Quoth the Raven Author Victoria Weisfeld on Crime Writing, Dark Fiction, and the Timeless Works of Edgar Allan Poe

Victoria

To celebrate the release of Quoth the Raven, edited by Lyn Worthen and published by Camden Park Press, I’m getting cozy with my fellow anthology contributors to learn more about their stories and what inspires their dark little writers’ hearts.

For my final interview, I’m chatting with Victoria Weisfeld, author of “Tooth and Nail” in Quoth the Raven.

Quoth the Raven celebrates the eerie and influential legacy of Edgar Allan Poe. What is it about Edgar Allan Poe’s work that speaks to you (perhaps from the grave)?

As a crime writer, I appreciate how he built up characters who could get under your skin. Growing up reading Poe and Dickens, those long loopy sentences still carry me right into the story, though that writing style is definitely out-of-date today. It’s fun going back to it.

Pick three adjectives to describe the story you wrote for Quoth the Raven.

Obsession, compulsion, and (this is a long one) seeing the world through a cracked lens.

Imagine you’re in an old-timey elevator, a rickety one that boasts a well-worn, rusty cage. There’s a man in all black in the elevator with you, and he asks what your story is about. What do you tell him?

“Well, Mr. Poe, it’s about a woman who sees her twin brother as the other half of herself and will stop at nothing to keep him close.”

Okay, I’m continuing with this scenario thing. It’s 1849, and you’re at a gathering of literature lovers, a salon, if you will. Across the room, you spy Edgar Allan Poe, and you simply must go over to him to compliment his work. What is the story or poem of his that you laud to excess? And why?

After gushing shamelessly, and extolling “The Gold Bug” for igniting my interest in cryptography, and “The Purloined Letter” as an example of a police procedural, I’d settle on “The Narrative of A. Gordon Pym,” one of Poe’s longer works, as one of the best adventure stories of all time, especially for an 1849 reader as yet unacquainted with the National Geographic and television nature programs.

As a writer, what do you think are the most important elements of dark fiction?

Atmosphere comes to mind first and characters whose darkness (or by contrast, whose innocence) reveals the danger of their environment. Naturally, dark fiction employs sinister plots, but a plot that just piles on gore without establishing a sense of menace or without developing characters the reader cares about falls short. (A flaw in some modern crime fiction, as well.)

As a reader, why are you attracted to dark fiction? Why do you think we like to read about the things that terrify us?

This is not an original insight, but sometimes reading about—exposing oneself to—supremely terrifying things makes it easier to deal with the fearful events encountered in everyday life. Some experts suggest this accounts for the popularity among women of a certain kind of thriller. Reading about sexual violence helps readers contemplate not just the terror of such an event, but also its survivability. Maybe.

What’s a story or poem – by any author – that has truly creeped you out (in the best way possible, of course)? What was it about that particular story that just got to you?

The Silence of the Lambs by Thomas Harris. It was the first psychological thriller I’d ever read, so I wasn’t prepared for how far he’d go. Julia Heaberlin’s Paper Ghosts is a 2018 example. A young woman, Grace, embarks on a road trip with a demented elderly man she thinks may have killed her sister a dozen years earlier. The cat-and-mouse game between them, as she tries to figure out how lucid is he, really, is nerve-wracking!

Who are some of your literary inspirations?

I am a Dickens fan, and my last trip to England was to be part of the celebrations of the 200th anniversary of his birth (favorite book: Our Mutual Friend). But since I’m a crime/mystery writer I have many sources of inspiration. I’d love to achieve the comic voice—even occasionally—of Joe Ide; the humanity of James Anderson; the literary power of Hannah Tinti, the suspense-creation of Gin Phillips. And many more!

What are you working on now?

Two novels are complete and appearing on publisher’s desks. One set in Rome, involving Eugenia Clarke, whom I’ve published several short stories about. Genie is a travel writer whose curiosity inevitably lands her in difficulty—deadly difficulty in this case. The other novel is about a New York architect whose mistress is murdered. On the surface, it’s about figuring out why she died and who killed her (and why they are plotting against him), but fundamentally it’s about a man trying to regain his self respect.

Where can we find more of your work or connect with you online?

I have an active website—vweisfeld.com—with a page on “My Writing.” You can link directly to many of my short stories there, including the Derringer award-winning “Breadcrumbs.” The website includes book, movie, and theater reviews; covers topics writers fret about; and offers some travel tips, possible fodder for Genie’s next adventures.

About Victoria:

My short stories have appeared in Ellery Queen Mystery Magazine; Betty Fedora, Big Muddy, and the recent anthologies Busted: Arresting Stories from the Beat, Murder Among Friends, and Bouchercon 2017’s Passport to Murder, as well as Quoth the Raven. I’m a reviewer for U.K. website crimefictionlover.com and Broadway-based theater review site TheFrontRowCenter.com.

Quoth the Raven coverAbout Quoth the Raven:

The works of Poe were dark and often disturbing. From dismembered corpses, rivals bricked behind cellar walls, murders in back alleys, laments for lost loves, obsessions that drive men – and women! – to madness, his stories have had a profound impact on both the horror and mystery genres to this day.

In Quoth the Raven, we invite you to answer the call of the raven and revisit Poe’s work, re-imagined for the twenty-first century. Here, the lover of mystery and goth horror will find familiar themes in contemporary settings, variations on Poe’s tales, and faithful recreations of the author’s signature style.

Purchase your copy of the anthology HERE.

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An Interview with Quoth the Raven Poe-etess Tonia Kalouria

To celebrate the release of Quoth the Raven, edited by Lyn Worthen and published by Camden Park Press, I’m getting cozy with my fellow anthology contributors to learn more about their stories and what inspires their dark little writers’ hearts.

Next, I’m interviewing Tonia Kalouria, author of “Advice is for the Birds” in Quoth the Raven.

Briefly describe the poem you wrote for Quoth the Raven.

A rhyming, ironic sublimation of my disdain for poetry editors who will accept nothing but free verse. “If it rhymes, don’t waste your time!” Note I did not use “our” time, as it takes no enterprise to toss another’s soul in the trash heap.

Imagine you’re in an old-timey elevator, a rickety one that boasts a well-worn, rusty cage. There’s a man in all black in the elevator with you, and he asks what your poem is about. What do you tell him?

I was inspired by the notion that unsolicited, unwanted advice is something that is “for the birds,” as we used to say. And, Hitchcock notwithstanding, menacing, nay-saying birds = Poe’s Raven, of course.

What’s a story or poem – by any author – that has truly creeped you out (in the best way possible, of course)? What was it about that particular story that just got to you?

What work has “creeped me out”?  The Exorcist — book and movie! By reading the book first, I viewed the film not as fiction, but fact. I was considering therapy for almost a week I was so traumatized. And pea soup was definitely off-menu for a very long time.

Who are some of your literary inspirations?

Wordsmiths I admire:  I love the surprise twist endings and Irony of O’Henry.  I admire the light verse of Dorothy Parker and Ogden Nash, and Mother Goose’s rhymes.  I immensely enjoyed reading Cervantes’ Don Quixote.

But I think the “heard word” deserves consideration as well when discussing the outstanding use of language. To wit: The late James Reilley, head writer for NBC’s soap “Passions” cranked out delightful scripts to fill five one-hour shows per week. And said scripts encompassed multi-genres: romance, mystery, fantasy, and especially, humor!

The rock opera, Jesus Christ Super Star with lyrics by Tim Rice is another example of brilliance with the heard word.

And not least, dear radio icon, Paul Harvey. I eagerly awaited his fifteen minute noon newscasts from elementary school days when I would run home for lunch, until his last broadcast as an adult.

What are you currently working on right now?

Utilizing my fondness for irony and memorable endings, I am currently tweaking a flash fiction piece called: “Blind Justice.” As with the five serious poems I wrote for the 5-2 Crime Poetry Weekly Blog, it too,  has a moral, or “message.”

Where can we find more of your work or connect with you online?

I can be reached on Linkedin or Facebook.

About Tonia:

Tonia is the mother of two wonderful sons and grandmother of one lovely granddaughter, and a former high school Spanish teacher in Toledo and Elyria, OH. She was also “Dr. Wilson” from 2002-2007 on the NBC soap “Passions.”

Quoth the Raven coverAbout Quoth the Raven:

The works of Poe were dark and often disturbing. From dismembered corpses, rivals bricked behind cellar walls, murders in back alleys, laments for lost loves, obsessions that drive men – and women! – to madness, his stories have had a profound impact on both the horror and mystery genres to this day.

In Quoth the Raven, we invite you to answer the call of the raven and revisit Poe’s work, re-imagined for the twenty-first century. Here, the lover of mystery and goth horror will find familiar themes in contemporary settings, variations on Poe’s tales, and faithful recreations of the author’s signature style.

Purchase your copy of the anthology HERE.

Dark Tales and Devious Plots with Quoth the Raven Author Donea Lee Weaver

Donea Lee photo

To celebrate the release of Quoth the Raven, edited by Lyn Worthen and published by Camden Park Press, I’m getting cozy with my fellow anthology contributors to learn more about their stories and what inspires their dark little writers’ hearts.

Next, I’m interviewing Donea Lee Weaver, author of “The Ca(t)sualty” in Quoth the Raven.

Quoth the Raven celebrates the eerie and influential legacy of Edgar Allan Poe. What is it about Edgar Allan Poe’s work that speaks to you (perhaps from the grave)?

I think what really speaks to me about Poe’s work is the way he delves into the psychology of madness. So many triggers and so many reactions and consequences. It’s fascinating!

Pick three adjectives to describe the story you wrote for Quoth the Raven.

Morally-gray, snarky, accidental.

Imagine you’re in an old-timey elevator, a rickety one that boasts a well-worn, rusty cage. There’s a man in all black in the elevator with you, and he asks what your story is about. What do you tell him?

I’d ask him, “Have you ever been married?…Happily?…If your answer is ‘yes,’ then my story is a cautionary tale of what could happen if you pushed your spouse too far – and liked the cat more than her…”

Okay, I’m continuing with this scenario thing. It’s 1849, and you’re at a gathering of literature lovers, a salon, if you will. Across the room, you spy Edgar Allan Poe, and you simply must go over to him to compliment his work. What is the story or poem of his that you laud to excess? And why?

I’d tell him that the story that has stuck with me from when I first read it in school, is “The Tell-Tale Heart.” The image of the old man’s eye and how the main character tries to convince the reader that he’s not mad…yet, he so clearly is…it’s awesome.

As a writer, what do you think are the most important elements of dark fiction?

They absolutely have to be atmospheric, such a dark and riveting setting that when the madness/terror happens you’re already sucked in. I also think they need to really dig into the inner-dialogue of what drives the main character to do this terrible thing they do.

As a reader, why are you attracted to dark fiction? Why do you think we like to read about the things that terrify us?

For me, it’s always been about the adrenaline rush. When I’m so terrified, I want to cover my eyes and hide away, but I’m still peeking through my fingers, because I just have to know what happens next.

What’s a story or poem – by any author – that has truly creeped you out (in the best way possible, of course)? What was it about that particular story that just got to you?

I’d have to go with Frankenstein. It’s terrifying and heart-breaking at the same time. And the way it plays with ideas of gods and monsters is really quite genius.

Who are some of your literary inspirations?

There are many, but some of the stories that have truly stuck with me – the ones I wish with all my heart were real – those are the most inspiring to me, and they were written by: J.K. Rowling, Roald Dahl, Eva Ibottson, Cornelia Funke, and J.R.R. Tolkien.

What are you currently working on right now?

I’m working on a contemporary, light sci-fi novel that has a creepy explanation about the faces you might see in inanimate objects…

Where can we find more of your work or connect with you online?

I had a short novella published in an anthology a while back, but it has since been unpublished, so my story in Quoth the Raven is the only piece of mine you can currently find online. Hopefully, more to come soon. People can always connect with me on Twitter or Instagram: @donealee

About Donea Lee:

Donea Lee Weaver is a perpetual daydreamer who’s been creating and telling stories since her elementary school days. When she’s not writing about the things she loves (all things fantasy, sci-fi, romance and yes, even a little horror) she’s out exploring with her daughter, dog and husband somewhere in northern UT. She also loves to read, travel and play games with her sisters and best friend. She earned a BA in English from Weber State University and is a member of SCBWI, The League of UT Writers and attends the Storymaker’s Writing Conference every year. Feel free to contact her at donealee@gmail.com or find her on Twitter and Instagram: @donealee

Quoth the Raven coverAbout Quoth the Raven:

The works of Poe were dark and often disturbing. From dismembered corpses, rivals bricked behind cellar walls, murders in back alleys, laments for lost loves, obsessions that drive men – and women! – to madness, his stories have had a profound impact on both the horror and mystery genres to this day.

In Quoth the Raven, we invite you to answer the call of the raven and revisit Poe’s work, re-imagined for the twenty-first century. Here, the lover of mystery and goth horror will find familiar themes in contemporary settings, variations on Poe’s tales, and faithful recreations of the author’s signature style.

Purchase your copy of the anthology HERE.

Talking Scary Stories and the Silver Screen with Quoth the Raven Author Susan McCauley

Susie's Headshot 2015

To celebrate the release of Quoth the Raven, edited by Lyn Worthen and published by Camden Park Press, I’m getting cozy with my fellow anthology contributors to learn more about their stories and what inspires their dark little writers’ hearts.

Next, I’m interviewing Susan McCauley, author of “The Cask” in Quoth the Raven.

Quoth the Raven celebrates the eerie and influential legacy of Edgar Allan Poe. What is it about Edgar Allan Poe’s work that speaks to you (perhaps from the grave)?

There is something haunting about his work. His stories and the way they’re told have a way sticking with you – even years after you’ve read them.

Pick three adjectives to describe the story you wrote for Quoth the Raven.

Dark, twisted, eerie.

Imagine you’re in an old-timey elevator, a rickety one that boasts a well-worn, rusty cage. There’s a man in all black in the elevator with you, and he asks what your story is about. What do you tell him?

Assuming we’re in present day, I’d let him know it’s a modern re-telling of “The Cask of Amontillado” by Edgar Allan Poe, and that the story is about betrayal and revenge. Unlike Poe’s original story, the reader finds out why Montresor has his revenge on Fortunato.

Okay, I’m continuing with this scenario thing. It’s 1849, and you’re at a gathering of literature lovers, a salon, if you will. Across the room, you spy Edgar Allan Poe, and you simply must go over to him to compliment his work. What is the story or poem of his that you laud to excess? And why?

Of course I would have to talk to him about “The Cask of Amontillado.” I love “The Tell-Tale Heart,” too, but “The Cask of Amontillado” has impacted my life in so many ways in both my teaching and writing – especially due to my re-telling of the story and the subsequent short film that was made based on my story. I’d love to know how Poe was inspired to write “The Cask of Amontillado” and what his process was like with writing it.

As a writer, what do you think are the most important elements of dark fiction?

I think that atmosphere and tension are extremely important elements in dark fiction. Certainly all fiction needs tension to pull in a reader and keep them reading, but I think a combination of atmosphere and tension (along with some unexpected and/or disturbing events and images) are vital.

As a reader, why are you attracted to dark fiction? Why do you think we like to read about the things that terrify us?

I honestly don’t know why I’m so drawn to dark fiction. I can only go so far with it – and I don’t like gore. I prefer psychological and supernatural horror. I think why people like things that terrify us is because of our basic survival instincts. For hundreds of thousands (if not millions) of years humanoids have had to fight or run to survive. In modern life, we’re much safer and our basic needs are met. So, I think that by going to scary movies, reading scary stories, and going on scary rides, that helps fulfill a part of us that isn’t being used very often – at least not in countries where all of our major survival needs are met. So, I think it’s psychological and biological.

What’s a story or poem – by any author – that has truly creeped you out (in the best way possible, of course)? What was it about that particular story that just got to you?

The Haunting of Hill House (1959) by Shirley Jackson creeped me out. I first read it in my early twenties and had to sleep with the lights on for several nights. I don’t remember exactly what about the story got to me, but it was psychologically haunting. I’m going to read it again to see what it is about that book that created so much fear in me.

Who are some of your literary inspirations?

I’d say that William Shakespeare, C.S. Lewis, and Shirley Jackson are some favorites. I have several more modern authors I find inspiring, too. Jonathan Stroud and Mary Downing Hahn are two of the authors I find myself returning to over and over again.

What are you currently working on right now?

Well, I’ve got two feature films (I’m also a screenwriter) in development. One, The Murdering Kind, is being directed by Academy Award winning SFX makeup artist, Barney Burman. For the other, The Lost Children of York, I can’t announce the director just yet because we’re still in the negotiation process. I also have a short story, “The Devil’s Tree,” which you can read for free on WattPad. I’ve turned “The Devil’s Tree” into a novel (it’s currently on submission). I’m also planning to adapt that short story into a short film and direct it myself.

Where can we find more of your work or connect with you online?

You can find more of my work and can connect with me online at http://www.sbmccauley.com/ I’d love to hear from you! And, if you’re interested, you can see the short film version of my story of “The Cask” on YouTube: https://youtu.be/55jEBuSdJAg

About Susan:

Susan is a writer / director / producer of horror, supernatural, and fantasy films and fiction for adults, young adults, and middle grade audiences and readers. Susan fell in love with writing, theater, and film when she was eight-years-old. That passion inspired her to receive a B.A. in Radio-Television with a minor in Theater from the University of Houston, a M.F.A. in Professional Writing from the University of Southern California, and a M.A. in Text & Performance from the Royal Academy of Dramatic Art (RADA) and King’s College in London. Susan also studied acting at Playhouse West with Robert Carnegie and Jeff Goldblum (Jurassic ParkIndependence Day) in Los Angeles.

While living in Los Angeles, Susan wrote the story for and produced a short film, which later won awards at the Houston International Film Festival and the Seabrook Film Festival. In 2002, Susan moved to London to further explore professional theater. While in London, her stage adaptation of Nikolai Gogol’s “The Nose” was performed at the Royal Academy of Dramatic Art’s George Bernard Shaw Theatre; and, scenes from her play The Prisoner: Princess Elizabeth were performed at HMS Tower of London. She returned home to the U.S. in 2005. In 2007, she was the line producer of the Emmy Award nominated Civil War short film Now & Forever Yours: Letters to an Old Soldier. In 2016, her short story, “The Cask,” was made into an award winning short film that played at film festivals around the U.S.

Quoth the Raven coverAbout Quoth the Raven:

The works of Poe were dark and often disturbing. From dismembered corpses, rivals bricked behind cellar walls, murders in back alleys, laments for lost loves, obsessions that drive men – and women! – to madness, his stories have had a profound impact on both the horror and mystery genres to this day.

In Quoth the Raven, we invite you to answer the call of the raven and revisit Poe’s work, re-imagined for the twenty-first century. Here, the lover of mystery and goth horror will find familiar themes in contemporary settings, variations on Poe’s tales, and faithful recreations of the author’s signature style.

Purchase your copy of the anthology HERE.

Getting Spooky with Quoth the Raven Contributor Sonora Taylor

sonora-taylor-2

To celebrate the release of Quoth the Raven, edited by Lyn Worthen and published by Camden Park Press, I’m getting cozy with my fellow anthology contributors to learn more about their stories and what inspires their dark little writers’ hearts.

Next, I’m interviewing Sonora Taylor, author of “Hearts are Just ‘Likes'” in Quoth the Raven.

Quoth the Raven celebrates the eerie and influential legacy of Edgar Allan Poe. What is it about Edgar Allan Poe’s work that speaks to you (perhaps from the grave)?

I love that his work focuses on a slow building of unease that culminates in terror, as opposed to jump scares, “Gotcha” endings, or supernatural creatures. I’ve read some great horror that incorporates those things, but the horror that sticks with me the most is atmospheric, slow-burn horror that’s rooted in reality – and if something otherworldly is present, it’s not the scariest part of the story.

Pick three adjectives to describe the story you wrote for Quoth the Raven.

Connected. Frenzied. Violent.

Imagine you’re in an old-timey elevator, a rickety one that boasts a well-worn, rusty cage. There’s a man in all black in the elevator with you, and he asks what your story is about. What do you tell him?

It’s an update on a story written when this elevator was likely constructed, and most of it takes place on this phone I’m going to use to call for help when the elevator likely breaks down.

Okay, I’m continuing with this scenario thing. It’s 1849, and you’re at a gathering of literature lovers, a salon, if you will. Across the room, you spy Edgar Allan Poe, and you simply must go over to him to compliment his work. What is the story or poem of his that you laud to excess? And why?

It’s “Hop Frog.” I love many stories by Poe, and think his talent for dark fiction is unique. But as dark and atmospheric and lovely as his works are, “Hop Frog” is the only one that scared me. I still remember everything about reading it: the one lamp on in my room, my old middle school room adorned with posters of JTT and Devon Sawa, the small font and the purple, glossy paperback cover of the book in my hands, and the imagery in my mind of a dwarf stringing up the king and his men in their orangutan costumes, sentencing them to their deaths in front of all of the king’s subjects with none of them the wiser. I had trouble going to sleep that night. I’d tell him all about that (and then explain who the men on the posters were).

As a writer, what do you think are the most important elements of dark fiction?

I think the build towards the terror is important. Jump scares and sudden surprises accomplish scares, but it’s the slowly-building terror that sticks with you and settles into your bones. I also think having a sense of the characters beyond their function to the plot is important – internal thoughts, mental processes, etc. Without these, it’s easy for the characters – both good and bad – to just be cartoons that aren’t that scary because they don’t feel real. We know a lot of horror isn’t real, but it has to feel real in order for it to be effective.

As a reader, why are you attracted to dark fiction? Why do you think we like to read about the things that terrify us?

I like to read journeys into dark corners, especially the dark corners of someone’s mind. The mind can be terrifying, especially if it’s a nervous or anxious mind. I’m most drawn to stories that aren’t just about a dark force, but how someone’s responding to that darkness. For instance, my favorite story by H.P. Lovecraft is “The Rats in the Walls,” because the terror isn’t from the rats, it’s from the narrator’s complete mental breakdown at the end.

I enjoy reading these kinds of stories because it’s a way to engage with terror without feeling it so fully. I both read and write stories rooted in suspicion, anxiety, distrust, and fear because those are feelings I struggle with (though not at the dark extremes of my characters). Though it’s a hellish experience in my day-to-day, I feel a strange sense of comfort when experiencing it in fiction. I get the same sense of comfort in dark humor, which I also like to see in the fiction I engage with.

I think many fans of dark fiction have a similar experience. Reading dark fiction allows one to experience darkness at a safe distance, and – unlike the characters – come out safe by the story’s end. It’s choosing to experience fear on your own terms and with a sense of removal from the terror’s grasp.

What’s a story or poem – by any author – that has truly creeped you out (in the best way possible, of course)? What was it about that particular story that just got to you?

“Shadder” by Neil Gaiman. It’s a tiny story that appears in the introduction to “Trigger Warning.” I read it in bed (having learned nothing since reading “Hop Frog” in bed all those years ago). Even though it’s short, even though I knew it was fiction, even though I had all the lights on and even though my bed is up against the wall, I still felt the urge to look behind me by the story’s end.

 Who are some of your literary inspirations?

I really like the dark fiction of Flannery O’Connor. “A Good Man is Hard to Find” is a great example of a subtle, slow-burn build-up to darkness. The way the fate of the family unfolded really stuck with me, as well as O’Connor being satisfied with most of the violence happening off of the page.

I also really like the work of Augusten Burroughs. He writes about a dark life, but with biting humor. “Sellevision” is excellent, but I find the most inspiration from his memoirs. I often re-read “Running with Scissors,” “Dry,” and “A Wolf at the Table” all in a row as a trilogy.

One of my most enduring inspirations is comics. I grew up reading newspaper dailies, slice-of-life indie comics, and Archie. Newspaper dailies and daily web comics especially inspired my humor, slow-burn build-ups, and dialogue. My biggest inspirations include Jeph Jacques (Questionable Content), Bill Amend (Foxtrot), and Stephan Pastis (Pearls Before Swine).

What are you currently working on right now?

I’m working on my second novel, Without Condition. It’s about a serial killer navigating through her first relationship – namely, what a relationship means for her side gig. It’s part dark comedy, part chiller, part romance, and part family drama. I expect to release it on February 12, 2019 – just in time for Valentine’s Day.

Where can we find more of your work or connect with you online?

The best place to find me online is my website: sonorawrites.com. You’ll find information about me and my books, as well as a blog that I update once every week or two.

I’m also active on social media. I have a Facebook page, a Twitter account, and an Instagram account.

You can also follow me and shelve/review my books on Goodreads.

Finally, you can find my books – both in ebook and paperback – on Amazon.

About Sonora:

Sonora Taylor has been writing for many years. She is the author of The Crow’s Gift and Other Tales, Wither and Other Stories, and Please Give. She is also the co-author of Wretched Heroes, a graphic novel co-written and illustrated by Doug Puller. Her work appears in Camden Park Press’s Quoth the Raven, an anthology of stories and poems that put a contemporary twist on the works of Edgar Allan Poe. She is currently working on her second novel. She lives in Arlington, Virginia, with her husband.

Quoth the Raven coverAbout Quoth the Raven:

The works of Poe were dark and often disturbing. From dismembered corpses, rivals bricked behind cellar walls, murders in back alleys, laments for lost loves, obsessions that drive men – and women! – to madness, his stories have had a profound impact on both the horror and mystery genres to this day.

In Quoth the Raven, we invite you to answer the call of the raven and revisit Poe’s work, re-imagined for the twenty-first century. Here, the lover of mystery and goth horror will find familiar themes in contemporary settings, variations on Poe’s tales, and faithful recreations of the author’s signature style.

Purchase your copy of the anthology HERE.