A question for Jack Neel Waddell

Q: What would your animal totem be?

A: Do you choose your totem, or does it choose you? I suspect the latter, in which case the answer is a raccoon. I have unintentionally shared too many a backwoods meal with these little beasts to say any different. I am defeated; they are smarter than me. I will aspire to their cunning, and when I one day pass beyond the veil, perhaps they will allow me to join them as the least of their number.


Jack Neel Waddell’s story “Rooks on Sundays
in Metaphorosis Friday, 1 November 2019.
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A question for Yume Kitasei

Q: Where do you write?

A: Where I write is really a factor of when I write. My job can keep me busy, so I have to seize the fifteen to thirty-minute chunks whenever I can. In fact, I get some of my best writing done on the subway standing up, wedged between one person’s pointy elbow and another ’s backpack (oof, dude), tap-tapping away with two thumbs. I’ll start in the early morning on my laptop on a small green table in my bedroom while eating breakfast, email my work in progress to myself so I can continue on my phone on the way to work, and then end my day sprawled on the living room couch to finish it out for the night.

So short answer: everywhere, anywhen.


Yume Kitasei’s story “Super
in Metaphorosis Friday, 25 October 2019.
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A question for Lisa Short

Q: What is your favorite story?

A: My favorite stories have always been of the “hero who overcomes childhood/adolescent adversity because they’re so smart and hard-working” variety—with the caveat that it isn’t presented as some kind of paean to capitalism and/or Social Darwinism. My very favorites are ones where the hero is (a) a heroine and (b) the adversity doesn’t consist solely or even mostly of sexual trauma (because that has been done to death).


Lisa Short’s story “The Season of Withering
in Metaphorosis Friday, 18 October 2019.
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Another question for Erik Goldsmith

Q: How do you generate story ideas, and how soon do you act on them?

A: Most of my ideas are generated by looking at my own beliefs and fears, and then translating them into some kind of story structure. I suppose writing is a way of processing things I can’t fully articulate.


Erik Goldsmith’s story “Misalignment
in Metaphorosis Friday, 11 October 2019.
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Another question for Kathryn Weaver

Q: Do you make art other than prose? What kind, and how is it different?

A: I do! I’m also a freelance illustrator – I mostly work on pieces for various speculative fiction venues, but in addition to private commissions, I’ve also done print magazine covers, interior illustrations, and spot editorials. I’ve even contributed environmental art for a forthcoming mobile game.

I studied intaglio printmaking, oil painting, and drawing, not to mention my forays into paper sculpture, but currently I work mostly on digital paintings. In fact, I’m a more confident visual artist than writer – writing is far more personal to me. There’s a sturdier boundary between myself and illustration work. While I love creating art, of course, I’m less emotionally attached to any specific piece. I’m more easily able to brainstorm – I can let things be sketchy, incomprehensible thumbnails before I polish them. When I started bringing that approach to my fiction, it improved immensely.


Kathryn Weaver’s story “Darling
in Metaphorosis Friday, 4 October 2019.
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A question for Carly Racklin

Q: Whence you do you draw inspiration for your characters?

A: My characters almost always come from little sparks of inspiration – a song, a line of dialogue that pops into my head as I’m trying to fall asleep, a picture I see while scrolling through Twitter. And of course they all carry little pieces of me in them. I think that’s the spell that usually results in a character: something from me, and some bit of magic I snatch out of the world.


Carly Racklin’s story “The Guardian of Werifest Park
in Metaphorosis Friday, 27 September 2019.
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