Ghost of Kotoama follows a genetically altered warrior as a mysterious killer resembling his lost love draws him into a sprawling interplanetary conflict involving political intrigue, covert operations, ancient traditions, and brutal warfare. What is the most challenging aspect of writing a series?

For me, the most challenging part of writing a series is creating an ending that carries the same weight and complexity as the first book. When Wolf of Vanaheim ended, I think a lot of readers weren’t sure whether they liked or agreed with Baldur’s decision. They understood why he made it, but it landed in that morally complicated space of whether the ends justify the means.

So when I began writing Ghost of Kotoama, I knew that if I couldn’t reach that same kind of horrifying but necessary dilemma, the ending wouldn’t land the way Wolf of Vanaheim did. After several variations (and a few emotionally exhausted readers), I think the final scene in the hangar ultimately found its way into that same uncomfortable territory.

Why was dark humor important to the novel?

Having worked in stressful, sad, and sometimes violent environments, I learned how important dark humor can be. The expression, “If I didn’t laugh, I’d probably cry,” is completely true. Sometimes, being able to find humor in the worst situations is what carries us through them.

Baldur and his team spend a lot of the story simply trying to survive whatever comes next, and that humor becomes part of how they cope. If they ever actually slowed down long enough to process everything they’ve done and experienced, I’m not sure there’s enough therapy in the world to save them from themselves.

How did you develop the cultural identity of Kotoama?

I knew Kotoama was going to be the central location for Ghost of Kotoama before I had even finished the first book. The fusion of old feudal Japanese culture with advanced science fiction was irresistible to me. I drew inspiration from films like The Last Samurai, particularly the idea of tradition colliding with progress, and then placed that conflict inside a totalitarian society. I really enjoyed imagining the Akuma within that world and asking what it would take for a people to preserve their heritage, traditions, and identity when the society around them is actively trying to reshape or erase those things.

Does the ending point toward a larger conflict or a different phase of Baldur’s journey?

Definitely. The third book is going to see some of the relationships Baldur has built throughout the series finally begin to pay off as Vanaheim’s struggle continues.

From the beginning, I knew I wanted to start smaller, focusing primarily on Vanaheim, and then expand the story into new worlds with each book. I’ve already written about half of the first draft of book three, and there are some serious surprises ahead for fans of the series.

Leptis Magna will obviously play a major role, but there will also be new and unexpected environments to explore. I’m excited for readers to see where Baldur’s journey goes next.

Author Links: GoodReads | Facebook | Website | Amazon