Posts Tagged ‘Joe Vaz’

interview by Joe Vaz

The initial seed came from a radio documentary on one of the last great castratos (though I forget the name of the individual). They talked in great detail about how the best castratos were adored and pampered and doted on by the aristocracy. That germinated and ended up combining with an old idea (the floating cities on a flooded

From Issue 17 (Dec 2011)
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by Joe Vaz

I’m really lucky. I can work within an established world/setting/context with the same zeal that I approach creating my own worlds. There is a different framework of rules, but the work is essentially the same. Create a hero, give him/her something interesting to do, add lots of conflict, and keep the pacing up.

From Issue 17 (Dec 2011)
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by Joe Vaz

We’ve got a great bunch of original stories for you this issue. That’s right, four brand-new, never-before-seen stories, starting with She Can See Tomorrow Today, by Mel Odom, wherein a young woman negotiates for her freedom. Concerning Harmonies and Oceans by K.A. Dean, is about a young boy whose voice could change his family’s destiny. Genevieve Rose Taylor’s The Lighthouse is an intimate, nostalgic story set in a small coastal town.
And we close off the issue with Cat Hellison’s Jack of Spades, reversed, a wholly original SF/Fantasy trip.

Our feature interview this month is with both Charlie Human and Sam Wilson, two of the five South African authors featured in Pandemonium: Stories of The Apocalypse, which itself is reviewed in this issue by Karen Jeynes.

From Issue 17 (Dec 2011)
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interview by Joe Vaz

As I was setting the story from the zombie's viewpoint I figured grunts would not be the way to go. A narrative of grunt, grunt, grunt, ugh, argh, grunt, grunt might have been off-putting.

From Issue 16 (Dec 2011)
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interview by Joe Vaz

I think we're only a few mutations away from a serious pandemic at any time. All you need is one really nasty airborne virus with a two-week incubation period, and WHAM, it's bye-bye humans.

From Issue 16 (Dec 2011)
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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)
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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)
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by Joe Vaz

Our first story for the month, (available on the 6th of Dec) is “God of Light”, by Domyelle Rhyse, in which a young girl attempts a last minute escape from a ritual ceremony. “Breathing Space” by Sheila Crosby (out 13th Dec), is our novelette for the month, a hard SF piece set on a mining vessel.

Next up (on the 20th of Dec) is our end-of-the-world piece for the month, “Pulse”, by Tom Jolly and we close of the issue, and the year, (on the 27th of Dec) with our cover story, a poignant look at how the other half live, in “Six Feet Above”, by Cate Gardner.

As promised, our feature interview this month is with the baddest-ass Mexi-Can ever, Mr. Danny Trejo.
Our book review this month is a year-end review of some of our story-editor, Vianne Venter's, favourite reads for the year with particular focus on Justin Cronin’s The Passage and Warm Bodies by Isaac Marion.

From Issue 16 (Dec 2011)
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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)
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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)
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