A question for Eleanor R. Wood

Q: Where do you write?

A: I write at my desk, in a room full of books and plants, both of which I find infinitely inspiring. My writing room has two large windows, so it’s full of natural light, and there’s normally at least one dog relaxing nearby. The desk is usually cluttered with hand-scrawled notes, as I vastly prefer writing story notes by hand, and although it may look chaotic to the untrained eye, I always know exactly where everything is.

Eleanor R. Wood’s story “A Seedling in the Dark
in Metaphorosis Friday, 17 September 2021.
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A question for Jordan Legg

Q: What inspires you?

A: Other people, mostly. I’d be a fool not to recognize how much I am indebted to the genius of those who came before me—from famous storytellers I may never meet to the family and friends that have helped me sharpen my skills along the way. Somebody once said all art is theft, and if I ever try to disagree with them, I’ll be on pretty shaky ground.

J.A. Legg’s story “Till All the Hundred Summers Pass
in Metaphorosis Friday, 10 September 2021.
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A question for Rachel Delaney Craft

Q: What’s the story (doesn’t have to be yours) no one else thinks is as good as you do?

A: Howl’s Moving Castle! Everyone seems to adore the movie, but the book is way better (in my opinion). Its quirky characters, magical worldbuilding, and swoon-worthy romance put it at the top of my list of desert-island books.

Rachel Delaney Craft’s story “Rapunzel Dreams of Elephants
in Metaphorosis Friday, 20 August 2021.
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A question for Rubella Dithers

Q: What kind of pieces are the most fun to write (action, lyrical, etc.)?

A: I’ve been studying viola for three years. It’s a very difficult instrument to play. Footwork, weight distribution, shoulder rests, chin rests, strings, bow hair tension, bow grip, elbow angle, bow direction, humidity, finger height, bow weight, finger angle, thumb position; so many things work in unison to produce a single note. To make that note sound good takes years of practice. When you see a piece performed with beauty and taste, decades of study produced that. There are no shortcuts. Brutal dedication to the craft is the only way to attain any semblance of competence.

What I’m saying is that I like animal antics and clown husbandry. I wrote a story about a clown park (like a dog park, but for clowns) and the clown bites a kid. My master’s thesis has a fish drawing in it. People have cited that paper. It’s not even about fish.

Rubella Dithers’s story “The Waves In Which We Drown
in Metaphorosis Friday, 13 August 2021.
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A question for L.J. Wetherby

Q: What is your favourite part of writing?

A: To bend the question a little, there are two things I like most about writing. One is the sheer alchemy of creation, selecting and combining elements from the buffet that is the English language in order to craft something entirely new. I feel particularly fortunate that English is a language so rich with synonyms and with so much scope for style and authorial selection in terms of sentence order, for the sheer opportunity of innovation that this offers the writer.

My other favourite part of writing is the editing process. I’m a firm believer in the ‘draft zero’ approach, writing the first full-length version of a piece without editing at all during the process, then using subsequent revisions to shape and form the story. It feels as satisfying to carve, arrange and improve a piece of fiction during the editing process as I assume it must feel to sculpt — except with writing, I’m using a medium that I find myself far more fluent in than stone, metal, or clay.

L.J. Wetherby’s story “A Wizard Comes to Shorehaven
in Metaphorosis Friday, 6 August 2021.
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A question for Jennifer Hudak

Q: What would your characters say about you?

A: I’d like to think that Mish would talk about me the same way she talks about her father: with a mix of love, embarrassment, admiration, and exasperation. She seems like a thoughtful enough kid that she wouldn’t care that I’m desperately uncool. Mish’s father and I would have long conversations about the difficulties of parenting through the teen years, and I’m pretty sure I would serve as both a model and a cautionary tale for him. Both Mish and her father would have a thing or two to say about the quality of my knitting, which is more enthusiastic than technically perfect.

Jennifer Hudak’s story “The Art of Unpicking Stitches
in Metaphorosis Friday, 23 July 2021.
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