Publication Announcements & End of the Year Round-Up

I just received a parcel delivered through Royal Mail! Inside were my contributor copies of Bitter Distillations: An Anthology of Poisonous Tales, which was edited by Mark Beech and published by Egaeus Press. It is a beautiful book, and I’m beyond thrilled that my story “An Embrace of Poisonous Intent” closes out this gorgeous array of tales. I’ve been adding titles put out by Egaeus Press to by bookshelves for a couple of years now. The fact that copies of their newest anthology showed up on the last day of the year makes this story success that much sweeter.

Although 2020 has been a challenging year in many ways, it has also been one of my most productive. I finished my first novel, which I’m currently editing under the guidance of the amazing Angela Slatter. (If you have the opportunity to work with her, take it. Trust me on this.) I also wrote five original stories including “An Embrace of Poisonous Intent” and “The Stages of Monster Grief: A Guide for Middle-aged Vampires,” which came out in the October publication of Coffin Blossoms.

This year was a year filled with firsts for me. My story “Rotten” was the final story in the Crystal Lake anthology Arterial Bloom, edited by Mercedes M. Yardley. I also had a story listed as the opening story with the publication of “An Authentic Experience” in Wild: Uncivilized Tales from Rocky Mountain Fiction Writers. The linked vignettes I wrote for The Lost Citadel Roleplaying Game were published by Green Ronin Publishing in December. And I also celebrated my first translated story with the Japanese publication of “A Seed Planted” in Night Land Quarterly, Vol. 21.

In the end, my work came out in nine publications (including two reprints) in 2020. Although I only published two stories in 2019, they both received mentions this year as well. My story “Burning Bright” from Gorgon: Stories of Emergence received a nod from the renowned editor Ellen Datlow in The Best Horror of the Year, Vol. 12, and Terror at ‘5280, which includes my story “Gaze with Undimmed Eyes and the World Drops Dead,” won Best Anthology at the 2020 Best Book Awards (BBA) by American Book Fest.

In addition to my own publications, I co-edited the charity anthology Weird Dream Society: An Anthology of the Possible & Unsubstantiated in Support of RAICES, and I was a judge for the HWA Poetry Showcase, Vol. VII. I also had the wonderful opportunity to share my favorite books of 2020 at Vernacular Books.

My planner is full of hopes and dreams for 2021, and I look forward to the creative challenges ahead. Happy New Year!

August News

Hath No Fury coverMy birthday is right around the corner (August 31), which makes all the good news I’ve received lately even more enjoyable. On August 23, Hath No Fury was released into the world. This gorgeous anthology hold special meaning for me as it contains my “Jack and the Beanstalk”/”Rappaccini’s Daughter” mash-up “A Seed Planted,” which was one of the first manuscripts I workshopped with Liz Hand during my time at Stonecoast. I received the acceptance letter while I was in Puerto Vallarta celebrating the fact that I’d survived the first year of my bicycle accident in June 2016. It seems a lifetime ago now, but it was worth the wait. It’s a gorgeous books and an incredible line-up.

In other news, my poem “Blood Work” will be included in the HWA Poetry Showcase Vol. V, edited by Stephanie Wytovich. I worked on this particular piece with Cate Marvin, an extraordinary poet who took the time to really help shape the way I approach poetry. In the past, I had a fascination with Anne Sexton’s Transformations–a collection I still admire–but, I am not Anne Sexton, and with Cate’s help, I’ve been able to find my own path.  I still have a fascination with fairy tales and myth, but my poems have started to evolve into pieces with more concrete connections. It’s an interesting journey, and one I hope to continue.

During my time at Stonecoast working with Cate, I also wrote an academic paper on the brides of Frankenstein’s monster. Body horror tends to crop up in my creative work, so this felt like a natural transition. I ended up presenting that paper at the International Conference on the Fantastic in the Arts in March, and I ended up with some interest in an essay adaptation on my research. I recently had the opportunity to view the final draft of  Birthing Monsters: Frankenstein’s Cabinet of Curiosities and Cruelties, which will include my piece “Mapping the Collective Body of Frankenstein’s Brides.” Firbolg Publishing will be hosting a book signing on October 28 at Dark Delicacies (3512 W. Magnolia Blvd, Burbank, CA). Unfortunately, I won’t be able to attend because of a prior commitment at Sirens; however, you can be sure I’ll be watching the festivities remotely. It looks like it will be an incredible event.

gorgon-emergenceMy last bit of news was just announced today–I have a story coming out in the stunning Pantheon Magazine anthology Gorgon: Stories of Emergence“Burning Bright” is the result of an experiment in literary style. I started with a flash piece written about an abused girl hidden in the skin of a circus tiger, which was originally inspired by Angela Carter’s short story “The Tiger’s Bride,” collected in The Bloody Chamber. When I decided to expand it in order to take a look at the cycle of abuse, I settled on the opening reference to Frank R. Stockton’s short story “The Lady or the Tiger?”, which was originally published in magazine The Century in 1882. The story has come to represent an unsolvable problem, which I feel reflects the emotional state of victims trapped in relationships ruled by domestic violence.

I also borrowed the spelling of “tyger” from the William Blake poem “The Tyger” to indicate the shift from beast to woman, and the fierceness of the human soul once it is freed from the conventions that bind it. Other references include instructions on how to sew a lining, a circus calliope driven by a steam-driven carousel, the children’s counting rhyme “Eeny Meeny,” depictions of children’s string games, and hints of resurrection through the connection symbolized by the red thread of fate. This piece is meant as an acknowledgment of the fact that many victims return to their abusers, often several times. That final act of separation is a brave one and it often comes at a high cost. “Burning Bright” is a reminder that there is hope. The uncanny connection between a victim and an abuser can be severed. Freedom can be attained.