Fiction Fragments: Cindy O’Quinn

Last week, Girl Meets Monster talked with John M. McIlveen about his forthcoming collection of short stories, A Variable Darkness, and the fact that he is somehow able to function on only 4 hours a sleep each night.

This week, I am thrilled to welcome Bram Stoker Award nominated writer, nature lover, and extremely kind and supportive cheerleader of her fellow writers, Cindy O’Quinn.

Cindy O’Quinn is an Appalachian writer who grew up in the mountains of West Virginia and is now living, writing, and homesteading in northern Maine.

2019 HWA Bram Stoker Award Nominee in Short Fiction for “Lydia”, and multiple Rhysling nominated poet. “Lydia” was published in the anthology, THE TWISTED BOOK OF SHADOWS, edited by Christopher Golden and James A. Moore, which was nominated in the anthology category for the Bram Stoker Award, This is Horror Award, and it won the Shirley Jackson Award for Best Anthology.

Works published or forthcoming in Shotgun Honey Presents, Twisted Book of Shadows, HWA Poetry Showcase Vol. V, Star*Line, SFPA Halloween Reading, Sanitarium Magazine, Eerie Christmas Anthology, Space and Time Magazine, Speculative City, Chiral Mad 5, and others.

Social Media:
Facebook @CindyOQuinnWriter
Instagram cindy.oquinn
Twitter @COQuinnWrites

Three Questions

GMM: Welcome to Girl Meets Monster, Cindy. I loved your fragment and definitely want to read more. The fact that your protagonist is a writer reminded me of how Stephen King often writes about characters who are writers. I’d even go so far as to say that it’s a trope in his fiction. Are there certain tropes you rely on in your own fiction? Do you create characters who are similar to other characters you’ve written about, or are there distinct qualities about them that set them apart? Without too many spoilers, can you give a synopsis of “The Handshake”?

COQ: Michelle, thank you for having me on Girl Meets Monster. I’m glad you enjoyed my fiction fragment. Yes, my novelette is about a young writer. I enjoy Stephen King stories with writers, as well. I loved The Dark Half, and Misery. It isn’t a trope of mine. Most of my characters have been fairly different from one another, thus far.

A quick synopsis of “The Handshake,” which was first published in Sanitarium Magazine Fall 2016. The magazine has since changed hands, and the issue is no longer available. I’d love to see it accepted in the future as a reprint.

Torrence Eastlin is a young writer. He has the chance to meet his favorite author, Hudson Greenbrier. Something happens when the two shake hands, at least it feels that way to Torrence. His writing improves, and he begins getting one acceptance after the next. When Hudson requests a private meeting with the young writer, Torrence knows his feeling must be true. He fears whatever transferred with the handshake must be what Hudson Greenbrier wants back. To what lengths will someone go to keep their gift or to take another’s?

GMM: What defines you as an Appalachian writer? Is it simply the fact that you were raised in Appalachia, or are there specific elements within your writing that make you an Appalachian writer? Settings? Characters? Tone? Plots? How would we recognize the work of other Appalachian writers?

COQ: In the beginning, my bio would simply state I was a writer who lived in West Virginia or Virginia. That changed when I moved to northern Maine. I felt disconnected from myself. It no longer felt right to say I was a writer who lived in Maine. That became evident when I spoke. People made sure I knew I was “from away”. I dedicated my novel to my husband and sons, but also to the Appalachian Mountains that stood guard around me for so many decades. I’m sure you’ve heard the saying, You can take the girl out of the mountains, but you can’t take the mountains out of the girl. It’s true in my case. The Appalachian mountains are a part of what makes me, the person I am. All of it, the way I talk, write, cook, parent, homestead, down to how I dress.

I’m not sure one would recognize another Appalachian writer unless it’s known. It’s known of writers like Ron Rash, Silas House, and David Joy. If I’m drawn to a writer’s work, I’ll check out their bio.

GMM: Aside from short stories and poetry, have you written any longer fiction or nonfiction? Have you written any novels? If not, why? What projects are you working on right now?

COQ: I self-published my first novel, Dark Cloud on Naked Creek in the fall of 2016. I went through a couple small runs with it. Return to Graveyard Dust was my first collection of poetry. I have a novella currently out for consideration, I’m working on my second poetry collection, and another novel.

Fragment from “The Handshake” by Cindy O’Quinn

I glanced back at the line of fans and realized I’d hogged far more time than I should have. I stood and reached out my hand to my favorite writer. His enormous hand clasped down around mine, causing it to all but disappear. That’s when, once again, I felt that magical haze that had been hovering close all day. I was back in that tunnel, just like before when the writer was speaking at the podium. This time, there was actually a white glow around the two of us. Our hands together produced an electrical heat that I could feel up my arm and into the base of my skull. It felt like it lasted an hour, when in all actuality it was probably only a matter of several seconds. When the tunnel and light melted away, the writer was handing me the novel he so graciously autographed for me, and saying, “Good luck with your writing.”

“Okay. Thank you,” I said. Before walking away, I saw something in Hudson Greenbrier’s eyes that hadn’t been there before. Fear.

The drive back to Charlottesville was nothing like the drive to Sweet Wine. My mind was in a fog, and I was unaware of my surroundings. The fall foliage could have turned black, and I wouldn’t have noticed. I wasn’t fully alert again until I pulled into the driveway at home. I looked down in the passenger seat and saw Hudson Greenbrier’s book. I picked it up and looked inside. I hadn’t even bothered to look at what the author wrote. It read:

Here’s to Torrence Eastlin, the next big deal. I know there will be many who love your words. Hudson Greenbrier

I read the words over and over. I couldn’t remember, for the life of me, having told him my name. I must have, though. In my star-struck state, I must have told him my name. How else would he have known? There was a peck on my window that caused me to slam the book shut like I was hiding a secret. It was my brother, and he was laughing at having caused me a fright. Dell asked, “Well, did you meet him?”

I answered as I got out of the car, “Hell, yes, I met him. Here’s the selfie to prove it.” I handed my cell over to my brother. “He signed his book for me, and we talked a while.” I went on to tell my brother how I’d made an ass out of myself outside the bookstore. He got a real kick out of that. I didn’t tell him about the tunnel, the light, or the fact that I didn’t recall having given Greenbrier my name.

Later that night in my room, when the day had finally started to calm down, I wrote a three-thousand-word short story. I thought it was the best I ever wrote, and I wasn’t the only one to think it was good. My parents and my brother all agreed that I should submit it to Word Burner Magazine, so I did. A day later, I received an email saying they wanted to publish my story in their next issue. I received three hundred dollars for that short story. I went on to write seven more short stories, and they all sold. With each story published, my paycheck grew. Every time I sat down and started writing, I could feel myself floating back into that tunnel I was in the day I met Hudson Greenbrier. Never once did I question it. I just chalked it up to having been inspired by my favorite writer. As I look back, deep down I knew it was much more than inspiration. It went on this way for three months, until I decided it was time to move on from short stories and on to writing my first novel. Within a month, I had written a three-hundred-page murder-mystery novel, and had gone back over it twice to weed out any mistakes, which were few. My contact at Word Burner Magazine referred me to the editor at Nelson County Books, a small publishing house in nearby Afton, Virginia.

Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!

Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.

Can You Judge a Book by Its Cover? An Interview with Artist & Writer Dyer Wilk

Dyer Wilk author picGMM: Hi Dyer, welcome to Girl Meets Monster. Back in July, I had the pleasure of chatting with you at NECON 39. It feels like that happened a very long time ago, but I enjoyed talking with you about your artwork. Each piece had a story. Can you tell us about where your inspiration comes from, and how you got your start as a cover artist?

DW: Thanks, Michelle. It was a pleasure meeting you, too, and getting a chance to talk a little bit about the art I had on display. I think inspiration is one of those things that’s a mix of conscious and unconscious. It ends up coming from just about everywhere, whether I realize it or not. I spend a lot of time thinking about what a particular book cover needs to look like, and I give a great deal of consideration to other pieces of art that look or feel similar to what I’m hoping to achieve, but a lot of the time, after a piece is finished, I’ll look back at it and realize it reminds me of something I’d never thought about while working on it.

Of course, I don’t necessarily see that as a bad thing. Art has always been a big part of my life. So, having it come full circle in unexpected ways isn’t unwelcome. My start as a cover artist was a lot like that – unexpected. When I was a kid I always figured I’d become a visual artist in some kind of professional capacity, even though I had no idea how to go about that. In my early teens, I decided I wanted to make movies for a living and was stubborn enough to major in film in college only to realize about halfway through that succeeding in Hollywood is highly unlikely, no matter how passionate you are about what you see as an art. It started to become obvious that there was a certain amount of poisonous egotism and greed surrounding the film industry and many of the people who work within it. Narcissism and back-stabbing aren’t something I want to be around, so that meant I had to look for something else to pursue. That led me to the idea of writing books instead.

After I started to see some of my short fiction getting published, I got to know other writers, and made a few friends. Occasionally, I’d share some of my artwork online. Sometimes as nothing more than a joke. Sometimes to cheer up friends who were going through hard times. But mostly because I have issues with social anxiety and it can take me a while to open up to people and get comfortable. If a piece of art I created could get across an idea in a way that I didn’t feel able to with words, I felt like I’d succeeded. But it did come as a surprise to me when people started to ask if I took commissions and what my rates were.

Freelancing wasn’t something I’d considered up until that point. I’d become so fixated on trying to get to a place where I could write full time that I hadn’t considering being able to make some kind of income by working on the other side of the writing business. Ironically, after a few years of creating book covers full time, I’ve learned a lot more about publishing than I ever did when I was focused on writing alone.

The Ranger coverGMM: What is the most rewarding part of creating the hauntingly beautiful pieces you had on display at NECON 39?

DW: Definitely getting a chance to display them at all and see the positive reactions that people had to them. A lot of the time I feel like book covers are an under-appreciated art form. We live in a world where most book covers are now stock photos that resemble thousands of other stock photos. They’re posted online where a reader will scroll through thousands of other book covers, and most likely stop for only a fraction of a second before moving on. That can make all the effort to make a book stand out by investing a lot of time and passion into the design feel a little futile. But it feels good to be in a place where that art is appreciated and seen as something more than just a product.

GMM: Are there any artists who have influenced or inspired your work? Classical, comic book, or other cover artists?

DW: There have a been a lot of influences over the years, but off the top of my head (and probably most influential on what I’ve been doing more recently), I’d say Dave McKean, Bill Sienkiewicz, Russell Mills, John Jude Palencar, and Drew Struzan. Going further back, Michael Whelan, Frank Frazetta, Edward Hopper, Wayne Barlowe, Vincent van Gogh, Arthur Szyk, Alphonse Mucha, Gustave Doré, Bernie Wrightson, and Edward Gorey all definitely made a big impression on me. There are dozens of others who created various book covers, album covers, and movie posters that I’ve fallen in love with over the years. Sadly, I haven’t been able to track down the names of every artist responsible, which is a shame, because there are certain images that have absolutely mesmerized me – such as a particular paperback cover for The Dark Half, the Night on Bald Mountain sequence in Fantasia, John Alvin’s poster art for The Lost Boys, Paul Whitehead’s album art for Foxtrot by Genesis, the VHS box art for a copy of Goldfinger that I bought in the mid-‘90s, etc.

GMM: You also write fiction. What are your preferred genres to write? How is the creative process different for you when you write as opposed to when you’re creating artwork? Do you prefer designing covers to writing fiction?

The Moore House coverDW: When it comes to writing, I prefer horror and science fiction, often with an emphasis on history. The writing process itself is very different from cover design. I tend to spend several weeks or months researching and outlining a book before spending a few more weeks or months writing it, whereas I typically spend only a few days working on the average book cover. For that reason, I feel like I get something out of writing that I don’t get out of cover design. I can live with a book for a long time and enjoy walking around inside that imaginary world, getting to know its characters. Book covers come and go very quickly, and when it’s a cover I feel especially attached to, it seems to pass far more quickly than I would like, to the point where I end up feeling up I must have missed something or could have done a better job if I’d had more time.

GMM: How has your artwork evolved over time? Where do you see it going in the future?

DW: When I was a kid, my art was less personal in a lot of ways. Creating art was definitely an outlet for whatever was going on in my life, but I didn’t really see myself in it until later. I was more concerned with emulating whatever movies or comics I was into at the time. But somewhere around my early teens that started to shift a bit.

I went though a lot of phases, like most people do, and the art reflected that. If it was a goth phase, the art was gothy. If it was a metal phase, the art was still gothy, but now I could say it was metal. And since my love of horror has been lifelong, any goth or metal-inspired art still manages to fit into that enough to where I don’t feel too embarrassed by some of the cheesier things I once designed. But what I did come to realize later is that all of that art is me. I can look at a handful of drawings I’ve created over the years and trace how I’ve changed as a person, from a kid who liked scary movies but didn’t know much about how truly frightening real life can be to an adult who has some difficult years behind him but still enjoys scary movies and creating horror-themed art because they’ve become cathartic in a way.

I’m not sure what the future will hold for my art, but I hope that I’ll continue to find some kind of fulfillment in it. That said, getting more commissions and having a little more artistic freedom on projects overall is definitely what I’d like to see happen.

Rigor Morbid LYB coverGMM: Are you making art that doesn’t end up on covers? What other visual mediums are you interested in pursuing?

DW: Freelancing sometimes has a negative side-effect of making me feel unconnected to the work. It’s rare, but there have occasionally been difficult projects with a lot of micromanaging, lofty demands for repeated changes, or hours of work being scrapped entirely. That side of things can be incredibly disheartening and leave me feeling like I’m only a set of hands that has to go through the motions and can’t contribute anything of myself to the art. But that also pushes me to explore art for myself whenever I can. I genuinely enjoy what I do most of the time, but when a difficult project comes along, I need to be able to sit down and put those same skills into something I care about, where there are no guidelines or expectations imposed on the work by anyone but myself.

A couple pieces like that ended up being displayed at Necon, but there are a lot more. The older I get, the more I realize that art (or at least the personal side of it) is a form of therapy for me. If I’m not sitting in front of the computer and painting digitally, then I’m working on something else that allows me to be creative. I’d very much like to shift back to working with real paint and ink. Waiting for something to dry isn’t always conducive to meeting tight deadlines, but there’s a certain look and feel real paint has that digital often lacks. Beyond that, I miss sculpting and working with Papier-mâché – both of which I haven’t done in nearly a decade now. I’d even like to pursue film on some level again, if the project is small enough, I could work with people I trust, and there’s an atmosphere during production that’s respectful and healthy for everyone involved.

TriggersGMM: What are you writing about at the moment?

DW: I’m currently working on a novel that I first started back in 2011. It’s been sitting in a drawer for a lot longer than I ever expected it to, but I don’t think I was really ready to write it during my first attempt. I was going through a very bad bout of depression at the time, and I couldn’t deal with writing about something along those lines until I was in a better place. It’s essentially a slasher movie in book form, but with a strong emphasis on the individual characters and the experiences that have led them to the terrifying situation they find themselves in. It’s definitely meant to skew more towards realism than cheesy B-movie fun though. I grew up watching a lot of schlocky gorefests on VHS, and I’m always going to have a soft spot for those, but I’m hoping to find a middle ground between the clichéd tropes and a believable reality in which people find themselves trapped and fighting for their lives, where the characters (including the antagonist) aren’t cardboard and we can actually empathize with them.

Dreams Do Come True

The past seven days have been amazing. Last weekend I attended an event, Necon 39, that quite literally changed my life. Not only did I get to meet and spend time with some of the kindest, most interesting, and hilarious people you could hope to meet, but I made my debut as a published writer. As some of you know, I have published short stories in anthologies, but this was the first time I got to sign copies of my novel, Invisible Chains.

Books

Photo credit: Michael Burke

Thanks to some very thoughtful reviews from readers who received advanced copies of the book, including A. E. Siraki, Ben Walker, and Mad Wilson, people actually came to the event with the intent of buying my book. Some people enjoyed reading the book so much, they promoted it every chance they got. I was overwhelmed with gratitude and awed by the level of support and kind words from people who had been strangers prior to the event.

Signing

Photo credit: John McIlveen

If you have the opportunity to attend Necon, do so. It is a welcoming environment where you can connect with other writers, have informal conversations with publishers, editors, artists, and avid readers.

Lynne_Hansen

Photo credit: Lynne Hansen

And, I was welcomed into two new families: the Necon family, and the Haverhill House family.

Haverhill

Photo credit: Tony Tremblay

Although last weekend was technically a working weekend for me, it felt more like vacation and even though I was exhausted when I got home, I still felt recharged and ready to tackle whatever is coming next. I can’t wait to go back next year.

Heroes

Photo credit: Tony Tremblay

Invisible Chains was officially released on Monday, July 22 from Haverhill Housing Publishing. And, as friends received their shipping confirmations from Amazon, they contacted to let me know how excited they were to read the book. Folks who pre-ordered the hardcover and Kindle editions started receiving their copies this week and have shared pictures of the book, which is a truly humbling experience.

Earlier this week, I was interviewed for the Lawyers, Guns & Money podcast, where I got to talk about my book and one of my favorite subjects: vampires. I was also interviewed by fellow writer, Loren Rhoads for her blog, and wrote about My Favorite Things over at Speculative Chic. It shouldn’t come as any surprise that one of my favorite things is vampires. I talked and wrote about them a lot this week. Which, I have to say, is a dream come true.

So, what’s next? Aside from a few upcoming book reviews and guest blog posts, my first local book event is scheduled for Saturday, August 10 at 3 p.m., Why Do We Love Vampires and Narcissists. I’ll be reading passages from Invisible Chains and signing books, and local experts will share their knowledge about herbs, stones, symbolism, and narcissistic personalities. I’m really looking forward to this event and hope that some of you can attend.

Invite

I will be attending the The 5th Annual Merrimack Valley Halloween Book Festival on Saturday, October 12, and the following weekend, I’ll be in Atlanta for Multiverse 2019 – SciFi & Fantasy Convention, where I will again be talking about vampires.

Vampires

Later this year, I’ll have short stories in two upcoming anthologies, The Monstrous Feminine (Scary Dairy Press) and The Dystopian States of America (Haverhill House Publishing).

As I add events to my calendar, I will share that information here, so check back if you’re interested in attending one of those events. Thank you to everyone who has given their support, encouragement, and helped promote Invisible Chains. It has been a labor of love, and I couldn’t have done it without your kindness and friendship.