragedy.
N. Immanuel Velez’s story “The Naked Me” was published in Metaphorosis on Friday, 17 February 2017. Subscribe to our e-mail updates so you’ll know when new stories go live.
Q: If your writing style were a bird, what type of bird would it be and why?
A: A bird uncaged, flying about a wonderfully strange garden. A bird who collects the beautiful shiny things that catch its eye, then weaves them into a story-nest, built of twigs and branches and Spanish moss. The garden is the framework, the rules of writing, but they’re there to support the story, not to constrain it. Within the rules is an abundance of space to play and to map one’s own path. The story-nest is pruned and plucked and woven over and over, with the bird discarding some of the bright, shiny objects so that the nest becomes something lovely in its own right, more than the sum of its parts. And sometimes, a bird that flies clear of the garden’s boundaries to test what lies beyond, for that is where the best monsters live.
Suzanne Willis’s story “A Nightingale’s Map of the City” was published in Metaphorosis on Friday, 10 February 2017. Subscribe to our e-mail updates so you’ll know when new stories go live.
Q: What’s your favorite story?
A: It may be that, as I read recently, there really is only one story: Things are not as they seem. As for favorite ready-made plots, I honestly do not have one I favor over any other in the sense of plot mechanics or story movement. I am much more drawn to themes, which grow out of characterization. One of my personal maxims is that what happens in a story can never be more engaging than the people it happens to. Without characters who elicit emotion, a story is artless. It becomes a scholastic exercise. A writer will know this when her or his work is greeted with this soul-shriveling comment: ‘Your story was really clever.’ That indicates a tale that is a literary mousetrap, a ba-da-bum of words leading (rather than inviting) the reader toward a prefab conclusion. The reader has to care. I vastly prefer sympathetic characters to tell my stories, though some successful writers manage with sets of players who elicit no empathy whatsoever. (I don’t care for this sort of work.)
As far as themes, my favorite is probably personal redemption. A Christmas Carol wasn’t about three ghosts hounding an old man; it was about a miser’s spiritual reclamation. I also like, in this mode of personal redemption, to tell the big story through a small lens. I often put relatively insignificant characters (as far as their place in my imagined society or future) in the foreground and have them fight their little battles, while commenting on something much bigger–i.e., a character resists some oppressive aspect of a futuristic society, making the struggle immediate and desperate, rather than broad and epic. In my stories an evil empire might crumble, but you’ll find out about it through a guy trying to put together the money to cover next month’s rent.
Eric Del Carlo’s story “Halfsies” was published in Metaphorosis on Friday, 3 February 2017. Subscribe to our e-mail updates so you’ll know when new stories go live.
Q: What do you think is the single most important quality for a good artist to possess?
A: The ability to change. In term of techniques, style, but also mental view. To not be afraid to try new things and start again, over and over, to practice and improve.
Kaos Nest‘s image “Giant” is the cover art for our February 2017 stories.