Fiction Fragments: Patrick Freivald

Last week, I spoke with Carol Gyzander about how she’s adapted to the challenges of writing during the pandemic and she gave a little backstory about Writerpunk Press.

This week, Girl Meets Monster welcomes Patrick Freivald, who I affectionately refer to as a belligerent nerd. Patrick is a writer, teacher, gourmand, and bee keeper who makes honey that will burn your soul, among other things.

Patrick Freivald is a four-time Bram Stoker Award® nominated author, a high school teacher (physics, robotics, American Sign Language), and a beekeeper specializing in hot pepper infused honey. He lives in Western New York with his beautiful wife, parrots, dogs, cats, chickens, and several million stinging insects. A member of the Horror Writers Association and the International Thriller Writers, he’s always had a soft spot for slavering monsters of all kinds. He is the author of eight novels and dozens of short stories, from hyper-violent kickass thrillers and teen zombie melodramas to science fiction, horror and fantasy. Find him at Patrick.Freivald.com, on Facebook, Instagram, Twitter, YouTube, and at www.FrogsPointHoney.com.

Three Questions

GMM: Welcome to Girl Meets Monster, Patrick. Your Instagram account is one of the most interesting ones I follow because it gives a tangible snapshot of many of the different aspects of your life: bee keeping, honey making, cooking, teaching, your pets, your wife, and occasionally promotions for your writing. Has social media helped with the promotion of your books? Your honey business? Were you using social media as frequently as you do now before the pandemic? Do you view your social media accounts as an outlet for creativity?

PF: I handle my Instagram rather differently than my Facebook. Instagram is all about food, family, cute critters, maybe a little about teaching (though I try to keep my teaching and my social media very, very separate, ESPECIALLY given the level of vulgarity and cannibalism jokes I’ve actively cultivated on my Facebook page), while Facebook is a mind-dump of whatever’s bouncing around in my skull. Social media has definitely helped with marketing both books and Hot Honey, though by and large I think that’s because it’s been an effective way of marketing myself. I post about whatever I want–science and technology, writing, funny gifs/memes, articles about science or politics or gaming or religion or whatever strikes me as interesting. I sometimes get caught out by people thinking that just because I’ve shared something means that I believe it hook, line, and sinker, but that’s a “them” problem, not a “me” problem…usually my commentary is enough for a reasonably astute person to realize that it’s unlikely I’m fully onboard with whatever I’m sharing. And I’m rarely fully on-board with something someone else wrote.

Facebook has been awesome at promoting Frogs Point Honey (www.FrogsPointHoney.com) — a good number of people hate food posts, but lots of people love them, and I love them, so when I post delicious food things that feature Hot Honey or Rubbit or what-have-you, it draws new and existing customers often enough. The business has built up quite nicely over the past five years, and that’s with pretty much entirely word of mouth advertising, and almost all of that coming from Facebook.

I’m not using Facebook any less than before, and no more, either. I post way too often, to the extent that some people think it must be a managed page rather than just one dude with an obsessive streak and a smart phone, but I’ve been that way with online interactions since the bulletin boards of the early 1990s. When it comes to Facebook as a marketing tool, if all you do is post your own stuff then no matter how interesting you are you’re not going to get a lot of oomph out of your effort–you’ll share a bunch of stuff and get crickets in return. You have to like other people’s stuff, comment, share, etc.; and don’t do it just to game the algorithm, do it because you’ve surrounded yourself with interesting, cool people worth engaging with. It’s an opportunity to be social, to be creative, to share who you are and what you find interesting with the world.

GMM: Tell me about your latest release, Murmur. What is the premise of the book, and what inspired the story? Some of the words used to describe the book include “magical, disturbing, erotic…”. I tend to combine horror and erotica in my own fiction, and I’m always curious about writers who do the same. Why do you think horror and sex make a good pairing in fiction? Is it more difficult to write the sex scenes or the horror? Do you combine the two, or keep them separate in the narrative?

PF: Murmur is, fundamentally, about an affluent New York socialite being sexually stalked by a demon while trying to contend with the one bound to him, that he keeps in a prescription bottle. The inspiration is a combination of an old roleplaying game character and being really disappointed with a movie I’d just watched about demonic possession–it turned out to be very much the same-old same-old, extraordinarily Catholic-themed Exorcist riff, and there’s just so, so much of that out there. So I wrote a book about a kind of half-possessed guy who’d been that way for over a decade and was at a sort of détente with his “pocket demon”, Murmur.

Sex and horror make a good pairing because sex is often beautiful and wonderful and sometimes horrific and awful (at the time or later), we’ve all got our own experiences to bring to the table when we read or watch, and both lend themselves to a great deal of catharsis. I absolutely combine the two–I was somewhat inspired by David Cronenberg’s A History of Violence (starring Viggo Mortensen and Maria Bello, with amazing support from William Hurt and Ed Harris). There are two sex scenes in that movie, the first very playful and loving, and the second very raw and downright angry, and they’re between the same two people, who are husband and wife, after some rather serious revelations upend their relationship. I don’t know that I’ve seen sex used to portray the evolution of characters and their relationships done that well anywhere else, and after rewatching it on cable I started chewing on the idea of sex as a storytelling device. The book is kind of smutty, but oh yeah do the sex and horror merge as things progress. Davis is an unreliable narrator who sees Hell and the real world overlapped all the time, and that lends to a lot of opportunities for really trippy body horror and gore amid the naked wumpledance. I took those opportunities, with gusto.

GMM: You mentioned that the flash piece you submitted as your fragment was written during Borderlands Boot Camp. Can you tell me about your experience participating in that program? What initially drew you to enroll? What did you learn about your own writing? Did you come away with some new skills or tricks to improve your writing? Would you recommend the Borderlands Boot Camp to other writers, and why?

PF: Borderlands is awesome–it’s three days cooped up in a hotel with a bunch of other writers, with workshops specifically tailored toward making you a better writer, run by absolute giants of the genre. The year I went they had the three regulars of Tom Monteleone, F. Paul Wilson, and Doug Winter, and also the recently-retired editor Ginjer Buchanan and some guy you may have heard of named Peter Straub. They, and all of the attendees, each read your work and gave targeted, specific feedback–and then you had basically overnight to bang out a story using what you learned. It’s pretty grueling, but you make a lot of friends and learn a lot of things you didn’t realize you needed to learn.

I enrolled because almost all of my beta reading group are alums, they’re all fantastic writers, and they all said it was 100% worth the time and money. I learned that the only person who hates words more than I do is Doug Winter–I have a rather terse style, and he cut the bejeezus out of my manuscript, which was awesome. Ginjer had some really insightful points about the evolution of society between now and the future setting of my work, which threw my perspective on science fiction off-kilter a bit in all the right ways; in particular she asked, “Why would these people be married? I don’t believe that the institution of marriage would have survived, at least not in any form we’d really recognize”–and it was a fantastic question, and made me question a lot of assumptions I hadn’t thought to previously.

If you have the money and the time, Borderlands is absolutely worth it.

A Spiteful Man
By Patrick Freivald

“I am a sick man…I am a spiteful man.”

Anna muttered the words again and blinked away tears that obscured her daughter’s image through the scope. She took her finger off the trigger, then tossed the rifle, wig, and sunglasses in the trunk. Squeals of panic and laughter scattered across the field; a boy had plopped a toad onto Sally Walker’s lap.

“Stupid bitch. Stupid coward bitch.” Henry’s words spilled from Anna’s lips as she peeled off the latex gloves and stuffed them into her pocket. Real change took courage. Boldness. All those things Henry never let her be.

She got in the car.

4:28 pm.

Godfuckingdammit.

Twelve minutes home, twenty to clean up and get dinner on the table.

He trudged in on cue, scowled at the kitchen table.

Through sheer will her wince became a smile.

“How was work, Sweetie?”

His tools clanked against the floor, canvas bag toppling against the mound of yellowing newspapers she’d take to the dump some day.

“The fuck is this?”

“Dinner.” She patted his chair. “Stephanie’ll be down in a minute.”

He scowled, opened the fridge and popped a beer. With a grease-stained hand he scooped the fish sticks from his plate, then plucked up the rest from Steph’s.

“She doesn’t need ‘em.”

Anna grabbed his wrist. “Those’re for—”

Light shattered her equilibrium, white hot. Pain spread, red and warm across her jaw. Beer spattered the floor, the wood cool on her cheek. Henry’s boot dug into her back, steel toe a knife in her kidney.

“Your. Daughter. Don’t. Eat. Stop throwing good money after that stupid kid.”

With another beer he disappeared into the living room.

Spiteful man. Hated his wife, hated her daughter. The kind of man ain’t worthy to raise a child, ain’t worthy to walk free. Too stomach-sick to eat, she mopped up the mess and threw her dinner in the garbage before shuffling next to the TV, careful not to block the game.

“You need anything, Baby?”

Henry drained his beer and dropped the can on the floor. She took it and fetched another. And another and another. Drunk past sulking, he’d sleep, and they’d be safe.

#

“Jesus, Anna.”

She jerked away as Frank touched her cheek.

“I fell.”

“He can’t—”

“I said I fell. That badge make you deaf and stupid?”

He leaned against his patrol car, gave her the same cute scowl she’d loved in high school.

“Press charges. I’ll help.”

“I ain’t calling social. They kill families.”

“C’mon, Annie. You got to get out of there. He’s gonna hurt you. I mean, worse.”

“Oh, we’re getting out. I got a plan for me and Steph.”

Frank kicked dirt. “You can stay with me and Bev a while. We got a spare room, car you can borrow when I’m at work. Maybe get you a job down at Lucky’s?”

“I said I got a plan. Henry gon’ shit what’s comin’ his way.”

“Don’t get too clever, Babe.”

“I ain’t. And I ain’t your babe no more.”

“You fuck with him he could really hurt you.”

She met his gaze. “Oh, he ain’t never hurting us again. Bank on it.”

“What’re you—”

She wagged a finger. “A lady don’t kiss an’ tell.”

“Lady?” He ran his tongue over his teeth. “Tell me when you find one, would ya?”

#

“I am a sick man…I am a spiteful man.” The stupid wig slipped. A year’s worth of hair rubber banded to a shower cap, some of it had to end up on the ground.

The tick-tock of the swing brought the blond boy into sight at regular intervals. Anna’s bruise throbbed against the wood stock, every pulse a reminder of that sickness, that spite.

Four-fifty. Time enough for Henry to get here, not enough to get home.

 “Fuck him.”

She breathed out, held it, and pulled the trigger. The rifle jerked, impossibly loud. Ears ringing, she watched straw-yellow hair puff red before she cycled the chamber.

Red hair, blue shirt. Ben spun to the dirt as the round hit him high-right.

Timmy gaped at nothing until Anna sprayed his guts across the gravel next to the swing.

Running, now. Panic. Bridget’s mom dragged her behind the tractor tire sandbox. Anna took her knee with the fourth shot, rolled, and bolted for the car.

#

Flushed, breathless, she sat at the table, hands folded. Henry’s rifle lay in its case, bullets in their box. The gloves and wig and spent brass drowned at the bottom of Frog’s Point, weighed down with lead from Henry’s reloader in case the cops found them. Dinner sat on the table, three plates of all-day roast she’d have had to baby hours and hours if she hadn’t have cooked and frozen it three weeks earlier.

Henry kicked the shit out of her anyway, and she managed not to smile through it.

Upstairs, Steph slept. Safe.

#

“You okay?” Frank hugged her, maybe too tight for proper, them standing in his guest room with his wife at work.

“I’m good. Real good. First time in a long while, you know. You?”

He scowled. “I had—doesn’t matter. We nailed the bastard. That’s what counts. He…what kind of sick fuck does that?”

She shrugged, looked away. “Don’t know, you know? A monster, the real kind. I’m just…I’m just glad Stephanie weren’t there. We’re free. Finally free.”

Frank frowned. “Steph’s dead, Annie.”

“Dead? No, she’s right…” She scanned the empty room.

“Gone. She’s gone.” Frank squeezed, his embrace warm and welcome and full of poison. “I’m sorry, Sugar.”

“Nonononono. She ain’t dead. Not dead. She can’t, I only shot, it was just the boys. Ain’t no way she’s…She’s okay. Steph’s just fine. It was just boys.” Frank stiffened, stepped back. He plucked the picture from her bedside table, ran his finger down the image of her daughter’s soft cheek. “She’d have been beautiful, our girl. But it’s been nine years, Honey. We’ve both moved on. You got to let this go.”

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.

Women in Horror Month Fiction Fragments: Sumiko Saulson

This past Friday, I chatted with Nicole Givens Kurtz, one of the first recipients of the Horror Writers Association’s Diversity Grants. Today, Girl Meets Monster welcomes another Diversity Grant recipient, Sumiko Saulson. Sumiko provided me with multiple versions of hir bio and there is so much interesting information in each one that I felt like using only one would somehow rob you of knowing all the cool shit ze has done and is doing. As a woman of color who writes speculative fiction that often crosses the lines of genre and gives my readers a glimpse into my various parts that make up the whole, I can completely respect and wish to honor all aspects and intersectionalities of a fellow woman of color who writes horror.

So…here are all the bios Sumiko sent me. Bask in the glory of hir muliplicities.

50 Words
Sumiko Saulson is a cartoonist; horror, sci-fi and dark fantasy writer/blogger; editor of Black Magic Women and 100 Black Women in Horror. Author of Solitude, Warmth, Moon Cried Blood, and Happiness and Other Diseases. Author/Illustrator of Mauskaveli, Dooky, Dreamworlds and Agrippa, writes for Search Magazine and the San Francisco Bayview Newspaper.

100 Words
Sumiko Saulson is a cartoonist, science-fiction, fantasy and horror writer, editor of Black Magic Women, Scry of Lust and 100 Black Women in Horror Fiction, author of Solitude, Warmth, The Moon Cried Blood, Happiness and Other Diseases, Somnalia, Insatiable, Ashes and Coffee, and Things That Go Bump In My Head.  She wrote and illustrated comics Mauskaveli, Dooky andgraphic novels Dreamworlds and Agrippa. She writes for the SEARCH Magazine and the San Francisco Bayview column Writing While Black.  The child of African American and Russian-Jewish parents, a native Californian and an Oakland resident who’s spent most of her adult life in the San Francisco Bay Area. She is pansexual, polyamorous and genderqueer (nonbinary).

100 Words (but different)
Sumiko Saulson is an award-winning author of Afrosurrealist and multicultural sci-fi and horror. Ze is the editor of the anthologies and collections Black Magic WomenScry of LustBlack Celebration, and Wickedly Abled. Ze is the winner of the 2016 HWA StokerCon “Scholarship from Hell”, 2017 BCC Voice “Reframing the Other” contest, and 2018 AWW “Afrosurrealist Writer Award.”

Ze has an AA in English from Berkeley City College, and writes a column called “Writing While Black” for a national Black Newspaper, the San Francisco BayView. Ze is the host of the SOMA Leather and LGBT Cultural District’s “Erotic Storytelling Hour.”

150 Words
Sumiko Saulson is a science-fiction, fantasy and horror writer and graphic novelist. She was the 2016 recipient of the Horror Writer Association’s Scholarship from Hell, and 2018 winner of the Afrosurrealist Writers Workshop Short Story Award. Sumiko Saulson is a cartoonist, science-fiction, fantasy and horror writer, editor of Black Magic Women, Scry of Lust and 100 Black Women in Horror Fiction, author of Solitude, Warmth, The Moon Cried Blood, Happiness and Other Diseases, Somnalia, Insatiable, Ashes and Coffee, and Things That Go Bump In My Head.  She wrote and illustrated comics Mauskaveli, Dooky andgraphic novels Dreamworlds and Agrippa. She writes for the SEARCH Magazine and the San Francisco Bayview column Writing While Black.  The child of African American and Russian-Jewish parents, a native Californian and an Oakland resident who’s spent most of her adult life in the San Francisco Bay Area. She is pansexual, polyamorous and genderqueer (nonbinary).

Ten Questions

GMM: Welcome to Girl Meets Monster and thank you for being part of my first Women in Horror Month series, Sumiko.  What projects are you currently working on? Is horror your primary genre, or do you write in other genres? If you write in other genres, which do you feel most comfortable writing, and why?

SS: I have three works in progress. The one I am currently focused on is Akmani, which is the fourth book in my paranormal romance / horror erotica series Somnalia, which begins with Happiness and Other Diseases. I promised Mocha Memoirs Press, publisher of my anthology Black Magic Women (and another anthology I am in, SLAY: Tales of the Vampire Noire) the first option on it when it is completed. It’s about 85% there at this point. I also have a manuscript for Disillusionment, the sequel to my first novel, a sci-fi horror story called Solitude, about 75% complete, but that one is tabled for now. And finally, I have a file I put all of my poetry in (I write quite a lot of it, on my blog and social media) which is called “Emotional Side Chicks.”

Horror is definitively my primary genre, but I do a lot of crossover into other genres that are combined with horror. Sci-fi horror, monster porn, paranormal romance and horror erotica are some of those, and my Afrosurrealism and Afrofuturism tends to be dark and essentially horror. I have a significant amount of erotica in my short story portfolio now, and some of it isn’t horror, but is fantasy, or sci-fi erotica. Poetry is the only genre I work in which isn’t usually horror flavored, as I am a beat or spoken word poet. However, I do have a poem in the current Horror Writers Association Poetry Showcase.

GMM: When did you first know that you were a horror writer? How did you develop an interest in the genre? What initially attracted you to horror stories? Which writers influenced you then? Which writers influence you now?

SS: I started out as a poet and a journalist, and hadn’t completed any short stories or novels. I was a published poet as a teenager, and showcased as an upcoming beat poet in the San Francisco Chronicle at the age of twenty. So, the first short story I submitted anywhere was to Phantasmagoria when I was eighteen. They sent it back and said we would love to see more work from you, but this is suspense, not horror. I had sent it to four magazines but only they wrote back. I was easily discouraged and didn’t try again for a long time. I had a half written sci-fi horror novel that I never finished when I was twenty-five called The Chain. I think I tried writing things that weren’t horror, and it just didn’t work.

On my first novel I just gave up on the idea of writing anything other than horror, or trying to not sound derivative because I had consumed so much Stephen King that his voice was ingrained in my mind. So I finished Solitude and was bummed out when Under the Dome (the book, not the television show) came out and I saw that the time bubbles in my book were similar sounding to his dome. They were written at the same time, so it was almost like I had gotten so influenced by him that I was mind reading. Well… after the first book I got really good at having a distinct voice, and you gotta start somewhere.

The more I felt that my voice as an African American was important, the more that I felt my voice as a disabled author was important, the more I had a distinctive voice.

GMM: The documentary, Horror Noire: A History of Black Horror (2019), explores Black horror and the portrayal (and absence) of Black people in horror movies. As a definition of what Black horror means begins to take shape, Tananarive Due says “Black history is Black horror.” What do you think she meant by that? Can you give an example of how this idea shows up in your own work?

SS: I think that Victorian era horror, Gothic horror, which is at the root of modern horror, is filled with white voices othering people of color, and then expressing fear that the people they oppressed would come back to destroy them. Consequently, American Gothic horror was filled with slaves cursing white people, Native Americans cursing white people, etc. British Gothic horror was filled with curses by Egyptians, East Indians, and people from Romania who had been oppressed by the Empire or the Church. Black horror switches the focus to us, so instead of it being about how we want revenge for all of the horrible things done to us… it is about how horrible things done to us were. Even in Toni Morrison’s “Beloved,” where the house is haunted by the child Sethe killed, the visceral horror of the institution of slavery is cloying, overwhelming, and more horrific than the ghost. Sethe’s terrible deed was done to save her child from slavery.

The institution of slavery itself was the stuff of nightmares, I believe, is what Tananarive Due is saying. The horror of our ancestors being stolen from Africa, the heinous deaths aboard the overcrowded slave ships where we were treated like chattel, and the abuse at the hands of the slave owners and slave hunters.  Then, the abuse continued during the Reconstruction, during segregation, through Jim Crow laws, and voter suppression, the birth to prison pipelines, racial profiling, and police brutality.

GMM: As a WOC writing horror/dark speculative fiction, do you feel obligated to have a deeper message in your stories? Can writers of color write stories without broader messages about identity, class, and racism? Is it possible to divorce yourself from that ongoing narrative within our culture when you set out to write a story?

SS: My horror stories almost universally have broader messages about identity, class, racism, disability, and/or queerness. I don’t think that I personally can easily divorce myself from that narrative when I set out to write a story, but I do think that, in general, writers of color have the ability to write outside of those parameters. I was in a horror writing contest that HorrorAddicts put on, called “The Next Great Horror Writer” contest back in 2017. The runner up, Naching T. Kassa, was able to turn in several excellent horror stories that HorrorAddicts loved. They do not like political horror. That’s a fact. I got sixth place, but the more political my horror has become, the more rejection letters they send me. They probably have more people applying, but the rejection letters express their distaste for political horror. However, some of the most powerful work by authors of color addresses these issues. Toni Morrison refused to stop writing for Black audiences, and frankly, so do I. I have had to find markets that want political horror. Let someone else write for the ones who don’t.

GMM: What are your top five favorite horror movies, and why? Top five horror novels? Which book or movie scared you the most?

SS: Candyman is my favorite horror movie. I am so jazzed for the new Jordan Peele one. Bram Stoker’s Dracula, Bones (yes, that Snoop Dog movie), Dawn of the Dead, and Queen of the Damned (even though I know Anne Rice hates it, so hopefully she won’t read this interview). Novels – gosh, so basic. Toni Morrison’s The Bluest Eye, Steven King’s The Stand, again Anne Rice’s Queen of the Damned, Toni Morrison’s Sula, and Mark Helprin’s A Winter’s Tale. Please don’t tell me you don’t think all of those are horror novels, because I am not trying to hear that. The movie that scared me the most was a sci-fi movie, The Planet of the Apes, the original one. I had terrible nightmares about it as a child. Apocalyptic themes frighten me the most, so naturally, The Stand was the scariest of those books, although, The Bluest Eye was also terrifying.

GMM: How do you feel about white-identifying writers who write stories about non-white characters? What problems have you encountered? What potential issues do you see with white-identifying writers telling BIPOC stories? What advice would you give those writers?

SS: I think that own-voices are really important, but I know that I am not the only Black horror fan who swooned the minute Akasha showed up in Anne Rice’s Queen of the Damned. My love affair with Akasha still has not ended. Even though I love Akasha, it was many years later before Black vampires who weren’t villains showed up in the Vampire Chronicles.  Also, it took years for her to write dark skinned characters who weren’t supernaturally faded by vampirism.

Stephen King’s treatment of African American characters in The Stand was horrific. He martyred two different major Black characters in a book about the near-end of humanity, and didn’t even bother to show any Black children being born. It creates a creepy inference that all of the Black folks have died off. After many letters from concerned fans, Stephen King started writing stories where the martyring of Black folks came to an end, but there were other issues. Don’t even get me started with Bag of Bones… the black characters in that book are totally objectified, go through horrendous things, and yet are vilified, othered, and made into a backdrop for a story about a four year old white Last Girl.

My advice to white writers telling BIPOC stories is to try to avoid tokenizing. If there is only one Black person, and only one Latina, then if one or both end up dead, or as a villain, then you have no heroic person or even neutral person in that role. A diversity of different kinds of characters of any given race makes it more likely that you will have at least one sympathetic character in that demographic.

GMM: All writers have experienced some form of impostor syndrome. What has your experience with impostor syndrome been like? Did you ever have a particularly bad case of it? If so, what caused it and how did you manage it?

SS: Oh gosh, I am having it right now. I have been putting out tons of short stories, but haven’t managed to finish a new novel since 2015. The more political my short story writing has become, the more I worry about potentially problematic things in my novels, which are mostly multicultural and take place in urban settings. I just wrote when I first started, and didn’t second guess myself as much. Now I am like, “Oh wait, I am writing about people who are different than me – did I do it right?”

My experience with impostor syndrome is that the fastest way to get past it is to set aside perfectionism. Sometimes I pick up a book I was told is terrible that got published, and read it and tell myself that I suck less than that. Then I tell myself that all of an author’s books aren’t masterpieces, and it is okay to write a book that isn’t Toni Morrison’s Song of Solomon. In fact, if none of my books are ever as good as Toni Morrison, that will be okay. I am a horror writer. Then I pick up a really crappy Stephen King book like The Tommyknockers and remind myself of how many mediocre books he has put out. And yet, I am a fan.

GMM: Do you write about characters who share as many intersectionalities as you do? Did it take you a while to develop the confidence needed to tell their stories, or did you simply write the stories you needed to tell without worrying about what other people might think? Have you experienced any backlash for the stories you write?

SS: I am half Black and half Ashkenazi Jewish, am a non-binary femme who is woman-identified, am mentally ill and pansexual. Some of my characters have as many intersectionalities, but not all of them. The protagonist in “The Moon Cried Blood” is a thirteen year old biracial Black/Mexican girl, and the protagonist in “Happiness and Other Diseases” and “Somnalia” is a biracial Chinese/Hawaiian man. There are tons of queer characters in the Somnalia universe, which is based on Greco-Roman mythology. The Roman pantheon was queer as all get out.

I have a few trans and gender noncomforming characters, and X’ashia, the alien in Solitude and Disillusionment is a major one. He is composed of multiple subatomic creatures, and although he is biologically agender (because he procreates through cellular division), he shapeshifts a bunch and eventually acquires a gender identity, as male. There is a transman in“Insatiable but he is not a major character. Flynn Keahi, the main character in “Somnalia,” shapeshifts into a leopard who is female.  Angelo and Shiela are two people who share a body in a three-story arc in the “Scierogenous” anthology – both of them African American. They are a technologically created system. A chip was implanted in Shiela’s brain, which created a new person, Angelo, for a companion. Although they are sexually involved with each other, both are primarily attracted to men.

People in the African American community of writers and in the Horror community have both been very supportive, so not a lot of backlash there. Early in my career, I had a handful of cisgender white men I knew from my twenties get drunk and come at me for trying to write. Trust me they all think they are liberal. One of them drunkenly rage-posted about how women can’t write horror until I blocked him on Facebook. Another bought one of my early self-pubs and then drunkenly rage-posted about there being typos. I have also had to deal with micro aggressive behavior at conventions.

GMM: Tell me about the “Erotic Storytelling Hour.” What’s the backstory of how it began and how have you had a hand in making it a reality?

SS: The Erotic Storytelling Hour is run by the San Francisco Leather and LGBT Cultural District. Our Cultural District is in the South of Market neighborhood in San Francisco, California. We are the world’s first LEATHER & LGBTQ Cultural District. The Cultural District was created by a resolution unanimously passed by the San Francisco Board of Supervisors on May 1, 2018 and signed by the Mayor on May 9, 2018. We will have a Cultural Center there in the future, so this is literally bigger than me.

I have been very active in the local leather community since 2015, but did not become involved with the SF Leather District organization until after the pandemic last year.  The original host, Bicoastal Beth, moved to the East Coast. I was a regular participant there, both as an attendee and as a reader. I had no idea they were considering me until they offered me the position. My boss, Cal Callaghan, actually took over Bicoastal Beth’s position as the District Manager. He said he wasn’t an entertainment type, and asked them to hire a separate person to host it. 

Now, Cal and a very active board member, David Hyman, co-host the Erotic Storytelling Hour (ESTH) with me. Cal and David are behind the scenes running technical aspects of the Zoom call, and David makes announcements for the SF Leather Cultural District. The purpose of the ESTH is to support the members of the Cultural District, so every week we have four community readers and one feature. The feature is usually a name in the Leather community, such as a Leather titleholder, someone who runs community spaces or meetups, or someone who runs safe spaces for marginalized groups within our community. Sometimes the feature is an erotica author. People who attend virtually are a part of our community, as well as people who live here, and people who visit the Cultural District when they are in town. The event also serves to broaden awareness of our historical Cultural District as a tourist destination for people in the Leather community worldwide.

Part of my role and responsibilities is to help ensure that we have a diversity of readers. Because San Francisco’s Leather Heritage District was initially established by predominately white cisgender gay men, this includes making sure that ethnically diverse kinksters, and other members of the LGBTQ Leather District community such as trans, nonbinary, lesbian, bisexual… pretty much any queer person who isn’t a white cisgender gay man… get to read. Straight kinky people are also a part of the leather community.

GMM: What advice would you give to new writers who occupy more than one identity and embody the intersectionalities of race, class, ethnicity, disability, gender, sexuality, etc.? If you could go back in time, would it be the same advice you would give yourself as a novice writer?

SS: If I could go back in time, I think that, as a novice writer, I would have done some things differently. I didn’t find out about Nisi Shawl and Cynthia Ward’s “Writing the Other” until after I was well into my novel writing career. I have since become more aware of the fact that a person, while being a minority at many intersectionalities, can still be writing the other. I had some inkling, because I talked to my cousin, Heather, who is a quarter Hawaiian (a really big deal, since Europeans brought diseases to Hawaii that wiped out a lot of the native population) about a lot of things that went into the Somnalia series. Especially Book Three, Insatiable, which takes place in Hawaii, where I lived for seven years. Flynn Keahi, the protagonist of the series, is Hawaiian and Chinese and was raised by a Hawaiian single mother. Asking people to give you perspective on the characters that are unlike you is a good idea, even if you have no one available to do a sensitivity read.

Things I did actually do as a new writer that I would suggest, include getting involved in writers’ groups. I was in school at Berkeley City College, where I got a lot of advice from teachers and critiques from student peers that were useful. I started a Black Women’s Writing Group with a fellow student, and joined another Women Writer’s Group that was not exclusively, but predominantly, Black. As a disabled author, I got a lot of support from the disabled student’s services, and I also joined WryCrips, a disabled women’s writing and theater group. I was not out as a nonbinary person at that time. I started a Writing Group for kinksters after I came out as nonbinary. There were a lot of transpeople and queer folks of every ilk in it. It is good to have both mainstream (such as educational) and community writing spaces, in my opinion. 

I am a firm believer in completing your first draft before getting perfectionist and hyper self-critical. It is a difficult lesson for a lot of first-time writers. You need to complete a first draft in a timely manner to avoid having a metric shit-ton of consistency and chronology errors. While you are sitting there, re-writing the same sentence fifty times, you are losing momentum on your plot points. Rewrites can occur during editing, and the flow is sometimes more critical than the perfect turn of phrase. 

Get other eyes on it after you finish your rough draft. Other eyes during the writing of the first draft, that I choose, are much less critical than the ones I choose to allow to help me after the first draft is done. Hypercritical people during the writing of the first draft give me pretender’s syndrome and writer’s block.

“The Calico Cat” by Sumiko Saulson

“Don’t bring that thing in the house!” his mother shouted, as Joe slipped in the door after three p.m., a raggedy patchwork shadow at his feet. The cat, which couldn’t have weighed more than five pounds, had been following him since he walked off his school playground four blocks back.

“Aw, mommy, why?” he cried. “I was hoping to keep her. Can I keep her?” The cat was too thin. Her patchy fur was infested with angry fleas that bit his ankles when she rubbed up against them, begging for a pet. She wasn’t very pretty, but she was so sweet. She… he knew it was a she because calicoes are almost always female… already acted like he was her human.

“Out, you damned flea-bitten mangy mongrel!” Mom screamed. Could the cat understand English? She hissed at his mother, orange eyes blazed like campfire blazing.

“Come on, Mom!” Joe begged, but to no avail. Mom came running for the door, straw broomstick in hand.  He jumped out of the way so she wouldn’t hit him with it on her way to the cat. She swatted madly at the calico, who responded by hissing, back arched like a Halloween decoration. Her claws dug into the pine stick, but to no avail. His mother struck the cat firmly in the hindquarters, and it skittered out into the yard.

“Mom’s right…” his older brother Stan whispered with a haunted look in his eyes. “We don’t want a cat in here, not that cat, anyhow.”

Joe wondered what was bothering Stan, but his older brother wouldn’t tell.

The next night, the calico showed up in his back window at dinnertime, meowing and begging to be let in or fed.

“Don’t feed it!” his father warned. The boy ignored him, and snuck table scraps to the calico at the back door. The calico licked her slender, black lips in anticipation as he offered her a strip of bacon. She must have been starving. She leapt up and nipped his wrist with her tiny fangs so hard that it bled. 

“Told you so!” his dad said, shaking his head. “Those things are dangerous.” The boy yelled at the cat, and she skittered over the back fence, disappearing.

 “Why are you afraid of cats?” Joe asked his father.

“Doesn’t she look familiar?” Dad asked him.

“She does,” Joe admitted. “But all cats kind of look alike, don’t they?”

“That’s one of your grandmother’s cats,” Dad told him. “She had about four of them, all but this one black. Last year, she died of a heart attack. We were shocked when we got home and found all four cats eating her corpse.”

“My goodness!” Joe shrieked. “Eating her?”

“Eating her face right off,” Dad nodded. “That one right there is named Amanda. She was eating your grandmother’s eyeball like she thought it was a mouse. And the smell… just awful.”

“Smell? How long was grandmother dead?” Joe asked. “Maybe they were just hungry.”

“Like hell!” Mom yelled. “Those cats are evil. Vile, plotting little things, they are, wicked! And she had the audacity to leave this house to them in her will.”

“She left everything to them,” Dad laughed. “Her lawyers probably think those cats still are living here and we’re giving them all the money. Fat chance of that!”

His brother Stan looked spooked. “Why don’t you tell Joe the truth?” Stan demanded. “Grandma was a witch. She left the house to those cats because they’re her familiars. That’s why they hate mom and dad. And they’ve been trying to get into the house ever since!”

“That’s crazy,” Joe said. But he wasn’t so sure. He’d been away at summer camp when Grandma died. When he came back, they’d moved into this nice house. They used to live in a trailer before that. No one explained where the house came from until now.

“The calico was their leader,” Stan insisted. “You’ll find out.”

Joe had terrible nightmares that night. Amanda had gotten into the house, along with three other cats, all of them black. She chased him to the bedroom, but he pushed her out and locked the door. He climbed into the bed, and hid under the sheets, but he couldn’t sleep. There were terrible screams coming out of the other rooms in the house.

The next morning, he got up and went down to breakfast, but no one was there.

“Mom?”  he called out. Joe walked through the house looking for her, but didn’t find her. When he went to his parent’s bedroom, and opened the door, they weren’t inside. Instead, there were two black cats, sleeping in their bed.

He walked down to his brother’s room, and opened the door. There was a black kitten sitting on his bed.

Thinking he missed them, he walked back down to the kitchen. There, he saw a strange woman. Her black, orange, and white hair was up in a bouffant hairdo. It reminded him of the cat’s fur.

“Hello, Joe…” she purred. “My name is Amanda. I’ve come to take back what is mine.”

“But you’re a cat,” Joe said, his jaw dropping as he took a seat so he wouldn’t fall down.

“I am a witch,” she informed him. “I am your grandmother’s sister. You know, all of our family members can turn into cats. Too bad your no-good parents didn’t know that before they tried to steal my inheritance.”

Joe looked down and saw a bowl of cereal sitting on the table in front of him. In a state of shock, he began to eat it without thinking. He tried not to imagine his grandmother’s sister eating her eyeball while he was doing it.

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 Friday!

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

Women in Horror Month Fiction Fragments: Nicole Givens Kurtz

Earlier this week, Girl Meets Monster kicked off Women in Horror Month with a post about horror fanatic Dimi Horror whose social media platform is Black Girls Love Horror Too. And, on Wednesday, I had the chance to chat with horror writer and soon-to-be filmmaker, Kenesha Williams. Today, Nicole Givens Kurtz shares a fragment of her fiction and talks about her writing process, current projects, her role as editor for Mocha Memoirs Press, and what it’s like to write horror while Black and female.

Nicole Givens Kurtz is an author, editor, and educator. She’s a member of Horror Writers Association, Sisters in Crime, and Science Fiction Writers of America. She’s the editor of the groundbreaking anthology, Slay: Stories of the Vampire Noire. She’s written for White Wolf’s Vampire the Masquerade 20th Anniversary Anthology, Bram Stoker Finalist in Horror Anthology, Sycorax’s Daughters, and Serial Box’s The Vela: Salvation series. Nicole has over 40 short stories published as well as 11 novels and three active speculative mystery series. You can support her work via Patreon and find more about her at http://www.nicolegivenskurtz.net.

About A Theft Most Fowl: Sent to investigate the theft of a sacred artifact, can Hawk Tasifa unravel the threads of the conspiracy before it destroys the Order?

Following her success in Gould, Hawk Prentice Tasifa returns to her university to unravel a mystery. Someone has broken into the Museum of the Goddess and stolen its most sacred artifact, attacked two of the guards, and is trying to frame her mentor. Under pressure from The Order, Prentice is urged to find the culprits, but not all is as it seems.

Can Hawk Tasifa see through the echoes of her own past and find the dirty birds before they destroy everything she loves?

Ten Questions

GMM: Welcome to Girl Meets Monster and thank you for being part of my first Women in Horror Month series, Nicole. What projects are you currently working on? Is horror your primary genre, or do you write in other genres? If you write in other genres, which do you feel most comfortable writing, and why?

NGK: I am currently working on a science fiction mystery/futuristic noir series called Fawn & Briscoe. I write primarily in science fiction/fantasy mysteries, but horror is a close second. I feel most comfortable in mystery and horror genres, although I have written contemporary and paranormal romance.

GMM: When did you first know that you were a horror writer? How did you develop an interest in the genre? What initially attracted you to horror stories? Which writers influenced you then? Which writers influence you now?

NGK: I realized I was a horror author after I wrote my first scary story in 10th grade. It involved a Thanksgiving dinner gone horribly wrong. I fell in love with the horror genre when I was 4. Where the Wild Things Are was the first horror book I read, and it remains one of my favorites to this day. I graduated to King in elementary school along with Poe and then to others later in life like Shirley Jackson, L.A. Banks, and Tananarive Due.

GMM: Horror Noire: A History of Black Horror (2019) explores Black horror and the portrayal (and absence) of Black people in horror movies. As a definition of what Black horror means begins to take shape, Tananarive Due says “Black history is Black horror.” What do you think she meant by that? Can you give an example of how this idea shows up in your own work?

NGK: So much of Black American history has been absolutely horrific from being enslaved to the Reconstructive Period to Jim Crow to the Civil Right Movement to the era of Black Lives Matter, living as an African-American in America is to be constantly enraged (Baldwin), but also a witness to the real monsters of the world–mankind. I draw much of my horror from those marginalized spaces that depict the true depravity of racism and the monstrous nature of white supremacy. For example, in many of my weird western stories, the protagonist is a Black woman in the west. The combination of freed slaves and disgraced Confederate soldiers in the southwest/west both seeking new identities and opportunities among scarce resources create a hotbed of horror stories…some very close to the truth.

GMM: As a WOC/Black woman writing horror/dark speculative fiction, do you feel obligated to have a deeper message in your stories? Can writers of color write stories without broader messages about identity, class, and racism? Is it possible to divorce yourself from that ongoing narrative within our culture when you set out to write a story?

NGK: I don’t start out writing stories to incorporate a deeper meaning or message; however, since most of my stories have Black women or POC women as protagonists, issues of identity, class, and racism appear because they are very much a part of our reality. It is difficult to divorce the effect those things have on me, as a person, a Black woman, a Black mom, etc. I can only speak for myself, but it is not something I can do with my storytelling. Because those items affect me, they affect my heroines.

GMM: What are your top five favorite horror movies, and why? Top five horror novels? Which book or movie scared you the most?

NGK:

Top 5 Horror Movies:

  • John Carpenter’s The Thing (original): The shapeshifting nature of The Thing and the paranoia amongst the crew are expertly done and continues to be peak awesomeness today.
  • A Nightmare on Elm Street (original): As someone who suffers from insomnia since I was a child, this movie scared me to death. Exhausted and yearning sleep, the fact that something in my dreams could hurt me in real life completely terrified me.
  • Midsomer: The beauty of Midsomer is that it lures you into a false sense of security with its brilliant sunlight, welcoming community members, and gorgeous grounds, until WHAM! It all goes topsy turvey in ways I could not have foreseen or predicted. Stunned. It bears multiple repeat viewings, too.
  • The Girl with All the Gifts: Zombie. Black Girl. Doesn’t give one iota about humanity. Straight. Up. Insane. Love it!
  • Event Horizon: I probably should’ve led with this one, because it is my favorite of the lot. Awesome if not over the top acting. Crazy blend of science fiction and horror. A real wild ride. Just good scary fun. I have to watch it every time I see it on TV. Sometimes I just watch it to relax or if I want to see a good horror film. I also liked how a Black man was in charge and not killed in the first 10 mintues.

Top 5 Horror Novels:

  • Frankenstein, or the Modern Prometheus by Mary Shelley: I have multiple copies of this book and I taught it to high school seniors for 8 years. I still​ love everything about it and I still find wonderful themes on narcissism, abandonment, hubris, beauty, wealth, misogyny… the list goes on. It is a treasure.
  • The Ballad of Black Tom by Victor Lavalle: This is a retelling of Lovecraft’s The Horror at Red Hook, his most racist story.  Lavalle takes the story and subverts it. It is simply astounding.
  • The Dark Tower by Stephen King: Most of my horror lands in the weird western subgenre, and this was the first one that not only captured my love for blended genres but presented a gunslinger unlike any I’d seen before. Roland and his ka-tet continues to be my favorite book series ever, but it also produces difficult and horrific situations. Terrible situations and consequences for everyone, Roland included.
  • We Have Always Lived in the Castle by Shriley Jackson: As a person who often sees herself as an outsider, this book of two sisters, ostracized from the town, and a tiny bit from each other, showed me that horror didn’t have to be bloody and messy. Human beings are monstrous enough, and the way Kat traps her sister and imprisons her scared me to death. It showed me the dangerous power of love.
  • Minion by LA. Banks: The Vampire Huntress Legend Series was the first time I saw an authentic black woman slayer and I absolutely loved every single minute of this series. It didn’t frighten me so much as entertained me, while also centering blackness, which I loved.

GMM: How do you feel about white-identifying writers who write stories about non-white characters? What problems have you encountered? What potential issues do you see with white-identifying writers telling BIPOC stories? What advice would you give those writers?

NGK: K. Tempest Bledsoe and Nisi Shawl have a fantastic workshop and courses on Writing the Other. If white authors want to diversify the characters in their stories, I encourage them to do so. The potential issues are with not centering the non-white character’s culture as being a part of them. For example, Black characters are not monolithic, there’s diversity with different experiences, rearing, and education. However, there are certain cultural touchstones that aren’t advertised or communicated. I would give writers who are seeking to write the other to do the following: 1) write the character and make them as round as you would your white character. 2) Get two or three sensitivity readers to read over your story (Pay them please. This is labor.). Listen to their feedback and incorporate those changes into your revised story. Non-white authors should note that basing a character on your one BIPOC friend, is still tokenism. Try to expand your social group to a variety of different people to avoid stereotypes, tokenism, and offensive behavior in the story.

GMM: All writers have experienced some form of impostor syndrome. What has your experience with impostor syndrome been like? Did you ever have a particularly bad case of it? If so, what caused it and how did you manage it?

NGK: My imposter syndrome should start paying part of the mortgage! I had a terrible case of it at Blacktasticon in 2018. I was selected to moderate a panel that included Sheree Renee Thomas, Linda Addision, Kenesha Williams, Susana Morris, and an overwhelming number of Black women authors. Linda is a legend. Sheree Renee Thomas is a legend. Susana Morris is an amazing academic professor and author. These are REAL writers.

What the hell did I know about questioning them or leading these leaders in a conversation?! I managed it by writing out the questions with the intention that if they didn’t like it, they would go their own course, and I would let them. LOL! There were 10 people on this panel, and if everyone had a chance to talk, I may not need all the questions. I was prepared to, but I didn’t need to worry. The panel went well.

GMM: Congratulations on being awarded a Diversity Grant from the Horror Writers Association. If you don’t mind me asking, how do you plan to use the grant? What goals do you have in mind?

NGK: Thank you! I plan to use my grant to attend StockerCon for networking possibilities as well as take a MasterClass with Neil Gaiman course to improve my craft.

GMM: How long have you been the editor of Mocha Memoirs Press? Do you prefer editing to writing, or vice versa? How did you get started as an editor? Do you perform and other roles at the press? How can interested writers find out about calls for submission?

NGK: I have been the editor and owner of Mocha Memoirs Press for 11 years. I prefer writing! I got started editing others when I taught English for 18 years in public school. I am the owner of the press so I have assisted in all areas of the business: slush reading, edits, proofreading, formatting, marketing, etc. Interested writers can find the call for submissions at https://mochamemoirspress.com/write-for-us/.

GMM: What about your writing makes it unique within the horror genre? Are there any subjects you’re afraid to write about, or stories you avoid telling?

NGK: My tagline is Strong Heroines. Fantasy Worlds. In the horror genre, I primarily writer weird westerns and as a Black Woman, that is very rare. There are subjects I don’t write stories about and those are slavery, rape, and incest. Those are topics that I don’t find tasteful, and so I don’t write about them. I am aware that horror has a tendency to push the envelope of those things we fear, but those topics fall outside the range of what I want my work to focus on.

Excerpt from A Theft Most Fowl: A Kingdom of Aves Mystery ©2020 Nicole L. Kurtz

The University of Sulidae was the oldest college in Aves. Originally, its location resided in the Audubon Nest, close to Lanham, home of The Order. Political infighting forced the intellectuals to put some distance between themself and those at court. Experience taught them that the closer one got to power, the harder it was to survive. In response, The Order opened an intelligence file on university members. Despite the history of hurt feelings and tensions on both sides, many of those within The Order’s rank traveled and studied at the university’s new location in Sulidae Egg, in Edmonds Nest. It sat on the banks of the Plume River at the apex of the Audubon and Edmonds nests. The campus was its own island in the egg; everything revolved around the university.

Rook Bjorn Renner’s entire life orbited around Sulidae University, most importantly the Museum of the Goddess. As curator, Rook Renner’s true passion to which his entire life was devoted was collecting goddess artifacts. As a renowned expert in all things goddess, he received a consistent stream of requests to verify and validate recently discovered treasures. Over time, his teachings gained more urgency around authenticity.  

Prentice found it strange that a devoted bird like Rook Renner would steal the Five-Feathered Crown. Why now? Why only that artifact? Why not something less obvious? He wouldn’t be able to get birdsong for the relic. No one would take the risk of being caught with it. No one would dare touch the crown for fear of death.

The theft didn’t add up.

Hawk Prentice Tasifa sat on the train speeding from Gould to Sulidae. She picked up Cardinal Wick’s letter and read it again.

Hawk Tasifa-

Your services have been requested in the Sulidae Egg. Arrive within two days and greet Dove Raz Haq. The situation as we know at this time:

1. Missing sacred goddess’s feathered crown.
2. Proposed magical use.
3. Possible suspects: Rook Bjorn Renner

The truth is light. Bring it forth as hawks see what is unseen.

Peace,
Cardinal Wick

She rolled the parchment up again.

Someone did break into the museum and they stole the Five-Feathered Crown. In the ensuing massive manhunt, the eagles who served as security for all eggs, searched but came up empty. Request for assistance from the public produced nothing, according to the reports. No doubt, Rook Renner was frantic with worry and he stood accused of stealing it himself.

Prentice sipped her tea as ideas formulated in her mind. Drinking Earl Grey became a simple pleasure among the stickiness of investigative work. The ancient cogwheel train raced across the rails, and it gently rocked as it chugged its way through the Edmonds Nest. She’d left the Bailey’s rolling hills and the Adams Mountains with their snow-capped tips. They grew smaller in the distance along with Bailey Egg’s red-roofed buildings.

Now, two days later, she meandered along the Adams River. She missed Gould, and if the circumstances changed, she’d return again, but not for work.

Ahead, Sulidae Egg appeared. Prentice had the sleeping car to herself, an ornately decorated car whose features included carved, wood paneling, pressed metal ceiling, frosted glass, lamp oils and a night seat which folded down for a bed. Over the last couple of days, the car had started to feel like home. She sat in the small, overstuffed chair and removed her notepad.

When not on an active investigation, Prentice wore casual clothing; her dark wings identified her as a hawk no matter what she wore. Today she had chosen a sapphire headdress which bore silver embroidered wings and matched her frock. A silver, satin scarf draped from her neck across her left shoulder. She put away the boots in exchange for flat, closed-toe sandals. Sulidae lay in the Edmonds Nest, just southwest of Lanham. The weather remained warm throughout the year due to the Avian Sea currents. She dressed accordingly, but only by chance. Unable to return home from her last assignment for a change of clothes, Prentice happened to have packed cooler clothing.

Her thoughts turned to Rook Renner. No doubt, the rook sowed the seeds of his own demise with his erratic behavior.

The train bumped over the railroad tracks as it slowed into Lizard Mountain Train Station, with the setting sun. A whistle announced their arrival and Prentice disembarked with her luggage and satchel. As soon as the heat hit her, she missed the cool mountains of Gould. Along the platform, coachmen carried signs advertising their services. She secured one and found herself quickly seated in a carriage, her luggage bags secured outside in the rear, her driver holding the reins in front. Two beautiful horses pulled them away from the train station and into the waiting night.

In what seemed like no time, she reached campus. Being early suppertime, the egg bustled with life. Students clutched heavy satchels and walked or bicycled through the streets. People clustered together in casual conversations at outdoor cafes, illuminated by votive candles. Pedestrians hiked alongside cyclists with ease in a practiced rhythm.

In the hushed carriage interior, Prentice embraced the nostalgia rushing over her. She hadn’t been here in years, not since graduation. Outside the carriage window, the Plume River glistened as it snaked its way through the egg. A clear sky put the constellations on display, and she warmed at the memory of nights spent in Rook Ioan’s astronomy class, charting and memorizing the heavens, gazing through telescopes, and listening to how they came to be. A hawk was never lost as long as they had the sky.

“We’re here.” The coachman wrenched open the door and disappeared around to the carriage’s rear. He clambered up the short ladder and threw down her luggage bags. They smacked the ground.

“By the goddess, be careful!” Prentice bellowed as she exited. Vultures!

The coachman came back around with said baggage stuffed under both arms. He glared at her as he placed the bags beside her. His tight, grayish skin bore thin scars. The bright scarlet birthmark across his sharp nose drew attention away from his dark beady eyes.

“Thank you.” Prentice took five birdsongs from her leather punch. She dropped the copper coin with the five emblazed on the tail and the goddess’s likeness on the front into the coachman’s gloved hand.

“Evening.” The man bowed, his face softened by the tip, before leaping up to the driver’s seat. His agility surprised her; his girth didn’t hinder his movements at all.

She turned her attention to the pristine cathedral that consumed the center entrance of the university campus. The air was heavy with the fragrance of frankincense and sage. A cobblestoned maze of dark corridors threaded through the grounds and connected the buildings. Dark hallways stretched out in a monolithic maze of nooks and crannies, making it impossible to take in the enormity of the university at a glance.

Ahead, a figure approached through the growing dark. Brightly colored lanterns illuminated the square and entranceway. She could make out the red turban atop a head. A sudden strong wind billowed his dark robes. Prentice didn’t need her hawk abilities to recognize Rook Renner. Her jaw tightened as he advanced.

Once the wizened old man reached her, he wasted no time embracing her.

“Hoot, Prentice.” Renner pulled her close.

His voice was stronger than Prentice expected.

She returned his hug but pulled back. “Hoot, Rook! How are you here? Shouldn’t you be in a cell?”

Rook Renner’s jovial face held bemusement. He didn’t seem distraught. “It would seem my rapidly eroding reputation has kept that action at bay.”

His rawboned features, decorated with broad red lines beneath each eye and a vertical one from his forehead down to his chin, disappeared beneath a bushy white beard.

“Come. I’m glad you’re here.” He clasped her hand in his bony one. The soft flesh palm spoke to the rook never doing physical labor in his life.

“Me too.” She meant it.

He motioned ahead. “I’ve had a small instructor apartment set up for you.”

Prentice took back her hand. “An apartment? Rook, you know I’m here to investigate you and the theft…”

She trailed off. A quiver filtered through her feathers.

Rook Renner raised his hand. The silver rings he wore caught the pale moonlight as he held his hand up to silence her.

“I’m aware. It’s a studio, nothing luxurious. The Order cannot say I attempted to bribe you. My status may not be what it once was at court, but I’m greatly injured at this intrusion. The sooner we get this resolved, the sooner I can get back to my work.”

“Rook…” Prentice’s cheeks warmed at his words.

But she didn’t travel here to rekindle their student-instructor relationship. She’d been assigned to this case and she had a job to do.

See the unseen.

She adjusted her satchel across her torso and then hoisted her luggage.

“Lead the way.” Rook Renner smiled. “Follow me.”

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.

Fiction Fragments: John M. McIlveen

Last week, I talked to L. Marie Wood about her vampire fiction and how she finds balance between life and her many roles within the horror community. If you haven’t checked it out, I highly recommend it.

This week, I am very pleased to welcome writer, publisher and friend John M. McIlveen to Girl Meets Monster. If you haven’t had the privilege of meeting John, do yourself a favor and say hello to him the next time you see him at an event.

John M. McIlveen is the author of the paranormal suspense novel, HANNAHWHERE, winner of the 2015 Drunken Druid Award (Ireland) and nominated for the 2015 Bram Stoker Award (HWA), and two story collections, INFLICTIONS and JERKS. His forthcoming works include the story collection A VARIABLE DARKNESS, and the novel GIRL GONE NORTH, nominated for the 2019 Wilber and Niso Smith Foundation Award for “unpublished manuscript.”

He is a father to five daughters, Editor-In-Chief of Haverhill House Publishing, and works at MIT’s Lincoln Laboratory. He lives in Haverhill, MA with his wife Roberta Colasanti.

Three Questions

GMM: Welcome to Girl Meets Monster, John. Last week I asked L. Marie Wood how she balances all the hats she’s wearing on her head. Rumor has it that you only sleep 4-5 hours each night. Aside from catching fewer winks than the average human, how do you balance your work, family, writing and publishing responsibilities? Has the pandemic had an impact on changing some of your habits? How have you adjusted?

JMM: The rumor is true, I sleep about 4 hours a night, usually 12 a.m. – 4 a.m., no alarm clock. I’m at MIT between 5-5:30 and home by 3:00 p.m., work on the house/yard until dinner (about 6-6:30 pm). I typically settle down to write and/or publish (wherever the spirit leads) aroud 8:30 p.m. to midnight. Lunch hour at work is my window for reading. As for family, four of my five daughters are grown, out of college, and forging ahead with their own lives and families (which may be, in retrospect, why I started publishing). Just Roberta and me at home, now, for the most part.

The pandemic has changed few to none of my habits. My job at the lab is considered essential, so that schedule hasn’t changed. Now, the house fire we had on March 7 destroyed our house and most of its contents and backed Haverhill House up at least eight months to a year. A year will likely pass by the time our home is rebuilt, and though we have managed to still get sit titles out so far, and are in line to reach ten, which, although it’s half the original plat, isn’t all that bad, considering the amount of time we have to dedicate to getting things on track again. Still, we had to push ten or eleven titles down the road a year.

GMM: I loved your fragment and look forward to reading the complete story. Those last two lines of dialog really spoke to me:

“Why do you keep changing?”

“Is there a specific way a girl is supposed to be?” she asked.

Whoever this child is, she has some very progressive ideas about identity and its intersectionalities. And, I’m dying to know why she does keep changing. Traditionally, male writers haven’t always been particularly skilled at (or concerned about) writing believable female characters. They often exist in a story as window dressing, or to serve the needs of the male characters. Eve strikes me as a very complex character. What experiences in your life and as a writer have impacted your ability to create realistic female characters? What inspired this story?

JMM: Females have always been front and center in my family and my life. Five daughters, two step-daughters, sisters, nieces, a very strong-willed mother, and my wife, Roberta (we’ll leave the exes out). I have lived with an array of these beautiful, quirky creatures and have witnessed so many personalities, styles, emotions, shapes and sizes, cheered their succeses, dried their tears, the list is quite extensive. All said and done, each one of them have made me a better and wiser man, father, writer, husband, protector, etcetera. They spill over into my writing on every level, and as with my life, female characters tend to be front and center in most of my writing. In my novel Hannawhere, twin sisters Hannah, Anna, and social worker Debbie Gillan are my three main characters. In my second novel Girl Gone North, sisters Emma and Thalia Holden are my main characters. When I run into a situation with one of my female characters, I find I usually don’t have to reach far into my memories to find a daughter, sister, or other close to me who has been there. These characters are often based on the women in my life, and on some occasions, the merging of a few (Hannah and Anna Amiel had certain traits from all of my daughters). In my collection Inflictions, the story “Smokey” is a tale of a horribly neglected toddler named Cassie. The story was prompted by a picture of my then-toddler daughter Kayleigh. As I wrote, my character became Kayleigh and by the tragic end of the story it was about 3 a.m. and I was emotionally shattered. I had to lift my sleeping Kayleigh from her crib and sit holding her an hour or so until I calmed.

GMM: Aside from your collection, A Variable Darkness, what else are you working on right now? What projects are you most excited about? Are there any projects you’re looking forward to publishing at Haverhill by other writers?

JMM: I’m not writing nearly as much as I should be, but I am putting the final edits on my crime and suspense novel Corruption. My children’s book Owen and the Apprentice Troll is nearing completion but has taken on a life of its own. My YA novel, The Elephant in the Endzone, which deals with teen depression, is about half done. And my Horror novel Are You Experienced? is about 1/4 done, but is starting to come together.

Haverhill House…where do I start?

On the burner and coming soon:

  • A children’s book, Milk, the Cat by Meghan Arcuri-Moran and illustrated by Ogmios
  • Souless by Christopher Golden

I have to make a timeline for all the titles pushed out this year, foremost Cyclops Road by Jeff Strand and illustrated by Lynn Hansen.

Exciting look forward:

  • Tony Tremblay delivered his follow up novel Do Not Weep For Me
  • J. Edwin Buja delivered his sequel to King of the Wood, titled The Consort
  • And a certain lady asked to talk about the sequel to her Stoker nominated novel Invisible Chains

Plus, a staggering slush pile.

An excerpt from the short story “Eve” from the forthcoming collection A Variable Darkness by John McIlveen

Around him lay only forest, flat and dense with trees—endless oaks, birches, locusts, and maples in every direction, rising skyward on thick trunks… and one smashed up Escalade.

Guy knew this wasn’t possible, but denial dampened his reaction. Hills don’t simply disappear. There had to be a logical explanation, like shock, or maybe delusions from hitting his head. That had to be it, because he thought he could also see a young girl moving among the trees, about a hundred yards deeper into the woods. He refocused, and sure enough, there she was, dressed in light blue overall shorts, long strawberry-blond hair falling halfway down her back. She appeared to be writing or scraping something onto the trunk of the tree, but it was difficult to tell from such a distance. He took a few hesitant steps toward the child and stopped.

“Hey, little girl!” He called. “Hey!”

She looked over at him with indifference and dutifully returned her attention to whatever it was she was doing. He started to walk towards the girl and when he had cut the distance in half, she moved to a tall elm about a dozen trees away from him. She deftly climbed the tree and propped herself at the crux of a branch some sixty feet overhead. There was nothing natural in it, the way she had ascended with the dexterity of a squirrel; Guy had never seen anything quite like it from a human. He watched her for a few moments, wondering if she were avoiding him, but she just as deftly climbed back down and headed in another direction.

“Wait a minute!” Guy said.

The little girl stopped and watched him expectantly. She looked about nine years old, thin-limbed, and fawn-like, with vibrant blue eyes. Under closer observation, he realized her hair was dark brown, not strawberry-blond as he had first thought, and attributed it to the play of sun through the trees.

“I got in an accident,” he told her. “I can’t find my way out of the woods.

“I know,” the girl responded, her tone neutral. She resumed walking.

Guy followed, equally concerned for his and hers. He asked himself why such a young child would be alone in the deep woods. “Are you lost?” he asked.

“You’re lost,” she said, in the same impartial manner. She looked at him, her alert brown eyes reflecting him and the surroundings, and walked over to another tree.

Brown eyes?

Guy felt prickles of unease run through him. There was no question that her eyes had been a striking blue before she’d climbed the tree. He looked back at his Escalade, trying to get his bearings so he could get the hell out of there, but the SUV was no longer in sight. He ran a few steps in the direction he thought he had come from, but stopped, uncomfortable with the idea of letting the girl out of sight. Everything else he had looked away from had disappeared.

He returned to where the girl stood. She now had rich ebony skin, but the same light blue overall shorts, which he found more disconcerting.

Isn’t it the clothes that are changed, not the child inside them?

She seemed unconcerned, giving him the impression that she wasn’t lost, which meant she was faring better than he was. Again, she scribed something onto the tree.

He stepped beside her, feeling as if he’d fallen into the rabbit hole. “Something’s going on here that I don’t understand.”

“Something’s always going on,” she replied, matter-of-factly.

He couldn’t tell if she was being disparaging, or just answering him the way most children her age would, but she was making him feel dense. Frustrated, he asked, “Can’t you give me a direct answer?”

“I can,” she said, pinning him with glimmering green eyes. She skittered up the tree, spent five minutes up above, moving from branch to branch, and climbed down.

He followed her thirty yards to a huge, majestic oak. “What are you doing?”

The girl, now with shiny, waist-length coal-black hair, started writing on the tree with what looked like a simple wooden stick, but as she moved it, the name Joey Wilkerson appeared as if engraved. “Writing,” she said.

“Writing what?”

“Names.”

“Who is Joey Wilkerson?” Guy asked, understanding that his questions would have to be precise if he wanted precise answers.

“A broken heart,” she said, but offered no explanation.

She climbed the tree again and moved from branch to branch. Meanwhile, he inspected a number of trees and saw that most of them had names engraved: Dedrick Aaldenberg, Luis Rosios, Peter Craig, Hirohito Ishushima, Glenn Levesque—and hundreds, maybe thousands more. She descended, now wearing a mane of tight auburn ringlets.

“Are these all broken hearts?”

“Yup,” she said, the simplistic word making her, for the first time, sound her age.

“Why are they all men?” he asked, as he followed her to another tree.

“Boys, too… mostly boys,” she said. “There aren’t enough trees for girls and women, their names are on the leaves.”

Guy thought about this for a while and asked, “Why so many females?”

She looked at him and smiled sadly. “Thirty-one years,” she said.

“How do you know how old I am?”

“That’s how long your eyes have been closed.”

“I don’t know what you mean.”

“I know. You will when you have to,” she said, rubbing an almond-shaped eye with the back of her hand.

“Who are you, Confucius?” he blurted with frustration. “What little girl talks in circles like this?”

“Me,” she answered. “You are angry with the wrong person.” She engraved the name Abubakar Kwabena.

“You’ve already written his name,” Guy said, noticing the name was already on the trunk once, and again. “Twice.”

“A heart can break more than once. His has broken three times.” She looked around and held out a pale arm. “Girls, women, they grow another leaf. Some trees have many names; some names have her own branch.”

He followed her gesture and looked back at the pale-skinned girl with Afro hair and Asian eyes. “Speaking of names, what is yours?”

“I was never named,” she said. “What would you have named me?” She seemed so sincere that he seriously considered it.

“Eve,” he said.

“Then, for you, I am Eve.”

“Okay Eve, why are you writing the names of all the broken hearts?”

“Broken hearts deserve recognition.”

He chuckled and said, “My name should be written here somewhere a dozen or two times.”

“You are here…once,” said Eve.

“Once! How is my name here only once? I’ve been trashed by more women than…” Guy quieted when he noticed the way she looked at him. Her smile was much too knowing for the Samoan child’s face that wore it.

“A wounded pride is not a broken heart.”

Guy’s indignation was defused when Eve took his hand. She led him a long way into the woods, during which her features changed numerous times.

“Why do you keep changing?”

“Is there a specific way a girl is supposed to be?” she asked.

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.

Fiction Fragments: Todd Sullivan

Last week, I had the pleasure of chatting with Jessica McHugh about YA fiction and how horror and humor come together in her stories. This week, Girl Meets Monster welcomes Todd Sullivan.

image0 (2)Todd Sullivan teaches English as a Second Language, and English Literature & Writing in Asia. He has had numerous short stories, novelettes, and novellas published across several countries, including Thailand, the U.K., Australia, the U.S., and Canada. He is a practitioner of the sword-fighting martial arts, kumdo/kendo, and has trained in fencing (foil), Muay Thai, Capoeira, Wing Chun, and JKD. He graduated from Queens College with a Master of Fine Arts in Creative Writing, and received a Bachelor of Arts in English from Georgia State University. He attended the Bread Loaf Writers’ Conference and the National Book Foundation Summer Writing Camps. He currently lives in Taipei, Taiwan, and looks forward to studying Mandarin.

Three Questions

GMM: Hi Todd, welcome to Girl Meets Monster. After reading your fragment, I wondered what inspired the story, as well as what specific genre it fits into. There are young characters, so I thought YA and since there’s magic, I placed it in fantasy. Do you normally write YA fantasy, or do you write within other genres and subgenres?

TS: I wrote this story while teaching at a Language School in Seoul. One of the students was fond of drawing, and he was also a poor student academically. He was under a lot of pressure to do better in his classes, and soon he was going to take entrance exams for a boarding school in China.

This real-life scenario became the genesis of Test Amongst the Shadows, wherein a teenager, who happens to be a mage in the world of humans, has to pass an exam that is important to him. The narrative follows the different methods he employs to cheat since he knows he cannot pass the test on his own.

Test Amongst the Shadows is YA urban fantasy fiction, and eventually I’ll develop the idea into a novella series.

I also write across genres, including horror and light science fiction.

GMM: The interaction between your characters also reminded me of Japanese manga and anime stories. Do you enjoy anime? How has it influenced your writing? What are some of your favorite anime series or characters?

TS: I love anime, and it has had a significant influence on my writing. I remember the first time I saw Akira, which is the first major Japanese anime film many people around my age saw. This was in the 90s before the popularity of the internet when it was hard to find anime on American television.

One of the big differences between anime narratives and western narratives is that there are usually no purely evil characters. Westerners base a lot of their worldview on scripture: Heaven and Hell, good and evil. There is God, and there is Satan. There is a hero, and there is a villain.

Anime characters tend to be more flux in their alignment. Usually, the characters simply have objectives. Sometimes this objective brings great harm to one, or many, and that person will be the bad guy. The character with an objective that happens to include stopping the great harm to the one, or many, will be the good guy.

In Akira, there is no villain. There is a teen boy full of angst who accidentally achieves great power he cannot control. And there is his friend who must stop him, in a way out of friendship, out of knowing that the boy is in torment even as his power wrecks havoc upon the city.

In Dragon Ball Z, one of my favorite animes, Vegeta starts off as a central villain to Earth. He does so because he wants to escape the tyranny of one of DBZs purely evil characters, Frieza, and on Earth he thinks the means to do exists. Vegeta changes throughout the series, going from villain to anti-hero to hero.

Then there is Goku, a character whose goal of protecting the Earth conflicts with his overwhelming desire to improve his fighting abilities. This obsession Goku has indirectly causes great harm and misery to others.

The characters I write are similar to these Japanese figures. With few exceptions, my characters are not purely good, and they are not purely evil. Sometimes one of them will have a goal that brings suffering to others; and sometimes, another of them will have a goal that brings them into direct conflict with the first, and thus the suffering of others can be alleviated.

GMM: How long have you lived in Asia, and what aside from teaching English and Writing made you decide to move there? What cultural barriers have you experienced as a person of color living abroad? How have these experiences shaped your writing?

TS: I’ve lived in Asia ten years. After a three-week winter semester class where I studied Japanese authors in Tokyo during my MFA at Queens College, I knew that I wanted to come back to this part of the world and learn more about the people and the cultures.

Many Asian societies are homogeneous, so the presence of foreigners acts as a bit of a shock to their system. I think that being a foreigner in a homogeneous society is a good case study of how humans might react to the presence of aliens from outer space. There is simply a difficulty in processing the reality of that which is standing in front of you.

Writing-wise, I think this difficulty is best expressed in my fantasy novella series, The Windshine Chronicles. This series centers around a dark-skinned foreigner living in a fantasy version of Korea called South Hanguk. The series’ narrative is multilayered, but one of the themes is how the people of the country interact with foreigners, and how the foreigners struggle to exist in a country that isn’t their native home.

In The Windshine Chornicles, the idea that the human race is “one whole” is constantly put to the test.

From Test Amongst the Shadows, by Todd Sullivan

The hardest working mage who ever lived glanced at the clock on the wall. Twenty minutes. Jin gazed down at his English exam. Only twenty minutes left to pass or fail the biggest test of his life. His scantron sheet was half empty. The clock’s ticking seconds in the silent classroom echoed in his mind, and made focusing on English vocabulary and grammar impossible. He had to do something if he intended to get in the top of his class.

Jin looked around at the other students, their heads low, their shoulders hunched as they picked off ovals in the long marching columns. Adjusting his glasses, he opened his senses in search for the right spell amidst the thin cracks that splinter reality. He released control of his hand and let it draw six stick-figure bandits on horses at the edges of the exam. Leaning close to the page, he whispered, “Thieving shadows, take shape and learn the secrets of my woes.”

The drawings shivered, and the bandits shook themselves awake. They clawed out of the exam, erupting off the page into the third dimension. The cloaked leader saluted, his face hidden in shades of gray. Jin pointed to the answer key tucked under a notebook on the teacher’s desk. The leader nodded, and motioned to the silent troupe behind him. The bandits yanked on their horses’ reins and leapt off the side of the table. Racing across the tiled floor, the horses skirted around chair legs and hopped over sneakers. Jin glanced at the exam answer key again. The sides of his mouth spread in a triumphant smile, but a purple boot suddenly crushed the horsemen right before they cleared the classroom’s tables. Jin inhaled in surprised. He followed the boot up to the leg, the skirt, the shirt, to finally meet the steady gaze of Sori, the top student in the school.

And his ex-girlfriend.

The two maintained eye contact for several moments, a silent challenge passing between them. Sori had broken up with him right before exams, informing him that she wasted too much time with him and wasn’t focusing enough on the upcoming finals. And now, here she sat, the only other mage in this room of humans, stopping him from reaching his goal.

So that’s how it was going to be.

Jin slowly took off his glasses in preparation for his next spell. Sori had managed to see his bandits. He didn’t know how, but he would need to take care of her sight before he tried for the test answers again.

Jin narrowed his eyes at the light reflected in the lenses of his glasses. He smiled. He held the glasses to his lips and misted the lenses by blowing on one, then the other. While he did this, he focused on the magic vibrating between the fissures of reality until he heard the words to the next spell.

“Site sighted, two to see, sea bog fog billowing…”

“John?”

Jin snapped his mouth shut at the teacher speaking his English name. He tried to still his heart now thumping fast in his chest, and met the teacher’s puzzled blue eyes.

“Are you speaking to someone?”

Now the other students’ heads lifted, and before he knew it, dozens of humans were all staring in his direction. With their attention focused on him, he couldn’t produce magic. No mage could. Human disbelief in magic narrowed the fissures running throughout reality, making the words necessary to bring spells to life impossible to hear. Jin had been told that no mage had been able to perform magic in front of a human in hundreds of years.

He glanced at Sori, who was smiling at him as he sweated under the spotlight of mankind. With a weak shrug, Jin said, “I was just,” and he paused as he scrambled for a good excuse, “reading a problem out loud to myself.” He tapped the exam. “Sometimes that helps.”

The English teacher nodded. “Everyone must remain silent so that the other students can concentrate. Sorry, John.”

“Won’t happen again,” Jin assured him. He caught Sori’s smug wink, and tore his eyes away from his ex-girlfriend’s pretty face.

These exams determined who would be allowed to apply for the International School in Hong Kong. Only the top two students would be recommended. Jin felt confident about math and science, but he worried over his English scores. One of his classmates had lived in San Francisco for years. Jin only managed to edge him out sometimes, while Sori beat them both in every subject every, single, time.

She was a studying machine.

Jin looked at the clock again. Ten minutes to finish the exam. He had to cast another spell, but when he raised his eyes, he noticed the teacher looking around the room. Whereas before he hadn’t been paying much attention, now the teacher was watching them closely, all because of Sori. Jin really wished he had been able to cast his spell and blind her. Not only because he would have been able to get the answers without her trying to counter him, but because it would have stopped her from taking the test, maybe even causing her to fail.

That would have been sweet.

Jin’s eyes narrowed as a new idea struck him. He looked at the dusty blackboard behind the teacher and slowly raised his hand.

“Yes, John?” The teacher said. “Is something wrong?”

“Can I ask you a question?” Jin assumed his most perplexed look, and mixed in a little pained exasperation to make himself seem even more pathetic.

The teacher sighed and waved him forward. Jin stood. Only briefly, a couple of students glanced up at the newest disturbance, but their focus quickly returned to their exams. All, that is, except Sori, who watched Jin with a penetrating gaze. He wanted to give her the finger, but since the teacher was staring at him, he refrained as he passed her…

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.