Interviews
interview by Joe Vaz

I'd love a temporary job in space, but I don't think I could live without walking in the woods. Like Dan, I think I'd miss things like cockroaches. Well, maybe not cockroaches, but certainly spiders' webs and moss and birdsong. |
From Issue 16 (Dec 2011) |
interview by Joe Vaz

I believe "God of Light" was one of several stories that came out of my desire to show my Lit professors (some who told me that writing SFF was a sure way not to get an A in their classes) that SFF was as good as literary fiction and revealed humanity just as well. I received A's in every class, so I think I made my point. |
From Issue 16 (Dec 2011) |
interview by Joe Vaz

I like to write about cliché things, only do something opposite to the nature of the concept. |
From Issue 15 (Nov 2011) |
interview by Joe Vaz

The move to Australia was a good one for me, and I went there as a pastry cook, really thinking that was what was going to happen, and that I’d end up owning a bakeshop in Melbourne. It turned out that their department of immigration is a lot stuffier than I’d expected, and to work as a pastry chef I had to work at some place that hired a certain number of people and they had to prove that they couldn’t find someone local and I had to be making a certain amount of money, so I ended up working in the sub-basement of a five-star hotel in Melbourne |
From Issue 15 (Nov 2011) |
interview by Joe Vaz

I love Lois McMaster Bujold's work. When I read that she'd taken fourteen years to finish her first novel, I thought "I can do that". |
From Issue 15 (Nov 2011) |
interview by Joe Vaz

Stories arrive and arise from many sources. This one had an interesting metamorphosis. It started with a chance remark made by a friend of mine many years ago along the lines of, “imagine two people had to meet up for dinner every few years otherwise the world will end.” I mean, who wouldn’t want to find out more about these two people? |
From Issue 15 (Nov 2011) |
interview by Joe Vaz

My fascination with the occult, coupled with the time period and a healthy dose of Lovecraftianism. My thesis is on Lovecraft and Poe; reading those two on a daily basis will supply a plethora of interesting ideas. |
From Issue 15 (Nov 2011) |
interview by Joe Vaz

Engaging the Idrl was inspired by the story of a specialist truck driver in the British Territorial Army who tragically committed suicide in August of 2004 after returning from the Iraq war. The gentleman in question experienced first-hand the horrifying incident of the chocolate bar described in the story. I was so moved (and disturbed) by it that I had to respond by committing my feelings to print. |
From Issue 14 (Oct 2011) |
interview by Joe Vaz

There were times when I was writing it, when I'd look at what I'd just written and think: I can't believe I just wrote that. They're going to crucify me for this. You're not supposed to say things like this, let alone write them. But then I realised that if I did tone it down or censor it that I would be a coward and that I would be cheating the story. I think that it's important to be true to the story and that as a writer, it's my job to push boundaries and explore those taboo subjects. |
From Issue 14 (Oct 2011) |
interview by Joe Vaz

Driving from Glacier National Park, Montana to Chicago takes a long time (1,500 miles). In the ebb and flow of the road, a writer has an opportunity to brainstorm. I was listening to the Art Bell radio program (a special about ghosts) when the idea came to me. I was pumped on four cups of McDonald’s coffee, listening to these callers share their real life ghost stories, and it all seemed so sad. |
From Issue 14 (Oct 2011) |
