Published Works


Flash Fiction Magazine

It’s been two years since Salvador lost his wife, Alia. On their anniversary, while half-asleep, he sends her a text. When his phone chimes in response, he discovers that some boundaries are less permanent than we think.

Read for free on the Flash Fiction Magazine website.

Bob’s Emporium of Wonders

All World’s Wayfarer Issue V

Meghan LeBlanc loves her husband. Her mother-in-law? Not so much. In spite of Meghan’s best attempts to impress her, nothing ever seems to go as planned. When all else fails, Meghan pays a visit to Bob’s Emporium of Wonders in search of a more magical solution.

Available on Amazon.

Of Mud, Of Water

Through Other Eyes: 30 short stories to bring you beyond the realm of human experience

Lily is made of water. Her husband and son are made of mud. After an unexpected downpour, Lily must uncover the truth behind her magic if she hopes to save her child’s life–and her marriage.

Available on Amazon, Barnes & Noble, and Kobo.

Right Behind You

Metaphorosis Magazine

After a nuclear meltdown threatens to poison the West Coast of the United States, Carlos and thousands of other migrant workers risk their lives to contain the disaster. When the suit Carlos wears to protect himself begins to fail, he discovers that humans are far more dangerous than radiation.

Read for free on the Metaphorosis Magazine website.

Story-a-Week: What I’ve Learned So Far (Pt. 1)

I’m three months into my efforts to write a short story a week, and I’ve begun to notice trends I thought might be worth sharing. I’m going to make this a mini-series here on my blog as a way to process what I’ve learned so far and to keep these ideas in bite-size chunks that might be meaningful for someone attempting something similar and for myself as a method of reflection.

Lesson 1: A story a week is…a lot.

At first, the story-a-week challenge felt great. I was producing lots of new work and getting a feel for the essential elements needed to craft a moderately successful story. However, the rapid-fire timeline didn’t offer much of a chance to reflect on what I’d written, and it certainly didn’t allow much time for editing.

This isn’t a critique of the idea, but I noticed I wasn’t developing in ways I expected. I’d hoped writing a fresh story each week would help me improve, but I was making the same mistakes time and again.

Sure, writing a fresh story a week increases your odds of getting published because you’re submitting more work. The flip-side is that you don’t have time to really dig into what is working and, more importantly, what’s failing in your stories. The process encourages you to move on and make things better in your next story.

As a compromise, I slowed down to a story-every-couple-of-weeks to allow time to trade with a reading partner and edit what I’d written. This quickly helped me identify mistakes I was frequently making.

At first I felt frustrated because I wasn’t producing as much new work. A little self-forgiveness later, and I realized that I hadn’t failed. I’d re-adjusted my methods to better reach my goals.

What I learned was this: writing a story a week will make you improve. If you do something more frequently, it gets easier. Simple as that. It will also help you recognize traps you fall into as a writer.

Unfortunately, it won’t afford you the chance to get your hands dirty learning how to repair the errors you consistently make. It’s imperative you work through the challenge of fixing the mistakes you’ve already made. In doing so, you develop a pattern of skills that help you mend mistakes precisely and efficiently.

First drafts suck. It’s rare to produce something great during your first go at it, so learning how to correct mistakes is hugely important.

In next week’s post, I’ll jump into one of the mistakes I keep encountering and how I’m working to overcome it.

Stein on Writing – Using Markers to Characterize

Chapter 5 of Sol Stein’s Stein on Writing describes a method of quickly giving depth to your characters using what he calls “markers.” These markers are visible descriptions and actions that help your reader gauge your characters’ places in society. Stein cites critic Lionel Trilling’s observation that class differences are at the heart of strong fiction.

I don’t agree that this is always the case, but Stein’s method of using markers to efficiently breathe life into characters seems like something worth trying.

Stein’s class markers include:

  • how people talk, eat, and dress
  • the jobs they hold
  • their expectations in different settings

Stein argues that cultural and class differences elevate the tension in your stories because they’re something we admonish but can’t seem to escape. We like to think we’re above noticing class differences, but the sense of “otherness” we notice in those around us or feel ourselves carries a distinct emotional baggage.

Here’s my attempt at using some of these markers:

Stephen swiped a hand over the front of his blue button-down in a weak attempt to smooth its wrinkles. He hadn’t worn the shirt in years, but Megan asked him to wear something nice, and it was the closest thing he had.

It had taken him nearly the whole semester to work up the courage to approach her in their o-chem class, and he wanted to make a good impression.

He pulled the front of the shirt to his nose and winced. It reeked of the cigarettes his dad smoked inside.

He reached for the doorbell and noticed black grime ringing each fingernail from the motor oil he’d scrubbed off at the end of his shift. He’d had to work late replacing the head gasket on his boss’s daughter’s Dodge Neon. It didn’t leave much time for a thorough scrub-down before heading over to Megan’s friend’s house for what she described as “just some drinks with friends.”

He could still bail. He hadn’t rung the bell yet.

He shook his head, reminding himself how much he’d been dreaming of a date with Megan. He pressed the button and heard the doorbell go off–a brief piano melody instead of the usual ding.

Fingernails. When have I worried about my fucking fingernails?

“I’ve got it,” a male voice called out on the other side of the door before it swung open.

A tall blonde pulled open the door, his cologne washing over Stephen. It smelled like leather and old money. “You must be Steve.” He jutted out a hand.

Steve? Stephen thought. Pump your brakes, Superman.

He forced a smile.

“That’s me,” Stephen said, shaking the guy’s hand.

“Michael,” the guy said, squeezing Stephen’s hand a little too tightly. He had a firm grip, but so did Stephen–a fringe benefit of twisting wrenches for a living.

Stephen squeezed until he felt his callouses scrape against Michael’s smooth palm. Michael didn’t seem to notice, or at least his broad, perfect smile didn’t offer any indication he’d taken the handshake as anything other than a usual pleasantry.

Michael turned to lead Stephen inside.

“Megan!” he called. “Looks like your handsome date has arrived!”