“Dead Air,” by Nino Cipri
I enjoyed the peculiar form and the building mystery—and the fact that it’s Maddie who turns out to be the weird one, not eccentric artist Nita—but I wanted the story to reveal something at the end, something a little more definite than what was revealed. I’ve talked about big reveals in stories sometimes being disappointing, but I feel certain the author could have made it work.
I’m envious of the way the author uses the transcript format and blithely violates it with narrative interpolations (“[It’s a goodbye kiss, but Nita doesn’t know that.]”). How does that work so well?