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Smoking With Ravi Mangla
The story behind 'Moat'... I was on my way to the Rochester Museum & Science Center to check out some dead dinosaurs. Backing out of the driveway, I remember seeing this little girl* and her mother walking up and down the street in search of a birthday party. (I would have helped them, but I don't know the neighborhood/neighbors very well.) I plotted out the story on the drive and wrote it in the RM&SC parking lot. I'd wanted to write a story involving a moat for a while. So in this particular case, the absurdity came from juxtaposing two unrelated ideas and figuring out a point of intersection. And, yes! I have more ideas like this one. * The little girl wasn't broad or awkward or anything like that. She'd probably be pretty pissed off by my reimagining. The little girl is dropped off at a stranger's house. Why this particular house? Why this character? Yikes. I don't know. The two characters seemed like an interesting duo. Everything felt like a natural choice when I was writing it. Giving the little girl a shovel to dig a moat is quite an unexpected development in this story. How important is the unexpected to you? Very important. It's no fun knowing what happens next. I used the phrase "natural choice" in the last answer, which seems to conflict with the unpredictable nature of the story, but these odd turns do feel very natural when I'm working on a story. The unexpected happens every day. What writers inspire you and why? Recently, I've been pretty enamored with the work of Sam Lipsyte, Yannick Murphy, and Charles Simic. All three are incredible marksmen with their words, which is a quality in writing I find particularly inspiring. Also, Sam Lipsyte is funny as hell, another inspiring attribute. Where do you write? When, why, and how? I can't sit and write. I have to be in motion—walking, jogging, driving, lifting weights, playing music, doing yoga. I carry around a lot of scrap paper. First thing in the morning, I type everything out from the previous day. Writing clears my head. It evens me out. Read Moat. |
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| Issue Twenty-Four (March 18, 2009): Barista by Sarah Black «» Night Vision by Edmond Caldwell «» Star Man by Bill Cook «» Bluegills by Thomas Cooper «» Seattle Gymnopédie by Scott Garson «» One Night at Crobar by Shane Goth «» Scrapple by Tiff Holland «» What If The Dungeon Closes by Tim Jones-Yelvington «» Toes by Darby Larson «» The Hamster by Tara Laskowski «» Dirtclouds by Charles Lennox «» Moat by Ravi Mangla «» A Witnessing at the K&W Cafeteria by Heather McDonald «» Roots by Jen Michalski «» I Use Commas like Ninja Stars by Sam Nam «» Turtle Creek by Gregory Napp «» Prey by Susannah Pabot «» By Saturday, We'd Be Singing by John Riley «» At the Foot of the Mountain by Ania Vesenny «» Interviews: Sarah Black «» Edmond Caldwell «» Bill Cook «» Thomas Cooper «» Scott Garson «» Shane Goth «» Tiff Holland «» Tim Jones-Yelvington «» Darby Larson «» Tara Laskowski «» Charles Lennox «» Ravi Mangla «» Heather McDonald «» Jen Michalski «» Sam Nam «» Gregory Napp «» Susannah Pabot «» John Riley «» Ania Vesenny «» Cover Art "No. 41 - 2007" by Marty D. Ison «» Letter From the Editor | |||