24 April 2020
Farewell Mira Schlosberg, our wonderful Voiceworks Editor!
From fiction Edcommer to Voiceworks Editor, Mira Schlosberg has left a mark on Voiceworks for a number of year now, yet the time has come to say goodbye to them! Mira has given tirelessly to all of the roles they undertook with us, helping greatly to form what both Voiceworks and Voiceworks Online is today!
As a part of our goodbye, we sat down with Mira to talk about their time with us, the evolution of VW, and what they are wanting from the future.
What was the most surprising thing about being Voiceworks‘ Editor?
Definitely how different it is from being on the Editorial Committee. There is so much behind-the-scenes admin work that I never knew about before starting this job.
What’s your favourite thing about working in the Wheeler Centre and Express Media office?
My favourite thing about being in the Wheeler Centre was being surrounded by so many other writing orgs and knowing all the hot goss before it was announced.
What are some of the things you learnt in your time being the Voiceworks Editor?
There are too many to list! The most embarrassing was learning that a grammatical rule I firmly believed in was totally false.
What were some of your highlights of the experience?
There are so many! I love the editing process and seeing how each piece changes and develops. I love working collaboratively with Edcomm. And I love working with Michael and getting to see his design bring the whole magazine together every issue.
You were an Edcommer before you were the editor, what was that transition/journey like with Voiceworks?
It was a big change going from being one small part of the fiction team to having so much responsibility. I’ve gained a lot of confidence and learned a lot.
What kind of writers and writing/art and artists are you most drawn to and why?
I love weird things and cute things! I prefer surreal fiction, experimental nonfiction, and graphic novels or memoirs. In prose I like a lot of imagery, and in comics I’m drawn to lots of colour and dynamic or experimental page and panel compositions.
What has been your favourite or most memorable Voiceworks piece or issue and why?
I can’t pick a favourite, but I think the most memorable issue for me is the first one I was Editor for, issue 112 Drag.
What is something you want to see more from Voiceworks in the future?
Lately we’ve been publishing some brilliant work from younger teens and preteens and I’d love to see more of that in the future.