Get to know our Issue #6 "TRANSIT" Prose Contributors!

B222 Journal
Dec 13, 2025
7 min read

Updated: Dec 23, 2025

Gabriel’s Responses:

Hello readers! It's been a little over a week since Issue 6 Transit was released into the world. After fourteen weeks of hard work from all our editors, it was so amazing to celebrate with our contributors at the launch!

Haven't had a chance to read the journal yet? You can find the digital versions of our issues in our archives here. If you'd like a print copy for yourself, please contact us at b222journal@gmail.com.

Couldn't make it to the launch? Never fear; the celebrations aren't over just yet. We had the chance to interview our contributors and learn more about their pieces and their artistic process. Meet some of our Transit prose writers below!

Gabriel Moultrie

Gabriel Moultrie is the author of "All Things Pass in Motion" (page 16-17). He is a third-year Honours Bachelor of Creative Writing & Publishing student at Sheridan College. He has worked with many young Canadian writers and has led a creative writing workshop at Brampton Centennial Secondary School as a student ambassador for the CW&P program.

Jumping between memories and rapidly unfolding events is a dance that’s hard to execute, but doing it well gives a special sense of kineticism and depth I hoped to implement in my own writing.

Question #1: What is explored/investigated in this piece?

I was interested in exploring what I could do with a comparatively short runway. The final edit comes down to less than 800 words, and I enjoyed the challenge of crafting a compelling plot and structure within that framework. I envisioned the entire story unfolding in a matter of seconds, and tried to fit as much context into those seconds as I could. I think that’s the strength of prose. We can stretch a moment in time to develop our characters, giving the reader just enough information to form connections and understanding. Jumping between memories and rapidly unfolding events is a dance that’s hard to execute, but doing it well gives a special sense of kineticism and depth I hoped to implement in my own writing.

Question #2: Your piece significantly changed in the editing process. How did you manage the time concern and feeling good about your changes?

I’ve found that revisiting something you enjoy helps to keep procrastination at bay, whether it's writing or another creative field. Open communication also helps, and the editors at B222 really streamlined the editing process by addressing my ideas and raising their own. I think many writers would agree that feeling good about your writing is a tall order, especially when it’s out of your hands and available for others to read. That said, having a team of people devoted to helping you craft something you can be proud of inspires a level of satisfaction that’s hard to find without that support.

Delora Dreamer

Delora Dreamer is the author of "Can You Hear Me?" (page 21-22). She is a second-year Honours Bachelor of Creative Writing & Publishing student. She is an incredibly passionate writer whose focus always draws her to the more human aspects of life: love, despair, hope, and tragedy. She aims to provide works that sit with the reader, wracking their mind at night and inspiring them when they next wield pen and paper. She hopes more than anything to awe, despair, and mystify all who read her work.

It was troubling to try and capture the place of being lost as that’s the whole point, the inability to capture it, so instead I tried to capture the desperation to capture it- the words my mind could escape with while stuck in that place.

Question #1: What are some distinct characteristics of your prose in this issue?

In my prose work I always strive to produce the vivid yet dream-like beauty and horror of my mindscape. I suffer from severe psychosis and the world often melds, feeling more emotional than real due to it. I take this in stride, to use as creative fuel and ultimately produce the work that I have had accepted by the B222 Journal.

Question #2: Where did you find the inspiration for the images described in your piece?

In the same place that gives my prose its flair, my disillusionment between reality and thought. I created the images through my emotions manifesting as physical presence in my mind as vivid as the real things. The park in particular is a place I commonly find myself when in psychosis, a lonely park I explored in my childhood that I’ve grown to see when I feel most lost. It was troubling to try and capture the place of being lost as that’s the whole point, the inability to capture it, so instead I tried to capture the desperation to capture it- the words my mind could escape with while stuck in that place.

Matthew Boylan

Matthew Boylan is the author of "Trainspotting" (page 25-26). He is a writer and graphic artist from Guelph, Ontario. In his free time he likes to read, write book reviews, and play chess. He enjoys experimental forms and content. His most recent review is published in The Ampersand Review. He is a fourth-year Honours Bachelor of Creative Writing & Publishing student.

...as contrary to popular belief – memory is never a perfect stream, but rather a collection of pieces we collect and frame after the fact that construct our live narratives.

Question #1: What is explored/investigated in this piece?

The story is all about moments. It explores imagery in motion; tableaus of experience spread out across a short period of time. It explores youth and feeling, naivety and nostalgia, and the fragmented nature of memory in time.

Question #2: You purposely chose not to use any commas and had a heavy intention behind sentence length. What was the inspiration behind your writing style?

There wasn’t any overt intention to write the piece in a specific style before I went into it, but it came naturally as I wrote and later edited. I think the “sentence fragment” style has been used in the past to demonstrate a human method of recollection and memory – as contrary to popular belief – memory is never a perfect stream, but rather a collection of pieces we collect and frame after the fact that construct our live narratives. Our lives are a series of events, and "Trainspotting" is a series of events, so the style just made sense.

Gabriela Rodriguez Alvarado

Gabriela Rodriguez Alvarado is the author of "What Doesn't Fit in A Suitcase" (page 38-40). She is a multi-genre writer and aspiring editor. She enjoys reading fiction and writing prose, poetry, and scripts. Through her writing, she seeks to explore her Latin American heritage and experiences as an immigrant, as well as themes of love and connection in all their shapes and forms. She is a third-year Honours Bachelor of Creative Writing & Publishing student.

Immigration is a huge change—possibly the biggest one I'll ever experience—in every aspect of a person's life, and I wanted to convey everything that such a thing implies, for people who have never been in that position.

Question #1: What themes are at the centre of your story?

I would say change is the main theme of my piece. Not only at a surface level; a change of country, a change of living space, a change of school... it's about how those changes can affect someone internally. How they mess with your emotions, your sense of belonging, and even your identity. Immigration is a huge change—possibly the biggest one I'll ever experience—in every aspect of a person's life, and I wanted to convey everything that such a thing implies, for people who have never been in that position.

Question #2: How was editing a piece that’s so sentimental and close to your heart, after some time of writing it?

It was definitely an experience! Looking back on some of the things I wrote some years ago when the piece first materialized made me cringe to the point that I considered removing them... but I wanted the piece to stay as true to the original experience as possible, so I ultimately kept them. Studying abroad is such a romanticized experience, and it was important to me that the finished product really reflected the uglier side of it that is not spoken of as much, with every ugly thing I felt and experienced at the time.

Natasha David

Natasha David is the author of "The Outlaw's Revenge" (page 28-33). She is also an author of a collection of short stories, poems, screenplays, and two half-formed ideas that have spent more time in her brain than on paper. She is a long-time lover of fantasy and dystopian fiction, and spends her free time playing piano and collecting more books than she can read. Her works have been published in issues 1 and 4 of B222 Journal and issue 10 of Petal Projections Magazine. She is a fourth-year Honours Bachelor of Creative Writing & Publishing student.

Everyone’s journey is different and deeply personal, and ultimately, we are each responsible for forging our own path.

Question #1: What themes are at the centre of your story?

At its heart, The Outlaw’s Revenge is a story about resilience. A person’s present and future are shaped by their past actions and experiences, and Jo’s past gave her a choice: survive, or don’t. Jo’s decision set her on a difficult journey that, although it kept her isolated from the other characters, also shaped her into a new person determined to persevere, despite what she had lost.

I really wanted to keep Jo’s character and point of view a mystery because of what she represents in real life: Everyone’s journey is different and deeply personal, and ultimately, we are each responsible for forging our own path. Jo’s resilience in the face of her past and future is a testament to this.

Question #2: What was the hardest part of writing your script with a page count limit?

I struggled a lot with the dialogue and maintaining the page count without affecting the world building. Dialogue takes up a lot of space in screenplays, so finding a way to deliver information to the audience without info-dumping was a bit tricky, especially because this was such a short script. In the end, I knew the characters didn’t need to say much; rather, their actions and reactions did most of the storytelling, and their dialogue was mainly used to introduce and maintain conflict.

Thinking back on the writing process, I actually really liked the challenge of the page limit because the result focuses on the quieter moments rather than spoken interactions. The ending, in particular, holds so much power in its silence, and would have been tonally much different if I had decided to include dialogue.

Check out my other interviews with our Poetry and Visual Art contributors!