Trixia Marie C. Policarpio is from Marikina City, Philippines, and is a BA Creative Writing undergraduate at the University of the Philippines Diliman. She delves into both fiction and non-fiction, crafting stories and essays that navigate the spectrum of human experience. She explores various genres, blending imaginative storytelling with thought-provoking insights as reflections of her curiosity in the world. She’s had personal essays published in Inquirer Youngblood and Positively Filipino magazine, and a realist fiction piece recently accepted for Bente-Bente Zine Volume 3. “Reverse Frankenstein” is her first published speculative fiction story. 

Welcome to Philippine Genre Stories, Trixia! How does it feel to publish your first spec fic story? 

For me, there’s something freeing about finally sharing my work beyond the classroom. After years in my program, I’ve become used to the semestral cycle: drafting a story, going through the workshop process, and trying to get myself in the right headspace to revise—only to submit it for a grade. 

While it’s always fulfilling to finish a piece, to turn a vague idea into a complete story, I’ve come to realize that there’s a deeper sense of fulfillment in actually reaching an audience, especially people outside my usual circles, beyond the program, the city, or even the country. I write to express what matters to me, in the hope of connecting with others on a deeper level and in different, sometimes unexpected, ways.

There’s that sense of fulfillment, too, in being able to connect storytellers like you to readers in PGS. 🙂 And what made you answer the call for the PGS submission? 

Submitting to PGS is a leap of faith. While I’ve always enjoyed reading genre stories, I leaned toward realist fiction in my own writing, partly because, growing up, I found hard sci-fi and highly technical worldbuilding a bit daunting. 

But taking a Speculative Fiction Writing and Workshop class at UP shifted something in me. It pushed me to explore beyond what I thought I was capable of, and I began to realize that I, too, had my own way of constructing imaginative worlds—ones rooted in emotional clarity and personal truths. 

Writing in this genre turned out to be less intimidating than I had expected. “Reverse Frankenstein” is the first speculative fiction piece I’ve written, and it’s my way of stepping out of what’s familiar to me. I hope it finds a home here, and maybe even resonates with others exploring the space between the real and the possible.

PGS is indeed that home and space. How did you start exploring the genre/s to begin with? Were there specific books and authors that got you started?

I’ve been gradually introduced to more speculative fiction, especially in the short story form, and certain pieces continue to stay with me long after reading. Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas” and Shirley Jackson’s “The Lottery” both left a lasting impression. What fascinates me about these works is how they create a sense of unease without relying on traditional horror elements—no monsters, no ghosts, no jump scares—just a quiet, creeping dread that lingers. Their mastery in evoking tension and moral discomfort is something I deeply admire. 
In terms of novels, Philip K. Dick’s Do Androids Dream of Electric Sheep? stirred a surprising range of emotions in me. More recently, I read Naermyth by Karen Francisco and was struck by how grounded and expansive local speculative fiction can be. I’m eager to discover more across subgenres—horror, sci-fi, fantasy—as long as the story has something sincere to say and leaves something resonant behind.

What about Filipino-authored works, which ones have influenced your writing and why?  

Lately, I’ve been exploring  more short stories, and a number of pieces I’ve recently discovered have stayed with me—not just for their craft, but for how they made me feel after reading. “Fairytale for the City” by Estrella Alfon, “Dormitoryana” by Mayette Bayuga, and “Apollo Centennial” by Gregorio Brillantes were introduced to me by Prof. Luna Sicat Cleto in my fiction writing class. 

I’ve also been moved by “Elizabeth Yu is a Universal Constant” by Sydney Paige and “Milagroso” by Isabel Yap, which both made me think about how speculative elements can heighten rather than escape deep, often uncomfortable feelings like longing, discontent, and quiet grief.

What many of these stories share is a grounding in modern, urban settings, which are deeply familiar to me since I have lived my whole life in the city. There’s often a tendency to treat Metro Manila as overexposed in literature, but what these works remind me is to write with a sense of clarity and truth about where we come from. We don’t get to choose our origins, but we do get to choose how we write about them. These stories showed me that even within the same landscape, there are still countless emotional textures, voices, and angles to explore.

Very nice scope of influences you got there. 😃 And what about the published stories in Philippine Genre Stories, which have you found the most interesting so far?

So far, I’m drawn to “The Ones Who Linger” by Celestine Trinidad and “We Offer a Body-Back Guarantee!” by Dan Merais. Both stories explore the experience of being trapped in a kind of limbo — a state where escape seems impossible — yet they also offer glimpses of hope within that sense of confinement.

Those two are reader favorites, too! Onto your story: what specifically inspired you to write REVERSE FRANKENSTEIN?

I love how the speculative genre allows us to reimagine reality through our what ifs, questions that often emerge from the tensions and reflections we experience in the present. In my story, I explored the idea: what if a dating app could physically transform users to match the beauty standards they set for themselves? 

This question ties together several interconnected issues: the pressure to curate an ideal self-image on social media, the obsession with unattainable beauty norms, the commodification of attraction in modern dating, and the ethical risks of rapidly advancing technology. By pushing these concerns to their extreme, I wanted to reveal how personal identity, authenticity, and even intimacy itself are increasingly shaped—and distorted—by the digital spaces we inhabit.

Additionally, I’m a fan of horror short stories and films. While I enjoy all types of horror, I’m particularly drawn to psychological horror. I’ve read some stories from PseudoPod and admire how many of them evoke a deep, lingering sense of dread through subtle details, often without relying on traditional scares like ghosts, monsters, or killers. 

I’ve learned that another unsettling thing is the idea that fear can come from within — from the disturbing lengths people are willing to go to in pursuit of misguided or destructive desires — and from the realization that the decisions we make are often shaped by unseen influences around us. There is no single, concrete thing to blame; yet the consequences are deeply personal.

What came easy and hard in writing this story? 

I had a clear sense of what I wanted to write — a horror speculative piece — and the guiding question I used to outline the story. Interestingly, the ending came to me naturally while drafting; I instinctively knew where I wanted the story to stop. 

One of the more challenging aspects, however, was shaping my character’s emotional complexity. She is hurting, angry, dissatisfied, insecure, and lonely all at once, and I wanted these layers of emotion to resonate with the reader. This was crucial because her actions throughout the story are driven by the turmoil of these feelings. Without establishing this complexity, it would be easy to reduce her to a mere villain who deserves her fate, rather than seeing her as a vulnerable individual, misled into believing she had found a path to redemption from her personal slump.

Is there a next project that you’re already working on? 

I often jot down intriguing topics or keywords I come across in books, films, or conversations, which I revisit when I’m ready to write. My latest speculative piece titled “Ellie, Again” explores grief and acceptance, especially when things don’t make sense. It’s nearly finished, and I’m currently polishing it and seeking a place to share it.

We look forward to reading the story when it comes out! 

As a student of Creative Writing and already being published, what tips can you share with aspiring storytellers out there?

My advice for young writers is simple but essential: read when you’re stuck and write when you’re inspired. In moments of writing slump, I turn to reading, whether it’s recommendations from friends, professors, or online stories, to spark an idea for the genre I’m working on.

In speculative fiction, one helpful question to ask is “What if?” This question helps clarify the speculative element you want to explore and can guide you toward crafting a story that engages with real-world issues in a compelling and thought-provoking way.

In any genre, it’s also crucial to understand your character’s desire. A good starting point is to ask yourself: “The story won’t happen if not for or because ______.”

Finally, a piece of advice I wish I had embraced earlier: have the courage to submit your work. During my early years in a Creative Writing program, I often waited for the “perfect time” to share my writing, thinking it had to be flawless before submitting. But there is no perfect time. If your story has something important to say, it’s worth sharing, no matter where you are in your writing journey.

Many of us would agree with that. 🙂 

Is there anything else that you’d like your current and future readers to know about you?

I enjoy simple adventures that make life more bearable, like weekend getaways, visiting pop-ups, museums, art fairs, or even just a coffee date. Though I have a limited social battery, I like meeting and connecting with new people who share these interests!

Thank you once again, Trixia, and it’s a pleasure to have you in PGS 2025!