Roanoke and the Witch is a novel of dark fantasy set in England and Roanoke Island in the late 1500s. Based on historical events and characters, Roanoke and the Witch examines the transformative power of greed, hate, fear, and love's redemption. For nearly two hundred years, the Rusalka, a malicious corpse-like water creature, has hunted Agatha's family of witches, picking off her ancestors one by one. Now, eight-year-old Agatha is the last family member left. She must survive Elizabethan England, where witchfinders prowl the villages, and the Rusalka stalks the rivers and ponds. The narrative follows her as she grows up, finds and loses family, friends, and love, and eventually voyages to the New World and Roanoke Island, where more danger awaits.

Taste of Grief & Other Stories is a thematically connected collection which imagines the complexities that unconventional ideas of love coupled with the weight of grief impacts the characters created and the specific spaces they inhabit. As a Queer woman, I love for my writing to intersect with conflicts related to women's sexuality, mental illness, and the body. I concentrate on literary fiction that flirts with the cusp of weird. My goal was to continue my collection that I began as my MA thesis, so that I would have a complete, story-length collection for publication upon graduation. I have used my influential texts to help hone my craft. I also used feedback and discussions from my workshops and survey of literature classes to help sharpen craft elements such as voice, point-of-view, and narrative structure. For my process, I aimed to produce stories that felt compelling, narratives that challenged the binary, and characters that were motivated by their grief. I examined and worked with structure and to capture voice within my pieces, and I hope by experimenting with varying lengths and narrative techniques. I enjoyed the intentionality in short, dynamic descriptions that can stand out in exposition when practicing the art of minimalism as evident in several of my stories. This thesis is beneficial because it illustrates my interpretation and execution of memorable stories that exist in spaces that have been grief-stricken. I want the weight of the trauma and of the chronic tensions to not suffocate, but rather, beckon the reader in. Several of these stories illustrate how literary fiction—traditionally held in the highest regard—can employ elements of horror and fabulism to create genre-blending narratives.

Tin Hammock features the first four chapters of a novel. The keystone setting is a trailer park called Oak Hammock, located on a developed pine forest reaching into the swamplands off U.S. 41. The subsidiary settings are predominantly written in Florida with occasional shifts elsewhere. The literary project was written with nods to the Faulknerian Southern Gothic, borrowing from traditions of science fiction and horror, with an emphasis on expanding the forms of past hegemonic narratives. The stories explore trauma and redemption, answering how characters have arrived and live, often in poverty and violence, in this trailer park. Tin Hammock is a character-driven book, presenting individuals living tumultuous lives in this underexplored region, both in literature and the nation's psyche. Through an inspection of these characters' struggles and triumphs, narrative of empathy-as-action emerges, while also providing a cautionary tale for the careless treatment of the natural land. Overlapping in object, plot, and theme, these chapters unveil Florida's grit and levity, sorrow, and reflection.

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A retelling of Washington Irving's "The Legend of Sleepy Hollow," The Hollow Bones follows Evangeline "Lina" Van Brunt, daughter of Katrina Van Tassel and Abraham "Brom Bones" Van Brunt. Despite it having been almost twenty years since schoolmaster Ichabod Crane's mysterious disappearance, the villagers' stories still warn of dangerous spirits and hauntings in the Hollow. When Lina suddenly develops magical powers, she begins a journey to uncover the truth of what has happened to this tiny village, even all the way back to the American Revolution. Lina's search for answers about the Hollow and herself allows for discussions of generational trauma and inter-family conflict, the search for identity and belonging, and the consequences of abuse of power.

Beautiful, Terrible Things is an adult urban fantasy novel that explores the toxic dynamics of dysfunctional families, why we love the people who hurt us, and how far we will go for the people we love. For over a century, Portland has been ruled by three supernatural families: the McCulloughs, a nest of ruthless vampires, the Sinclairs, a pack of cutthroat werewolves, and the Takeuchis, a family of dangerous kitsune. They have enjoyed a shaky peace, one that Shiki Takeuchi and Dominic Wright have preserved with their supernatural speakeasy, a safe zone with only one rule: No Fighting. But when Mina Takeuchi's body turns up dead in her mother's driveway with signs that the wolves are to blame, tensions ignite. As shots are fired and bodies drop on all sides, their relationship is put to the test and their families demand they pick a side. Dom and Shiki must protect each other as they navigate feuding families, town politics, and a city on the verge of war. But in a town where violence is the strongest currency, everyone must pay.

In the short stories of In the Call Center at the Navel of the World, life's daily routines play out in universes almost like our own. An author steals stories from the dead, a teenager argues with God inside a whale, narrative clichés take over the lives of young urbanites, and the Oracle of Delphi negotiates 2500 years of toxic office culture. At turns absurd and philosophical, lyrical and strange, these stories explore the reality of the human condition by starting somewhere just slightly unreal.