Category Archives: from the archives

Full List of Fiction Publications, 2010-2014

A friend recently asked for a full list of my publications to date and where he could find everything, so instead of pointing to a bunch of older entries, I thought I would create a new list with fresh links. These are my fiction publications only; most of my non-fiction work were newspaper articles written for the Dayton City Paper between 2005 and 2008, which unfortunately pre-date their web site’s current archive. I may archive my own pieces myself here at a later date via some sort of “Throwback Thursday” sort of thing. When you add all my fiction and non-fiction credits together to date, I reached fifty this year.

Since the last time I looked through my old fiction credits, several publications have gone out of print, which I have noted below. I have two older chapbooks—Curiosities and Creatures and Ages and Aliens—that were limited edition and are now no longer available, but the entire contents of them are collected in Grinning Cracks, along with pieces exclusive to that volume. I’m currently planning an updated edition of Grinning Cracks, with a print edition to be re-released in September of ’14 and production to commence on an audiobook in early 2015. The currently out-of-print stories will be collected in the new edition.

– Novels
The Red Eye. Alliteration Ink. April 2014. Print and electronic. Available through all major online retailers or direct from publisher.

– Novellas
• “We Shadows Have Offended.” Etopia Press. Novella, released October 2011. Electronic. Kindle or Nook.

– Novelettes
• “The House on Concordia Drive.” Alliteration Ink. April 2014. Print and electronic. Available through all major online retailers or direct from publisher.

– Short Stories
• “Method Writing.” Night Hunters. Static Movement Press. Short story in anthology collection. In press.
• “Dharma.” The Grotesquerie: An Anthology of Women in Horror. Mocha Memoirs Press. Short story in anthology collection. February 2014. Electronic and Print.
• “Harmonia Axyridis.” 100 Worlds. Dreamscape Press. Short story in anthology collection. October 2013. Electronic and Print.
• “Chapter Six.” Weird Year. October 2013. Web.
• “The Storytellers.” Flash Fiction World. October 2013. Web. OUT OF PRINT
• “The Found Girl.” wordhaus. July 2013. Web. Also included in their anthology wordhaus Best of 2013.
• “Doomed.” Sidekicks! Alliteration Ink. Short story in anthology collection. March 2013. Electronic and Print. Available through all major online retailers or direct from publisher.
• “The Curiosity Killers.” Word River Literary Review. 4.1 (2012): 173-8. Print.
• “Bargain.” Farther Stars Than These. April 2012. Web.
• “She Lets Her Ladder Down.” Twenty or Less Press. March 2012. Electronic.
• “Iannic-ann-ôd.” Dark Fire Fiction. January 2012. Web.
• “The Lovers.” Daily Love. December 2011. OUT OF PRINT as of April 3, 2014.
• “Sparkling Teeth and Sacrifices.” Once Bitten, Never Die. Wicked East Press. Short story in anthology collection, released December 2011. Print.
• “Choleric.” Quarterlife Quarterly Volume 2. Summer 2011. Web.
• “Incubo.” Dark Gothic Resurrected Magazine Summer 2011. Print.
• “Le Bel Homme Sans Confiance.” Iron Bound Magazine June 2011. Web.
• “Seasonal Affective Disorder.” Theory Train Magazine, issue #2, 14 May 2011. Print and Electronic.
• “Arcus Senilis.” Scribal Tales Magazine April 2011. OUT OF PRINT as of April 3, 2014.
• “The Wyrmen.” Aoife’s Kiss Magazine March 2011. Print.
• “Phlegmatic.” Diverse Voices Quarterly January 2011. Web.
• “But I Love Her.” The Fringe Magazine January 2011. Web.
• “Of Shreds and Patches.” Bending Spoons November 2010. OUT OF PRINT as of April 3, 2014.
• “The Death of Ed Goshi.” Aphelion Magazine November 2010. Web.
• “The Architect.” Yesteryear Fiction September 2010. Web.
• “Regression.” Golden Visions Magazine July 2010. OUT OF PRINT as of April 3, 2014.

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Five Things Yoga Has Taught Me About Writing

This is a series I wrote about a year ago when I was blogging exclusively on a different platform. I’m migrating it over here, as I’ve been thinking a lot lately about how exercise and meditation can help one’s creativity and thought it could be helpful. Since I first wrote this, I’ve made a lot more progress on publications and novel writing, yet I’ve somehow gone backward with my yoga practice. This is a reminder for myself as much as for any readers out there that a balance between the intellectual and the physical is incredibly important if you want to grow, change, and deepen as a complete person. Yoga is not the only path toward this integration of body, mind, and spirit, however, and in the coming weeks I’ll be writing more here about other ways to reduce stress and enhance creativity through exercise.


I’ve been a practicing yogini since the mid-1990s, even before I knew I wanted to be a professional fiction writer. Back then, I mostly worked with videos (and yes, I mean actual VHS tapes!), but I did take the occasional short-term class in a variety of styles. My favorite styles usually focused almost entirely on flexibility and didn’t deal much with either the other physical benefits (aerobic and strength) or the philosophical, spiritual, or psychological advantages of a regular yoga practice. It’s only been in the last few years—as both my yoga and my writing has become more serious—that I’ve begun to see the ways in which each supplement and help the other…and about life in general.

The current state of both my yoga practice and my writing could be described as semi-professional. I’m now at a stage with yoga where I’m deeply immersed in working with several teachers of different styles (all of whom I love), and I’m researching teacher training options so that I can eventually teach yoga part-time. With my writing, I’m also feeling very semi-professional. I have lots of short pieces published but nothing full-length, though I have several novels almost completed. I see my yoga teacher training possibly coming through at the same time I sell my first novel, as these two creative outlets in my life seem to keep flowing together so beautifully.

1. Be willing to hurt. Yoga poses are strenuous. Sometimes the asanas are uncomfortable when we’re not familiar with them. But they end, even the hard ones. When you’re struggling with getting something published, you feel desperate, anxious, and alone. When doing a tough pose or waiting for an answer on a story I’ve sent off to a market, I always remind myself that the tough part will be over soon, and I will be stronger for it. The difficult asana taught me something about my body’s mechanics. When a story is having a tough time selling, I revise with each rejection and make a better story in the end. In both cases, I have learned through the pain.

2. Be mindful of your breath. Breathing is the ultimate relaxation tool. When writing, taking a breath (physical/literal or metaphorical) can refresh you. There is a reason pranayama works: it forces you to bring your mind back to the present moment and set aside other concerns. Sometimes it’s just a lack of focus that is causing writers block.

3. Be flexible. An editor tells you to cut something, you cut it. Your yoga teacher tells you to try upward-facing dog, that he thinks you’re ready for it, you try it.

4. Be here now, wherever that is. The current piece is the most important one. The current pose is the only one that matters. When you write in one genre and feel you’ve mastered its conventions, it doesn’t mean you’ve mastered the conventions of all genres. Doing a beautiful Warrior I pose with perfect alignment does not mean you’re a master of the full lotus. Your abilities and talents are individual based on what you’re doing. This teaches you to have goals, and also to exhibit humility. We do not learn all of the yoga; we continue to practice it as students, even if we teach it. So, too, a writer is always practicing her craft, never fully perfecting it, and even when teaching it is simply working on it with students. In both cases, sometimes the student teaches the teacher, which beautifully illustrates some of the tenets of karma yoga.

5. Be the strong creature you already are. As in tree pose, you must bend and sway without falling, but even falling involves simply readjusting yourself. Writers must weather the winds of rejections and reviews and dry spells and writers block, but it in no way diminishes you as an artist or yoga student.

Ultimately, the most important thing about both yoga and writing is to do each every day to keep the body and mind limber. Namaste.


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From the blog archives: “I just killed a character”

I originally wrote this mini-essay in January of ‘10, and reposted it on my tumblr in August of ’11. I think the philosophy behind it still holds true.

I just killed a character. A major character. This person, I spent months designing him, figuring out his backstory, his life, his appearance, his family, his educational and work history. I agonized over his name, mannerisms, and personality. I gave him touching moments with multiple coworkers and loved ones. I made him smart and heroic and awesome. And then I had him get killed in a fairly gruesome and upsetting way just a few sections short of the ending of my book.

This was not part of my outline or plan. It just sort of happened. And certainly I’m not on the final draft of my novel, nor do those reading it as a work-in-progress know I’ve done this. They will react, and whether this death stands may have something to do with their reaction.

But why did I feel the need to do this in the first place? I hate when writers I like do this. Albus Dumbledore. Ianto Jones. Anya Jenkins. All such needless deaths and each one was  Not Cool. I sobbed like a freaking baby at every one, and I arguably care just as much about my character dude as Rowling, Davies, and Whedon cared about their characters, and they had to know that stuff wouldn’t go down smoothly with their entire audience either.

Why do something that, as a reader or viewer, bugs me? Because when you’re writing fiction, even if you’re not writing straightforwardly realistic literary fiction, you know that in order to resonate, there has to be something about the struggle your characters are facing that makes the stakes real. We can’t be invested if we suspect that someone’s going to swoop in and save the say ten seconds to closing credits. We have to believe this is life and death.

I’m writing an urban fantasy novel about grand struggles between forces of good and evil. For the forces of evil to never threaten the forces of good in a way that puts their lives in jeopardy is not realistic. I’m not writing for children. And while I’m writing characters who themselves are somewhat and sometimes comedic, this is not a comedy. It’s not a tragedy, either. It just is, and the people in danger have to feel like real people in danger. If danger is limited to getting a paper cut, or relegated to background people (“guest stars,” basically), then it will not touch the reader the same way as if a major supporting character bites it.

I’m shocked this happened, as sometimes when I’m writing I do deviate from outline and find the plot going somewhere surprising, even as it’s my fingers on the keyboard. But perhaps I’m a merciless god, because unless my little group of readers objects too vociferously, his death will stand.

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