Category Archives: publications

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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#PALitFest!

Next week, I’ll be appearing at the Pennsylvania Literary Festival, along with a lot of fabulous authors of a variety of genres. The keynote speaker is John Dixon, author of Phoenix Island, which was the inspiration behind the CBS series Intelligence, starring Josh Holloway. Lots of authors, faculty, alumni, and students from Seton Hill University’s Writing Popular fiction M.F.A. program will be appearing, including horror authors Michael A. Arnzen, Lawrence C. Connolly, Jason Jack Miller, and Stephanie Wytovich; science fiction and fantasy authors Ann Kopchik and K. Ceres Wright, and suspense author Randall Silvis. Leading the charge is science fiction author Heidi Ruby Miller, who just released Book 1 in her Ambassadora series, Marked By Light. I will be there to read excerpts from the first two volumes in my Red Eye series, The House on Concordia Drive and The Red Eye. I’ll also be on a panel discussing feminism in genre fiction, alongside Kopchik, J.L. Gribble, Carole Waterhouse, and Christina Fisanick.

This is one of my first such events on the other side of the microphone, as it were. I’ve done several readings/signings on panels with other Alliteration Ink authors. I also used to host a semi-regular reading series at a local coffeehouse, where I served as organizer, master of ceremonies, and read some of my own work, and I attend writing-related events and workshops as a student all the time. But I look at this event as an unofficial launch party for The Red Eye, in part, and it’s great to be experiencing such a thing with so many Seton Hill folks; this is my writing family in many ways, and the greater Pittsburgh area is becoming a second home.

There are events for folks of all ages, musical performances, and much to do every day, so come on out to the Uniontown, PA Mall, Friday May 30th-Sunday June 1. Hope to see you there!

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Signed book giveaway!

Win a signed copy of The House on Concordia Drive via Goodreads! From now until April 13 only!

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The Red Eye web site

The Red Eye, my urban fantasy novel, and its prequel novelette The House on Concordia Drive are now available from Alliteration Ink!

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5 April 2014 · 4:25 pm

Big Publishing Milestone

The House on Concordia DriveMy urban fantasy novel The Red Eye and its prequel novelette The House on Concordia Drive (both 2014, Alliteration Ink) mark the publication of my 49th and 50th pieces of writing.

I didn’t actually realize I hit the big five-oh until I started working on some bio/promo things for querying something else. Suddenly I saw that my list had grown, and I decided to add number bullets.

The Red EyeThere it was. 49. 50. FIFTY.

For someone who used to write nonsensical (yet somehow endless) Dickensian soap operas every summer growing up, for someone who’s never quite felt “good enough” as any sort of artist (see my failed attempts as musician and painter), this is kind of huge. So even though I demur a bit and really don’t always feel like the most confident writer, I have to kind of say, “Good for me” for once.

I’ve had help. Every English teacher, from high school, college, and my M.A. program, and my colleagues in several arenas of my life certainly inspired this love of words and forcing them together into sentences and stories. I’ve had more specific help from the members of my writing group, my M.F.A. program classmates and mentors, spouse, and various helpful editors and publishers, some of whom even helped in their rejections.

Every day, I encounter something that makes me a better writer, whether it’s formal notes and edits on a story or something I read in which the author makes a particularly deft turn of phrase (or a not-so-deft one, one I then take pains not to emulate). I’ve learned from others’ success and failures, learned from others’ reactions and support and very occasionally the lack thereof, truth be told. But it’s both the acceptances and the rejections that make a piece of writing better, and I think sometimes in life it’s acceptances and rejections on a larger scale that make us better people, stronger people, more resilient people.

I was excited to figure out that I’d hit 50. A few years ago, I had a goal of trying to get 35 before I turned 36 (which I did do, but just barely). Once I stopped counting, something interesting happened. With this arbitrary goal gone, I just kept going, without real target in mind other than to keep writing and then sending things out. Once I stopped counting, I racked up more credits than when I was counting. Kind of funny how that works, huh?

The love of the craft is the goal, of course. That’s the real lesson. If I were only in this game for any reason other than the need to write stories, no matter the outcome, I would have either never started in the first place or kind of petered out after meeting that magic number. Instead, I just kept chugging away. The placement of a piece now is secondary to the thrill of really, finally getting a story into tip-top shape. Getting a full-length novel into truly tip-top shape is also paramount, which explains why The Red Eye was first due last fall but delayed a bit—I wanted it to be as perfect as I could make it more than I wanted to actually hold the thing in my hands.

When you do something for the love of it, some of the other stuff will come, too. Maybe not the way you think, the amount you think, the timing you think, but something will, and it’ll often be all the lovelier because you didn’t crave it quite so desperately but instead cherished it enough to wait until it was really meant to be.

Not gonna lie, though. Now I’m wondering if I can’t hit 60 in the not-too-distant future.

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Women in Horror Month

February is Women in Horror Month. Even though I don’t only write horror, it is one of the genres I read widely and write frequently. I always consider myself a “speculative fiction generalist,” but to many folks that primarily means science fiction. Horror was the first genre I was widely published in, however, and horror novels were the first pieces of adult contemporary fiction I read without a school assignment involved.

As part of WIHM, Mocha Memoirs Press has released a collection of women in horror, entitled The Grotesquerie, edited by Eden Royce. My short story “Dharma” appears in this anthology, alongside pieces by Michele Garber, Chantal Boudreau, M. Von Schussler, Kris Freestone, Marianne Halbert, Nicole DeGennaro, Rie Sheridan Rose, Lisamarie Lamb, M.J. Pack, Marcia Colette, Nicky Peabody, Caryn Studham Sartorus, Violet Tempest, Jessica Housand-Weaver, Selah Janel, Evelyn Deshane, Kierce Sevren, Carrie Martin, Lilliana Rose, Ekaterina Tikhoniouk, and Vivian Caethe. I’m honored to be a part of this collection, which is available in both paperback and ebook.

There are more women writing horror than you think, but in this post-Anne Rice/Stephenie Meyer world we think more of paranormal romance or quasi-literary horror, or they’ve been mostly writing for the YA market. But I think there’s a need for more women writing adult horror, and doing so in particular ways that perhaps speak to either a feminist mindset or at least a mindset that acknowledges that gender itself can be fodder for some reason interesting discussions of identity and terror. Some of the most disturbing stories I’ve ever read are by women.

My own horror mostly involves themes of transmogrification. Not shape-shifting usually, not often a voluntary or magical transformation, but the sheer body horror of physical nature altered in terrifying, painful, and often permanent ways. While certainly male horror authors deal with similar subjects, I see this theme less frequently in their work, and when I do there isn’t quite as much focus on the sensations associated with such changes. Is this because women are uniquely suited to writing about this concept, due to a deeper connection to the body? Obviously everyone’s body goes through transformations over time due to normal things like puberty and aging, but only women’s bodies also go through monthly changes and the potential change of pregnancy. Women’s bodies, too, are judged more harshly in the broader cultural landscape for undergoing changes, as our bodies are co-opted as being more an object than an identity or functional container/conveyer owned by individual women. Do we own ourselves, or do governments and photographs and media outlets own us? Are we the sum of how we choose to present ourselves to the world or are we merely things? The idea of no longer being in control of our physicality is terrifying, and it’s something that I think is a uniquely female experience.

As the month goes on, I’ll be discussing a few female horror authors’ work and talking more about The Grotesquerie collection.

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Publication News for January

My first full-length novel, The Red Eye, will be released soon from Alliteration Ink. Exact dates and details TBD, but I’m really pleased with the process, the book, the cover art, and the entire experience.

Over the past few months, I’ve been posting a lot of reflections on several pieces of horror literature. Those were part of a course I was taking in Seton Hill University’s MFA program in Writing Popular Fiction. I’m delighted to say that my final project for that course—a horror story featuring an off-the-beaten-path monster—was recently accepted for publication in Mocha Memoir Press’ The Grotesquerie, an anthology of female horror writers. I’m very excited and especially grateful to all those who read drafts and gave me great advice on how to make it the best story it could be.

I have another release coming up this year so far, a vampire story with a twist entitled “Method Writing,” which will appear in Static Movement’s anthology Night Hunters. Fellow writers will perhaps enjoy that one. I’m also working on a prequel to The Red Eye, and again I have to give kudos to my SHU classmates and mentors for helping whip that piece into shape.

I don’t have anything else out at markets at the present time, but I’ve lately been thinking about whether one of my unpublished novels is actually urban fantasy or if it’s secretly paranormal romance. That may change what markets I pursue. I never thought of myself as a romance writer. Then again, I never thought of myself as a horror writer, and yet I’ve published over a dozen horror stories and a novella. In fact, I’ve had more horror accepted than any other genre I write, and the genre I think of as my primary (science fiction) has been my least-published to date. Much of my work straddles the line between horror and fantasy, but I’ve never actively tried to market something as primarily romance. In many ways, genres are getting fuzzier, more specialized, and less meaningful. A good story is a good story, and that’s always what I aim to write, including those elements that I feel make sense for the plot and characters. If those elements are comedic, horrific, fantastical, or romantic, then so be it. Publishers obviously think more in terms of what their readers are drawn to, of course, and therein lies the trouble with more experimental, cross-genre work.

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Celebrating 60 Posts!

This is the sixtieth post I’ve made to this blog since I started it back in November of 2011, just after We Shadows Have Offended was first published. Since then, I’ve done series on National Novel Writing Month, writing and yoga, steampunk, and general writing advice. I’ve had six new short stories published (with another in press), I released three chapbook collections of short stories (some new, some old), and I secured a publisher for my first full-length novel, The Red Eye. I also began pursuing my MFA at Seton Hill University, through which I’ve met some amazing writers among both the students and faculty.

But 2011 isn’t when I became a writer, of course. At the signing/reading events for SIDEKICKS!, that was a common question: When do you begin writing? I struggled with my response. I began writing with the goal of pursuing publication as long ago as 1998 or so, and I started getting far more serious about that in 2002, the first time I did NaNoWriMo. But I’ve always written stories, going back to elementary school when I wasted stacks of paper printing out lavish epics which I would occasionally also illustrate. (I sincerely hope these never leave the confines of my parents’ garage.) I’ve also always been a reader, curled up on my butterfly-festooned bedspread devouring things ordered from the newsprint sheets of Scholastic Books. In high school, my stack of schoolbooks always had a novel teetering on top, and I’d sneak chapters of The Stand in between Crime and Punishment and Great Expectations during study hall.

To my students, I’m Methuselah, but for an author I’m still young. The career of a writer can be blessedly long and often blossoms—if it is to blossom at all—in one’s thirties. You’re no longer so young as to have nothing to say, but you still have enough optimism that you’re willing to try something so ridiculous and financially unrewarding.

Perhaps this is also why the protagonist of The Red Eye is in his mid-thirties. At the time I started that book, I was weary of YA coming-of-age stories and wanted to see what would happen when someone discovers his “chosen one” status during that oh-so-fun decade when you’re just as likely to have pimples as wrinkles. I made my protagonist a dreaded “man-child,” irresponsible and hard-drinking, but I also gave him a failed marriage, a professional full-time job, and a grown-up love story, because that’s the kind of POV I wanted to see and could relate to. I can certainly understand and appreciate the struggles of twentysomethings from observing them at work, but I’m delighted to be done with high school and wasn’t interested in revisiting it in my fiction.

Then again, maybe I’m particularly well-suited to consider writing “new adult,” that liminal stage of moving from one’s early- to mid-twenties, when you are indeed on the precipice of change but you may have already gotten a mortgage, as I see these folks every day, trying to balance school and work and sometimes even families. I’m excited to see where that genre goes in the next few years, just as I’m excited to embark on this next phase of my writing career.
Here’s to sixty more blog posts and a whole lot more fun stuff to write about.

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Writing and publishing news

Just a few odds and ends of news for those of you who may not follow me on Twitter or Facebook. My urban fantasy novel The Red Eye will be published later this year by Alliteration Ink. More details on that soon. Alliteration Ink is an ENnie Award-nominated publisher of fiction and non-fiction. If you haven’t already done so, pick up a copy of Sidekicks!, the anthology they released earlier this year; my short story “Doomed” is in it, as well as a bunch of other amazing stuff you should be reading.

The Red Eye was a labor of love for me, and I’m super stoked that it’ll be my first full-length novel to see print. More to come as we get closer to release.

My short story “Method Writing” will be showing up in the new Static Movement anthology Night Hunters, publication date TBD. My short story “The Found Girl” appeared in Wordhaus on July 24.

Working on reviving the Dayton-based literary reading event, possibly at a new venue. Stay tuned for news!

In other project news, I’m working away at The Curiosity Killers (SF), The Wraithmaker (UF), and other super cool books. My short story collection Grinning Cracks is still available, so get your meaty little hands on it!

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Don’t pay inflated prices for my books!

Grinning Cracks has only been available for a couple of days. It’s priced cheaply enough to move but at a cost that still earns me a little coffee money. The ebook is a full buck less expensive than the print copy. So why are Amazon resellers already claiming to have used copies that they’ll sell you for twenty dollars? People, this is a 300% markup. DO NOT FALL FOR THAT. (That behavior makes me commit the egregious formatting sin of all caps, italics, and bold all together, so you know I mean business.)

Here’s the thing. I’m less annoyed than I am confused. Yes, I pulled my earlier chapbooks out of print so they would be limited editions. Does that mean this used market thinks there’s a chance they’ll have a collector’s item? That’d be nice. Except that Grinning Cracks compiles my earlier chapbooks, adds more new and republished pieces, and is a non-limited edition work that I don’t foresee putting out of print anytime soon. (With that said, grab your copy today anyway!/shameless plug) Kidding aside, this post is less about plugging the book than asking, legitimately, what this reseller is thinking.

I have signed zero copies of this yet. So that’s not justifying the markup. The work is still available less expensively from Amazon and brick and mortal special orders. This isn’t piracy of the ebook, either, this is the print edition. So what gives? I’m not finding much in the way of clarification through my Google Fu, so perhaps others who use small presses and self-publish the occasional work can enlighten me.

Ultimately, I just want to alert those who buy my work to do so at the least expensive price, and ideally straight from the legitimate outlets authorized to sell it. If I actually thought these resellers were at least buying an initial copy or two, at least I’d know I got some royalties out of the deal, but at the rate they’re charging I doubt they’re bothering to do so until they get a customer not paying attention and accidentally clicking the “used” link. And if it’s an actual scam of some sort, please don’t fall for it.

Safest direct route for ordering, if you’re scared of this weirdness, is to get the paper copy here and the ebook copy here. These are the least circuitous ways to buy without fear of resellers popping up.

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