It came from Chanel Earl

Metaphorosis August 2016

Chanel Earl’s story “Duet for Unaccompanied Cello” was published in Metaphorosis on Friday, 5 August 2016. The Kirkwood Observatory at Indiana University is actually made of limestone. Next to it are Dunn’s woods, which are beautiful year round. The first draft of this story was written after I visited the observatory to do a bit of stargazing. Then, after it was finished, it sat for over a year because it I just didn’t think it…

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A question for N. Immanuel Velez

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.

It came from Matt Thompson

Metaphorosis July 2016

Matt Thompson’s story “Luminaria” was published in Metaphorosis on Friday, 29 July 2016. My original plan for this story was for a kind of Borgesian pirate yarn – magic realism meets boys-own adventure, or something along those lines. I’m not sure I succeeded, but the concept of a metaphysical shipboard mutiny I’d finally arrived at stayed with me. I adapted a shorter, abandoned story I had lurking in the ‘trunk’ and it turned out to…

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A question for Suzanne J. Willis

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.

A question for Eric Del Carlo

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.