Works
Moore's early stories were mostly hard-boiled science fiction. His first published story, "Sight Unseen," appeared in Aboriginal SF in 1986. His work has also seen print in New Destinies, Realms of Fantasy and Marion Zimmer Bradley's Fantasy Magazine.
Aside from his early techno-thriller Heat Sink (written in 1991, finally published as an e-book in 2010), Moore's longer works have been light, humorous fantasies, which have been compared to the writings of Terry Pratchett and Robert Asprin. He was influenced to use humor in his fiction by comedian Bill Hicks when both were students at the University of Houston. At the Comedy Workshop, Moore studied the techniques of performers like Hicks, Sam Kinison, and Ellen DeGeneres to develop his own sense of comic timing and pacing.
His fantasies have been published in a number of languages other than English, notably German, Czech and Russian. The Czech version of his novel The Unhandsome Prince was actually published before the first edition in English. As for his other novels, Slay and Rescue is available in all three languages; The Unhandsome Prince in Czech and Russian, and Heroics for Beginners in Czech and German. Heroics for Beginners and Bad Prince Charlie were also published in Poland.
Read more about this topic: John Moore (American Author)
Famous quotes containing the word works:
“The appetite of workers works for them; their hunger urges them on.”
—Bible: Hebrew, Proverbs 16:26.
“That man’s best works should be such bungling imitations of Nature’s infinite perfection, matters not much; but that he should make himself an imitation, this is the fact which Nature moans over, and deprecates beseechingly. Be spontaneous, be truthful, be free, and thus be individuals! is the song she sings through warbling birds, and whispering pines, and roaring waves, and screeching winds.”
—Lydia M. Child (1802–1880)
“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
—Freya Stark (b. 1893–1993)