“The Dictator’s Daughter“ Devilfish Review. Issue 10, Summer 2014
“Ursula stands at the window and her fingers brush the twisted knot of barely healed flesh at her throat. She watches the protestors outside the Presidential mansion. Men and women, even children, clamor behind a spray painted yellow line. Two golems stand on the opposite side, each twelve feet high, clockwork arms forward, ready to fire should anyone cross the line.”
“Contraband“ CHEAP POP. April 2017
“The Black Fox was spotted in Ezra’s city a third time. The first time she’d been seen visiting injured fighters in a hospital. The second time she’d assisted in a raid on a downtown Golem production facility that demolished nine bipedal behemoths before they could reach the battlefield. Ezra had returned from a cross country trip to find his home occupied by soldiers who studied his ID under flashlights. They searched his truck but found nothing. But they hadn’t found the Black Fox either.”
See CHEAP POP: Micro-fiction That Pops here.
“Like Clockwork” Flash Fiction Magazine. May 2018
“Seth squeezed the bronze gear between his tweezers’ tines and lowered the piece into place. The surrounding cogs responded with a sharp click. From behind his mounted magnifying glass, the gear looked big as a bicycle wheel and the innards of the pocket watch became vast. Seth saw rooms within rooms, a maze shifting and sliding in conjunction to create the marching beat of time. He often forgot himself as he listened to the metronome tick and, strange as it sounded, lost track of the hours.”
“Midwestern Monsoon” Prairie Gold: An Anthology of the American Heartland. Ice Cube Press, July 1st 2014
To purchase a copy of Prairie Gold: An Anthology of the American Heartland directly from Ice Cube Press, follow the link here.
“Dystopian Visions: Writing A Way Out“: a roundtable discussion on the dystopian genre for Nerds of A Feather. Moderated by Chloe Clark, featuring Kate Dollarhyde, Brontë Wieland, Phoebe Wagner, and Tony Quick. (April 2017)
CC: What responsibilities do we, as writers, have in depicting dystopia and apocalypse? Should we spend as much time considering the socially conscious aspects of our work as much as the narrative aspects?
TQ: I want to be careful about assigning any specific “responsibility” to authors because I’m afraid litmus tests can be limiting…We should definitely give serious thought to the socio-political underpinnings of our works but contemporary fiction shouldn’t be a soapbox. The contemporary audience becomes defensive and closed off once they sense unpolished propaganda. As artists, we’re challenged with hitching our larger societal concerns to plots featuring smaller, intimate narratives our audience can relate with. Fiction challenges us to show readers the ramifications of our society’s slow decline and turn statistics into stories.
Pints and Cupcakes Interview: a conversation with editor and author, Chloe Clark on her website, Pints and Cupcakes. (September 2014)
CC: What is one thing you think every writer should know?
TQ: Persistence. Persistence. Persistence. Returning to the keyboard day after day, soldiering forward when the words aren’t flowing, and then honestly assessing what can be used in the next iteration and what must go requires tenacity.Especially when it comes to novels. Short stories are flings—fun, exciting, and meant to come to an end after a few weeks or months. Novels are relationships, commitments that last for years. That means work, adaptability, and compromise.
Two More Q’s with Tony Quick: a mini-interview with editor and author, Stefanie Brook Trout that touches on place in fiction. (September 2014)
SBT: You grew up in the Baltimore area, which is also the primary setting of your novel-in-progress, Scarecrow and Locust. Besides the fact that it’s where you’re from, what is it about Baltimore that inspires you to explore the city through fiction?
TQ: Urban landscapes feature prominently in my fiction because they offer so many opportunities to bring diverse people into the same arena to clash and cooperate. Cities create crucibles where characters from various cultural, ethnic, and economic backdrops can rub elbows. People who might never interact otherwise are drawn into conversations and conflicts by virtue of inhabiting the same space and that’s an exciting prospect to me…
Meet the Editors: an interview with Flyway: Journal of Writing and Environment. (October 2013)
Flyway: In a couple of sentences, share something about your background—writing related or otherwise.
TQ: I’m a sucker for mash-ups, amalgamations, homage, allusion, and pastiche. I haven’t decided whether this is a strongpoint or a weakness. This is across the spectrum of entertainment—television, music, film and fiction. I’m always curious when authors experiment with their influences. What would a Bradbury story look like channeled through Hemingway’s clipped, succinct style? What would a mash-up between Amy Hempel and Haruki Murakami look like?
Recipient of The Michael S. Glaser Award for Creative Writing in 2010
Traditionally presented to a student who is both gifted and dedicated to the craft of writing, who has strived to hone his or her skills while at St. Mary’s, and who shows promise of future, lifelong creative achievement