1. In Door To Lost Pages you play with the idea of stories and books that are lost, no longer accessible to the average reader. If you were going to write a definitive tome on a strange subject, one that would be removed from the world but still talked about in myth and legend, what would it be about? I would write a secret history of religions that never existed, including detailed descriptions of sacred rituals, exhaustive listings of every pantheon, and synopses of sacred texts. And not just of human religions. Those of dogs, birds, alligators, lions, dinosaurs, trees, amoeba — everyone’s. From the beginning of life on Earth to the present day, and maybe beyond.
2. You’ve edited several anthologies and you’ve also written for collections of short fiction. How does editing help you as a writer, and how has writing for anthologies helped you when putting one together yourself? Thinking about and discussing fiction and the mechanics of fiction helps my mind get to and stay in story-generating mode, so editing, which involves a significant amount of back-and-forth with writers about craft and mechanics, is a good way for me to maintain that sometimes too-elusive story-generating state. But I don’t think having had stories of mine appear in anthologies affects in any way how I go about editing anthologies. However, having read a great many anthologies over several decades has given me definite ideas and opinions about the flow and composition of an anthology.
3. Your Lost Myths show takes the act of reading stories to an audience, which authors often do, and elevates it to a performance with sound, light, and art. What have you learned from that experience and what advice would you give to authors who are reading their own work in public? The most important thing I’ve learned with my Lost Myths shows is that, as wince-inducing an experience as it might be sometimes, it’s very useful to listen to a good recording, or better yet to watch a video recording, of your performance. It’s the best way to keep making small adjustments that enable you to hone and perfect your delivery. I’ve given a lot of thought to how to best present my readings, even my regular, non-enhanced, non-Lost Myths readings. Readings have something of a bad rep, when they could and should be fun for both the audience and the performer.
Here are some of my thoughts: