Penelope Dalton inherited a magical table that offers her special chocolate recipes for her chocolate cafe, including the Kismet hot chocolate for the Festival of Fate, a drink that offers townspeople a chance to redirect their fate. It doesn’t work for her little girl Ella, whose illness is fatal. The secret of her father’s identity is harder to contain when he returns to town to assist his injured brother run their bar Rehab. The secret of Ella’s imminent demise spills out of Penelope at a town meeting after she cancels the hot chocolate for the festival. At the same time, Sabine, her mother and business partner, seeks her deceased husband through a chocolaty, magically-induced memory loss. Penelope slowly learns to release her fears and open her heart.
The characters in this story are credible in their complex flaws, with good hearts and the best intentions that go awry. Crispell presents a town a bit magical in itself, the residents leaving notes outside Penelope’s home and cafe to get their point across and to show their support and love. Dialogue between the brothers is laugh-out-loud classic sibling repartee—insulting zingers and tough love. There’s a bit much back and forth between Penelope and Ella’s father on the impossibility of a relationship, and she and best friend Megha on his hotness level. The open ending lends itself less to speculation than a call for a realistic resolution. After all, magic has its limitations.
Readers who love the every day magic of life in a Sarah Addison Allen or Alice Hoffman story will appreciate Crispell’s work. Meet Susan on her website http://www.susanbishopcrispell.com/, where you will also find links to purchase her wonderful books.
When I inquired after authors of speculative fiction / magical realism in Tall Poppy Authors’ Facebook group Bloom, I was given Susan’s name. She immediately sent me her books to review and graciously agreed to an interview. Susan is unique in many ways and I’m excited to share her peek-behind-the-scenes magic with readers.
Describe your writing process—schedule, environment, strategies / techniques, and inspirations. What is in your office? Who is in your head? What are tricks that keep you writing?
Once I have the spark of an idea I’m excited to write, I brainstorm the characters, their motivation and stakes, and what their overall arc will be. I usually know the opening lines of the story before I sit down to draft, which helps set the tone for everything to come. Then I write up a full outline (I use Scrivener to plot out each chapter and scene description) and export the outline so I can put it in a workable format in Word. This outline changes a dozen or so times as I write, because I learn more about the characters as I’m drafting, but I can’t write without it!
My actual butt-in-chair-hands-on-keys writing process usually involves me getting up at 5:30 AM and writing for an hour and a half before working my day job. Some days, it’s all about fitting in writing time where I can. I try for 1,000 words a day and use Writeometer (a phone app) to track my progress and force myself to focus for 25-minute stretches. In the evenings, if I haven’t hit my word count, I write until I do. I also have playlists specific to each manuscript; I write and listen to that mix while I’m writing. Sometimes, I’ll listen to one song on repeat if it’s really connecting with the scene I’m working on, but most of the time, it’s just the whole playlist running quietly in the background to give my story a solid emotional base.
Detail the publishing process from final draft to final product, who does what along the way, and exactly what you contribute as the author to marketing your novels.
Each publishing house has their own intricacies, but I think they all follow the same overall process. Here’s how things went for me at St. Martin’s Press. After I sold my first book The Secret Ingredient of Wishes to St. Martin’s/Thomas Dunne Books, I received an edit letter and initial round of edits, developmental edits, from my fabulous editor, Kat Brzozowski. These were focused on overall character, plot, and pacing. Kat didn’t want any major structural changes, so it wasn’t as intense as it could have been. I worked through those comments in track changes in Word and replied to all of her comments within the document so she could clearly see the changes when I sent it back to her.
Next came line edits. In this round of editing, Kat made suggestions and changes at the sentence level to help with clarity and word choice and flow, and I updated the manuscript as needed based on those notes. From there, the book went to the copyeditor, who went through the book with a fine-tooth comb, marking inconsistencies (for example, a character said something on page 10 but something on page 200 seemed to contradict it), places where I used the same word within a short span, questioning confusing/unclear sentences, and generally cleaning up anything that was out of place. After copy edits, I received my first pass pages, the typeset/designed book printed out for hardcopy edits. (At this point, it’s the last chance to make any changes to a book.) The production team incorporated my changes into the designed text and sent it off to the proofreader, who sent me a handful of final questions/clarifications before it was out of my hands for good.
With all the edits complete, it was time to shift the focus to marketing. The design team created a cover I adore. The only input I had was to tell them up front I wanted a pie on the cover (since the book involves magical, secret-keeping pie!). I’m sure they did a few mock ups of different ideas before deciding on the final one, but I did not see anything until the final cover. I worked with the marketing team to write a few articles that they placed with blogs and websites as part of a blog tour around my release date, and they designed bookmarks and social media teasers for me to use as well. They also hosted two 100-book giveaways on Goodreads, which got my book out there to bloggers, reviewers, and readers and generated buzz ahead of launch. Outside of their efforts, I hosted giveaways and created my own graphics to promote the book online and set up a local book signing.
For the marketing of my second book, Dreaming in Chocolate, I took a little more control and hired an outside PR company to help me. They worked with my internal team at St. Martin’s to coordinate reviews, placement of essays I wrote, and sending review copies to bloggers and readers.
Tell me about your support system online and IRL, including how you came to be a Tall Poppy (which is amazing to me!). Who are your biggest cheerleaders?
Writing is such a solitary activity, but being a writer is so much about the community! I have a small group of critique partners (CPs) who I’ve been connected with for about five years. We share our work, help each other through writing slumps, and cheer each other on. We’ve become very close friends over the years and I can’t imagine writing without them helping me through it.
Another group I am grateful for is the Pitch Wars community. For those who don’t know, Pitch Wars is a mentoring program, started by Brenda Drake, that matches unagented writers with more writers who are a little farther down the publishing path. I was selected as a mentee by the lovely Karma Brown in 2014, and she was instrumental in helping me turn The Secret Ingredient of Wishes into something an agent (and eventually an editor) would love. We spent two months tearing the manuscript apart and rebuilding it. I learned so much from her, it was literally life changing. Now, I’m about to start my third year of being a mentor and cannot wait to be able to help another writer on their writing journey.
Karma is also how I became a Tall Poppy. She was a Poppy at the time and though I had heard of them, I didn’t really know much about the group or the writers who made it up. But I was so impressed with this group of women whose main goal was to lift up and promote other women writers. It’s part social group, part marketing collective. And it’s 100% amazing. The industry knowledge within the group makes going through the ups and downs of publishing so much easier to understand. And these ladies are fiercely supportive, personally and professionally. It’s such an honor to be a part of this group and know that I’m not alone in all of this publishing life!
And our Facebook group, Bloom, is such a delight. We get to interact with readers, get to know them, and let them get to know us. We’ve made so many friendships within that group, and it’s incredible how the members of Bloom seem to love the community as much as we do.
How does your life influence your art and vice versa, and how did magic enter your stories? How are food and magic connected for you?
It’s impossible for me to write and not put some part of me on the page. Sometimes I do it deliberately, picking a friend’s last name to use for a character or having a barbecue festival occur in the story because I grew up in Tennessee with beef barbecue and sweet, tomato-based sauce but now live in Eastern North Carolina where it’s all pork and vinegar-based sauce. And other times, I don’t even mean to, but then I read back through I find hints of my life sprinkled throughout.
As for the magic, I love the idea that there could be magic in the real world. And in a world that is so dark at times, I wanted an escape. I wanted to be someplace that was quirky and whimsical and full of awe. The magic is also a way for me to help my characters find themselves and their way home, where or whatever home may be. It offers a strange obstacle for them to go up against in pursuit of their true selves. And it’s a little bit of wish fulfillment for me because I get to play with the rules of the real world and see what life could be like if someone could make wishes come true just by thinking about them or making hot chocolate that predict the future! Combining food with magic just seemed to fit. They work so well together and writing about food is a lot of fun because it’s something everyone can relate to. We all have our comfort foods and meals that are part of the fabric of our families and lives. Food might be a basic necessity of life, but it’s also deeply connected to emotions, which help make my stories come to life.
What do you love most about your creativity?
I love that my creativity is always there, beneath the surface of my thoughts. It’s always watching and listening and soaking in what’s going on around me, and then suddenly one day it offers up a story idea that I am so in love with I can’t wait to start writing. That’s not to say, writing is always a breeze and I never get blocked, because I definitely do. And those days, I wonder if maybe everything I’ve done has just been a fluke. But I can almost always find my way back into the story or character after giving my creativity a chance to refuel itself.
I met Kimberly through Bloom, the Facebook group for Tall Poppy writers and their readers. If you’re looking for reading material, this author collective has writers of many genres and styles. Since I love speculative fiction, I asked Kimberly for an interview and she graciously agreed to share a little peek into the magic that is writing. Enjoy! And join Bloom if you’d love to a part of a community of stories and supportive human beings.
Describe your writing process—schedule, environment, inspirations—and everything you do as an author beyond writing.
Almost always, I start with a place, because setting is so important in my writing, and a problem. I love the peculiar or unexplained. Outliers and underdogs are always my favorite characters and often a voice comes to me with a line or two of dialogue or narrative that will send me off to learn that person’s story. In fiction and in real life, I can’t stand not knowing why. I’m a bloodhound for the whole story.
In terms of my writing day, I’m not a morning person, so I usually work during the late morning and through lunch while my kids are in school. When I’m drafting a story, I can write through the day without realizing the hours have passed. I love research and I have to be careful I don’t get lost in it. I often go through many drafts of a novel before I find the real heart of what I’m trying to say and that means it takes me quite a while to complete a book. Luckily, I have an agent who encourages me to dig deep and likes being part of my process.
When I’m not writing–and trust me, I’m always writing–I spend my time with my family. I have three children–a daughter who is entering college this fall, a son who is a rising senior in high school, and a second son who is entering fifth grade. We have two dogs–a cairn terrier and a rescue dachshund. My husband and I love to cook and travel, and our favorite spots to visit are Savannah, Georgia, Charleston, South Carolina, and the occasional trip to the Pacific Northwest, where we lived early in our marriage. We’ve been to France a few times and lately we’ve been talking a lot about Cornwall and Wales. Maybe someday!
Walk me through the publishing process from final draft to final product, everyone involved, and what you do yourself to promote your new books.
I think my experience in publishing is pretty typical. I spent many years at work on multiple manuscripts, submitting queries to agents and entering contests. I was very lucky to sign with an agent, but I sold my first novel on my own to a small press and it was a lovely experience. My editor and I and a copy editor worked together to get the book in the best shape possible before it went to press.
After the novel was in the world, I went to work making use of all the networking I’d done over the years prior to publishing–relationships I fostered with generous book bloggers and fellow writers–and I sought out every way I could find to put the book in front of as many readers as possible. The novel won the Georgia Author of the Year award, and I went on a book tour across the southeastern US and visited as many independent bookstores as I could. They are the fairy godmothers of authors and readers!
You are a member of the Tall Poppies author collective. Tell me how that happened and about your support system online and IRL; who are your biggest cheerleaders?
A few years ago, Orly Konig invited me to lead a workshop for the Women’s Fiction Writer’s Association’s first retreat. Over that weekend, I learned about the Tall Poppies from author Kathryn Craft and got excited about the group. I had lunch with Amy Impellizerri before we left the airport and I absolutely adored her, too. I was delighted when they invited me to be a part of this inspiring group of women authors. They are absolutely my support system online AND IRL!
Patti Callahan Henry and Amy Nathan have been longtime supporters and friends. Outside of Poppies, Allison Law, Joshilyn Jackson, Sally Kilpatrick, Nicki Salcedo, Heather Bell Adams, Gina Heron, Reta Hampton, Shari Smith, Marybeth Whalen and Ariel Lawhon have encouraged me so much along the way. Emily Carpenter and MJ Pullen know where all the bodies are buried. There are so many more! I know I’m leaving so many people out.
The short stories on your website evoke your Southern Gothic style; they are a wonderful introduction to your writing. How does your life influence your art—and vice versa, and how did speculative elements find their way into your storytelling?
Thanks! The short stories are like little treats for myself that I hope readers enjoy. In them, I allow myself to just play with the magical elements that I love in my favorite stories. My novels aren’t so heavy with magical elements, although they are most definitely present. I love the inexplicable.
I think my world view comes through in my writing and my choice to always force characters to examine what they think they believe and especially what they are willing to accept without concrete evidence. I like to challenge black and white ideas and I’m interested in what exists in the gray areas. I grew up and have lived most of my adult life in the South where ghosts and spirits, religion and superstition are a part of everyday conversation. I’m a very intuitive person. I think I could hardly write anything else.
What do you love most about your creativity?
Over the years, I’ve heard so many writers lament a loss of creativity in their lives. I don’t adhere to that idea. I believe that people are inherently creative by nature. Like any other natural ability, we have to be healthy in other areas of our lives in order to function at our best and creativity is no different. There are months when my creativity seems dormant, but it’s easy to know why if I look at other areas of my life–my physical or psychological health.
The most amazing thing I’ve learned as I’ve gotten older is that the answer to reviving my creativity is engaging in creativity. It’s self-healing. The more I allow myself to be freely creative, the more my physical and psychological health also improve. If I neglect my creativity, everything else goes downhill with it. It’s imperative for a full life.
I started the Tinderbox Writers Workshops, which led to an annual retreat, based on these ideas and my own experiences. Every year, writers meet on the South Carolina coast for a week of inspiration, friendship, writing and transformation. It’s one of my favorite things and truly the most rewarding part of my writing journey.
I met Steven Carr in the Facebook writing group Fiction Writing. He has astonished us all with his work, sharing each new story he has gotten published, recently surpassing 100 short stories in various publications. His complete list (so far!) is at the end of the interview. Steve is full of surprises and delights in life. He is friendly, intelligent, and more interesting the longer you talk with him, as whatever he shares urges more questions. I’m honored to share him with my readers. Find him online at Facebook and Twitter.
Tell me about your writing style.
“I type my initial draft, which is my only draft. I haven’t written anything longhand since I learned how to type while I was in high school, which was over forty years ago. I usually write a story in 2-3 days. I was trained when I was a journalist to write fast and edit while I write. I write only one draft, make sure it is as error free as possible, and submit it right away. Motivation is almost entirely internal. Where it comes from, I don’t have a clue. Writing for me is like an itch that I have to constantly scratch.
I don’t really have a schedule, but I tend to write early in the day and late in the evening. Sometimes I’m so excited about a story I’m working on, I work on it all day and forget to stop to eat. I just sit down at the computer, procrastinate a little while I see what’s happening on Facebook or in the news, and then get down to the business of writing. I have an office set up. It’s crowded with photographs, books, paintings, and art pieces. It’s a good place just to sit back and pretend I’m in a museum.”
Tell me what you write about and why.
“I like the literary genre, which I seem to have luck with getting published. I also seem to have a knack for writing speculative fiction, horror and fantasy, all of which I enjoy writing also. I’ve led a very full life, lived in and seen some astonishing places, and met an incredibly large number of people from all backgrounds and ethnicities. My writing is a way to pay homage to those people and places.
I wrote a novel a few years ago that is gathering dust inside my computer. The whole process of writing it was so horrendously tedious and unfulfilling that I vowed never to write another one. I had written plays for a while, and was moderately successful with that, and learned a lot about writing dialogue and setting a scene while doing it, but I’m such a control freak that I didn’t want anyone but me to be in control of how my plays were produced.
The short story form, for me, is easy to construct. I started writing professionally as a military journalist, and the who, what, where, when, and why of journalistic writing fits perfectly into writing short stories. Plus, I have a short attention span, so the fewer words I have to write, the better. Here are the links to a few of my favorites:
My love of the short story form actually began in high school. I was placed in an English Advanced Placement class and the teacher, Mrs. Kurtz, told me I had talent writing short stories, and I was gullible enough to believe her. God bless you Mrs. Kurtz, wherever you are. I’ve had a 50 word story published and a 7,000 word story published. Generally, they fall into the 1,500 to 4,000 word range. I borrow snippets from my life in writing a lot of my literary fiction, and practically nothing from my life when writing other genres. I’m proud to say I’ve borrowed nothing from my life when writing horror stories.”
Describe your submission process.
“I have a subscription to Duotrope. Practically 90% of the publications that I find to submit to, I find on Duotrope. Obviously, I love Duotrope. They should hire me as their spokesperson. The big thing I like about Duotrope is not only how easy I find using their search system, but that they send an email every Sunday that lists publications looking for submissions. It fits perfectly for me as I like to write a story after I see what publications are looking for instead of the other way around. The other 10% I find thanks to getting way too many emails with invitations to submit to one publication or another.
I read carefully what the magazine or anthology is looking for, and if I think I can write a story that matches what they are looking for, then I write the story. I don’t keep a stockpile of stories lying around waiting for a match. I write specifically for what a publication is looking for. I don’t write to make money, but I don’t turn money away for my writing if I can get it. I make sure they are a publication I feel matches my values as a person, meaning they aren’t racist, homophobic, ageist, sexist, and a few other -isms or -ists. I don’t discriminate in regards to the size or prestige of the publication. I want my stories to reach as many different audiences as possible, and the only way to do that is to make sure I submit to a broad variety of publications up and down the prestige scale.”
Describe your support system, receiving and giving.
“Writers are my species. It’s in the interest of all writers to support one another. I support others by buying their books, reading their stories and giving reviews, providing links to publications looking for submissions, and in general just trying to provide encouragement and support. I can’t even begin to describe the amount of encouragement I get from other writers who do something as simple as to Like a post I make on Facebook about a story acceptance. I belong to about ten Facebook writing groups. I’m only really active in about three of them. The others don’t seem to notice my absence. I’m trying to decide if I should take that personally.
I have a personal policy of not giving feedback on any work in progress. Let me make it clear, so that I don’t get hate mail, that this is just my personal opinion: If I tell a writer how to write any part of their story by giving them suggestions or advice, the story is no longer theirs alone, it is now partly my story. Each writer has a unique voice, and when someone else becomes part of the story being written, the writer’s voice becomes diluted, sometimes only very minimally, but even just a little, is still a little. I feel bad when I have to tell a writer I can’t help them by looking at their WIP, but so far no one has threatened to firebomb my house. No one reads any story I’ve written before it’s published. In some ways I’m a very private person, and until they’re published, my stories are very private also.”
How does your writing influence your life, and vice versa?
“I enlisted in the army while I was still in high school and 17, but had to wait until that summer when I turned 18, and after I graduated, before I could actually go into the Army. It was 1972 and the Vietnam war was still going, but beginning to wind down. I wanted to go to Vietnam, not to fight or kill anyone, but to see for myself what war in a foreign country was like before the war ended. I had scored really high in the verbal (written) pre-enlistment test scores and had my choice of among the military schools and occupations.
Because I loved to write, I joined to become a military journalist and was accepted into and sent to the prestigious Defense Information School (DINFOS) which was in Indianapolis at that time and trains journalists for all of the military branches. It was only a ten week program, but it was very intensive, and the only thing taught was journalism, 8 hours a day, 5 days a week. If you couldn’t write, they kicked you out. My hopes for going to Vietnam were dashed (I don’t think the military wanted me near anything that I might cause to explode) and I was assigned to the District Recruiting Headquarters in Jacksonville, Florida. It was a civilian office and there was usually no more than three of us working in it, and for a long time it was just me. It taught me how to write fast and to feel secure in editing my own work.
For the next 2.5 years, as the war wound down, I traveled around Florida writing stories for newspapers about what I knew was happening in Vietnam, about returning soldiers, and releases about men and women who had enlisted. I lived in a beautiful apartment in a complex with a swimming pool paid for by the military and was given a car to travel around in. During my time there I didn’t spend one day on a military base. If you’ve ever seen the movie Private Benjamin, I led the Army life that she dreamt of. I got out of the Army after three years without stepping foot out of Florida, returned to Cincinnati, where I’m from, started college, and never once thought about taking up journalism as a career. My first college English professor said I should become a poet! I didn’t want to starve to death so I ignored that suggestion.
Writing adds meaning to my life. It gives me another reason to get out of bed in the morning, and I go to bed thinking about what I’m writing or going to write. Writing has connected me with some truly amazing people, writers and non-writers. In some stories, I re-visit themes I’ve already written about, but I hope I’m keeping my eyes open to what is happening in the real world, to explore new themes, and tell new and original stories in innovative ways, while maintaining my style and voice.”
Here’s the list (Note: Some have been accepted but have not been published yet)
Literally Stories “Eleanor”
Sick Lit Magazine “The Tale of the Costume Maker”
Door is a Jar “The Memory of Vision”
SickLit Mag “The Tale of the Cabbage Patch”
Flame Tree Publishing (Dystopia/Utopia Anthology)
Viewfinder Magazine “An Olfactory Life”
Horror Sleaze Trash “Moon of the Forgotten”
Fantasia Divinity Princess Anthology “The Twelve Dancing Princesses”
Fictive Dream “The Missouri River Story”
50 Word Stories “Night Noises”
Centum Press (100 Voices Volume 3) “The Old Chapel Road Story”
Short Tale 100 “Mothering”
Centum Press (100 voices Vol. II) “A Decent Man”
The Spotty Mirror “Point A”
CultureCult Magazine “Opulence”
Temptation Magazine “Paradise Found”
Visitant Literary Journal “The Longhorn Creek Story”
The Wagon Magazine “The Crack Up”
Infernal Ink “Under the Trees”
Tiger Shark “Ants”
Double Feature “Amoeboid”
Sick Lit Magazine “Amelia Flew Home”
Fictive Dream “The Citrus Thief”
Fantasia Divinity Publications “The Tale of the Singing Snow Witch”
Ricky’s Back Yard “Tenderloin”
Bento Box “Artifacts”
NoiseMedium “The Terrible Secret Game”
Chronicle “The Buffalo Runner”
Zimbell House Publishing: The Neighbors anthology “The Gardeners”
The Drunken Llama “Oh, Nereus”
Fictive Dream “The Island of Women”
67 Anthology “The Wind River Story”
Inane Pure Slush Vol. 14 “Trash”
MASHED: Culinary Tales of Erotic Horror Anthology “Sauce”
Ricky’s Back Yard “Magically Appearing Potatoes”
Communicators League “Landscape With Frogs”
Jakob’s Horror Box “Goodnight Forever”
Panorama Journal “Looking for Joe”
The Wagon Magazine “A Mother’s Rites”
Midnight Circus “La Primavera”
Dark Gothic Resurrected Magazine “The Snake River Haunting”
Communicators League “Men in Trees”
The Haunted Traveler “The Dissociative Effect”
Fixional “A Woman of the Arts”
The Gathering Storm Magazine “Hunting Bunnies”
Rhetoric Askew “Men in Boxcars”
Wilde Stories 2017 (Lethe Press) “The Tale of the Costume Maker”
Trigger Warnings “Night Heat”
Night to Dawn “Catacombs of the Doomed”
Zimbell House Publishing “Sing Me a River”
Zimbell House Publishing “The Sweetwater River Story”
Not Your Mother’s Breast Milk “Dancing on the Boardwalk”
Communicators League “The Platte River Story”
Aphotic Realm “If A Ghost Comes Knocking”
Bull & Cross “Once A Fine Notion”
The Dirty Pool “Heat”
Thrice Fiction “The Tale of Talker Knock”
Story and Grit “The Stew Pot”
Eathen Lamp Journal “Voices in a Hurricane”
Thousandonestories “A Town Called Wasta”
Communicators League “All the Flickering Shadows”
Occulum “Stay Out of the Attic”
Fictive Dream “Noise”
Aether and Ichor “When Wizards Sing”
4StarStories “The Pools of Nereus”
Tuck Magazine “Dining at the Mausoleum”
Zimbell House: After Effects Anthology “Washed Away”
Ariel Chart “Sing Me a River”
Truth Serum,Wiser Anthology “The Big Mouth”
Crux Magazine “The Cheyenne River Story”
Lunaris Review “The Snow Mother”
Trembling With Fear “Portrait in Blood”
Boned: A Collection of Skeletal Writing “Clickety Clack: A Love Story
Bull & Cross “Lonesome Prairie”
The Horror Zine “The Express”
Hot Tub Astronaut “The Star Counter”
Ariel Chart “Pursued”
Kristell Ink Holding on by our Fingertips anthology “Countdown”
Ordinary Madness “Barstow Requeum”
SickLit Magazine “Sand”
A Thousand and One Stories “Under the Yaquina Bay Bridge”
Ricky’s Back Yard “The Docks”
The Serving House Journal “The Shoe Tree Incident”
Near to the Knuckle “The Saguaro Two Step”
Ripcord “The Tinsel Kingdom”
Varnish Journal “The Apple Pickers”
Yalobusha Review “Men in Mines”
Clarendon House Books “The Upsandowns
Cadaverous Magazine “Strange Water”
Blue Fifth Review “Tessie’s New Cart”
Black Heart Magazine “Death and Ice Cream”
Jakob’s Horror Box “The King of Kitchen Street”
Fictive Dream “Breadth of Knowledge”
Linden Avenue Literary Journal “Airborne”
Storyland Literary Review Magazine “Sundays at the Zoo”
Communicators League “Women in Hats”
Tessellate Magazine “The Citrus Thief”
The Airgonaut “Girl in a Mason Jar”
Jokes Review “Amelia Flew Home”
Rhetoric Askew Fantasy/Megapunk edition) “Talker Knock and the Veiled Genie”
Lycan Valley Press (Pulp Horror Book of Phobias Vol. 2) “The Peter Problem”
Two Sisters Publishing “Paper Mache Man”
Tuck Magazine “The Empaths”
Pure Slush (Happy theme): “Marge”
Your One Phone Call “Hard Knocks”
Furtive Daliance Literary Review “Lisa”
New Reader Magazine “Midnight at the t. Lazare Station”