Blog Archives
It Became Much Darker
Dark Threads tells three haunting dark-fantasy stories where desperate survivors endure brutal magic and impossible choices in worlds crumbling under their own shadows. What sparked the initial idea for Dark Threads, and did one story come first?
The Breath Borrower was the first dark-fantasy story I’d ever written. I wrote it specifically for the Writers of the Future contest about five years ago. When I first had the idea, I don’t think it was dark, per se, but as the story developed, the weight of it grew, and it became much darker.
It received a Silver Honorable Mention in the contest, and I really loved the story, but after trying for a few years to get it published—and receiving a few quite nice rejection letters—I decided to share it with readers on my own. The other two stories in this volume had also received HM’s in the contest, and since they were also rather grim and dark, I thought they’d work well together.
I plan to continue the series, since I enjoy dwelling dark occasionally, but their release may be erratic since I write across multiple genres, and these types of stories can be emotionally intense to create.
The magic systems are uniquely brutal. How did you approach designing magic that feels both inventive and emotionally costly?
I think because of the depth of magic involved in these stories, the giving or receiving of something from inside the characters themselves, it made the cost automatically become greater and more intimate. Very personal. And because of that, it became a choice for each character. Risking their own life for others. Even in the case of Vapors of Misuse, the twins are seeking revenge, but also an end to the misery their lives are a part of, either for each other, or for the community after they’re gone.
Your characters often operate in moral gray zones. How do you balance empathy with their harsher decisions?
Once I started coming up with the ideas, the characters themselves took over. That often happens in my writing. They flesh themselves out. They become very real, and real people often have far more gray in them than edging toward black or white. And the gray is interesting to explore.
It goes back to the choice thing. Under “normal” circumstances, the main characters would be ordinary people, but I’ve thrown them into some type of chaos, and they have to react while trying to still keep part of themselves…well, themselves.
The endings are powerful but intentionally not tidy. How do you know when a story with this much darkness has reached its conclusion?
Life isn’t very tidy. A lot of my short stories feel like vignettes of the character’s life to me. You know things were happening before this moment, which are sometimes alluded to, giving the reader more background, but you also get the feeling something else will probably come after the story, though perhaps not with the central character.
The vignette ends at a pause, like the end of an exhale. The flow of that particular moment narrows until you break away. It’s not always a clean break. Something might not be fully resolved. It’s a bit like ending on a discordant note in music. It might leave you feeling a little disturbed, but glad it’s fading away at the same time.
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In this collection of haunting dark fantasy tales, mortals and spirits alike wrestle with destiny, sacrifice, and the cost of power.
In The Breath Borrower, a sacred thief of breath must choose between duty and mercy in a city where life and death hang on a whisper.
The Withering follows a lone scholar through the dream-infested Underland, seeking a cure for a dying world—even as her own body fades.
And in Vapors of Misuse, a cursed twin races against time to use forbidden magic against a ruthless tyrant—before he is consumed by the very power he wields.
These are not stories of easy victories or neat endings. They are stories of survival, of sacrifice, and of what lingers when hope is gone.
Desperate Souls
Desperate Souls follows several lives caught in moments of fear, loss, and fragile hope. The story opens with young Joseph watching his world collapse in a violent attack on his family’s mission, then shifts to Grace, a talented ballet instructor whose body begins to betray her just as her future seems set, and to Nathan, a new father fighting to keep his wife alive. Each thread builds toward a picture of people pushed to the edge of what they can endure and reaching for faith, purpose, or simple survival. The writing leans heavily into emotion, and the pacing keeps the reader on alert as tragedies unfold without warning.
This book pulled me in fast. The emotional punches land hard, and I found myself bracing during several scenes. The details of Joseph’s escape, Grace’s slow unraveling, and Nathan’s desperation created a steady tension that made me keep turning pages. The writing is clear and direct, and it leaves room for the reader to feel the weight of each character’s fear. At times, I wanted a moment to breathe, yet the speed of the story felt true to what these characters were living through. Their worlds were breaking apart.
I also enjoyed how the story handles faith and suffering. It does not drift into heavy explanations, and it avoids preaching. Instead, it shows characters trying to cling to what they believe while everything they trust falls away. Some moments really resonated with me. Grace trying to keep her life together while hiding her symptoms felt painfully real. Nathan stumbling through fear with a baby in his arms made me tense in my seat. I felt frustrated with these characters sometimes, and I felt protective of them too. That mix made the story stick with me.
Desperate Souls will appeal to readers who enjoy character-driven drama with high emotional stakes. It is well-suited for people who like stories about ordinary lives facing sudden upheaval and who appreciate a blend of suspense, faith, and personal struggle. If you want a book that makes you feel something deep and keeps you thinking after you close it, this one will do exactly that.
Pages: 414 | ASIN : B0FHQKDM88
Burned Butter Island
Burned Butter Island follows a lonely boy who lives with his father, a grey cat, and a white duck on a small Baltic island where the lighthouse stands watch over wind and sea. The boy, still grieving his mother, wanders through forests filled with foxes and white deer, bakes blackberry tarts, reads old books, listens to storms, and discovers the strange magic of a narwhal’s tusk. When a violent storm pulls him into the ocean, a real narwhal saves him, guiding him back to shore and back to hope. The book blends poetry, fable, memory, and gentle magic into a tale about loss, wonder, and the courage to live again.
The language is simple, yet it carries an emotional weight that sneaks up on you. Scenes drift from soft domestic moments to wild visions of storms and enchanted creatures. I found myself slowing down because the rhythm feels like someone humming by the fire. I loved the poems sprinkled throughout. They felt warm, handmade, and a little fragile. Sometimes the narrative jumps between moments and I had to catch up. It felt like listening to someone who speaks from the heart and lets the story wander where it wants to go.
What I liked most was how honestly the book speaks about sadness. The boy’s grief shows up in tiny gestures, in memories of his mother’s lullabies, in the way he stares at the tusk as if it holds the answer to something he cannot name. I felt a lump in my throat when he read the message on the rocking horse. The moment he sees that love does not vanish, and that sadness does not have to swallow him whole, felt tender and real. The author writes about loneliness without heavy words and lets magic offer comfort instead of escape. I liked that a lot.
I would recommend this book to readers who enjoy gentle stories that glow from the inside. It is perfect for people who love fairy tales, lyrical writing, and small moments that carry big feelings. It would also comfort anyone who has walked through grief and wants a reminder that joy can return in unexpected ways.
Pages: 20 | ASIN : B0FXHLFGS8
Stealing Stealth
Stealing Stealth is a Cold War spy thriller about a master thief and a burned-but-still-burning CIA case officer who get pulled into a fight over the future of stealth technology. We meet Gabrielle Hyde in 1975 Toronto, dropping into a dusty old government office from a ventilation shaft to steal classified files while half the law-enforcement world hunts her. At the same time, John Olson, a young CIA case officer with something to prove, becomes obsessed with catching her and then with stopping a legendary Soviet operator, Sasha Morozov, from getting his hands on America’s experimental stealth aircraft research, the kind of “perfect first-strike weapon” that could tip the whole Cold War. Their paths cross, collide, and eventually twist together as they race from rooftops and embassies to African markets and the secretive Skunk Works facility, trying to plug leaks, uncover a mole, and keep a fragile nuclear treaty from falling apart.
Reading it, I felt like I was sitting in a dark theater watching one of those big, old-school spy movies. The writing leans into atmosphere: the musty FBI outpost, the humid chaos of Mogadishu’s markets, the cold wind high over Toronto when Olson literally throws himself between rooftops after Hyde. Scenes play out in clean, visual language that made it easy for me to track the action without getting lost in technical detail. I liked how the book switches perspectives between Gabrielle, Olson, and even Morozov, so I never felt like I was stuck on just one side of the board. The pacing feels very much like a modern spy thriller: bursts of intense action, then quieter conversations where people argue about loyalty, politics, and what it costs to do this kind of work. There are moments where the briefing-room talk about treaties and stealth programs slows things down a bit, but most of the time it adds weight instead of drag, reminding me this is not just about a cool gadget in a metal case, it is about who gets to shape the world.
What stuck with me most were the choices the characters are forced to make. Olson is haunted by a failed operation in Somalia and the death of his partner; that guilt colors everything he does after, especially when he is ordered to stand down and decides to ignore it. Gabrielle is fun to watch because she is both playful and ruthless, a thief who talks about capability as a kind of moral authority and treats sexism in the agencies as another lock to pick. The book lets her be brilliant without sanding off her sharp edges, and I appreciated that. Morozov could have been a cartoon villain, but instead, we see his grief for his granddaughter and the way he is forced back into being “the Demon” when she is taken and ransomed for the stealth data. It does not excuse what he does, but it makes him more human and more unsettling. I also liked the thread about institutions versus individuals: the CIA, FBI, and political leadership spend as much energy protecting careers and narratives as they do protecting the country, and Olson and Hyde are constantly working around their own side as much as they are fighting the enemy.
Stealing Stealth is a solid, character-driven spy thriller with a techno edge, the kind of book you pick up for the rooftop chases and Cold War tension and stay for the messy loyalties and bruised hearts underneath. If you like stories in the vein of Cold War espionage, enjoy the mix of spies, thieves, and experimental weapons, and you appreciate a capable female lead who is always three moves ahead, this book will likely hit the spot for you.
Pages: 474 | ASIN : B0FSL2KVB8
A 360-Degree View
Dream Me Dead follows a dead woman watching her husband’s trial for her murder, who tries to leave clues for the living as to what happened to her. What was the inspiration for the setup of your story?
As living people, we only know what we are told, or what we assume to be true, but if the story is told through the eyes of a deceased person, they are able to have a 360-degree view of the world, and there is no more room for speculation. Peggy Prescott knows exactly what happened to her and how it happened, but she only reveals bits and pieces of her story so that the reader can begin putting the pieces together until they make sense. If she revealed everything at once, it would not be exciting. When someone has to work for the reward, the goal is that much more exciting and fulfilling. The reader feels challenged to put their mind to work as the clues accumulate. The reward, therefore, is worth the effort. Peggy knows her life on earth was valuable, and wants the readers to appreciate her trials and tribulations, making her life, and death, more meaningful. Hopefully, it gives the reader the idea that everything we do, everything that happens to all of us, will one day make sense.
What intrigues you about the paranormal that led you to explore this direction in your psychological thriller novel?
I have always questioned the paranormal, believing that we can only know what we know, but that is not the entire story. I believe in unseen entities, good and bad, who guide us along the way, preparing us to make better choices, be fearless, love deeply, and know that when someone dies, they are still with us. Those whose death was unexpected need for those left behind to make sense of things, and to dig deeper for clues that finally are revealed. Timing is everything, especially for those who search for answers. When I look up at the sky, I see endless possibilities, other lifetimes, souls who have moved on, souls who have remained for a while to keep their loved ones safe. It is an endless cycle of love and possibilities, that intrigue me the most. We have miracles all around us if only we look for them.
What was the most challenging part about writing a mystery story, where you constantly have to give just enough to keep the mystery alive until the big reveal?
The most challenging part of writing a mystery/psychological thriller is to ask the reader to be part of the story, to immerse themselves in the richness of the characters, and to follow the clues as they appear. This cannot occur if the reader becomes bored with the story, or finds that they cannot relate to the characters, so my job was to create characters who come alive, who the reader wants to root for, or despise, but cares about deeply one way or the other. The clues have to be available, but hidden, and can be found just beneath the surface if the reader looks hard enough. For me, the characters in Dream Me Dead are taking the reader on a journey and asking them to believe that they exist, if only on the pages, but remain in our hearts as real people.
Will there be a third book in the Dream Me Home series? If so, what can readers expect, and when will it be available?
Yes, there will be a third book, entitled Dream Me Gone, which will challenge the reader to take a stand, knowing that just as in life, each person can view the same problem differently, depending on their own personal experiences. I know what the ending is, of course, but that’s because I am a believer that anything is possible. Being an optimist and hopeless romantic, I will determine that the ending comes from a place of love, but others, those who are realists, who employ logic as their first language, are welcome to view an ending that makes sense in a realistic world. In other words, just as the readers will align themselves with specific characters, they will also stand firm on a logical conclusion. Everyone should feel that the time they put in to reading the Dream Me Home series was time well spent.
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Built On More Than Teen Romance
Forced Apart follows two teens bound by first love and fierce loyalty as they struggle to stay connected through upheaval, grief, and the painful process of growing up. What inspired the introspective, dual-perspective style that lets readers live inside Cali and Sky’s thoughts?
Cali and Sky have been the key figures in this series on two kids growing up in a suburb of a large American city. I wanted boys and girls who read the series to relate to Sky and Cali and to try to make some of their concerns (Sky’s and Cali’s) typical for American teens. So, logically it seemed fruitful to present the thoughts and emotions from the female and the male point of view.
Luckily, these two fictional teens have knowledgeable and invested parents as do many of their friends, and consequently some of the teen challenges, especially sexual developments, are addressed with insight by the parents. Those adult perspectives were more pronounced in the earlier books because young teens need more parental input. In the two books in the series when Cali and Sky are in ninth grade (Not Just Another Brick in the Wall and Facing Revenge), they are more on their own, depend more on consultation and advice from peers as, typical for teens, they break away from a desire for parental involvement.
In Forced Apart, there is the gradual growth on the part of the teens in forging a more adult-to-adult relationship with parents. Examples of this new relationship are evident in Forced Apart when Cali and Shelly Snipe form a supportive bond as they face adjusting to a new life separated from their personal relationships back in Ohio. Sky has a similar supportive and working relationship with his mom and his stepfather as he deals with living closely with Marcie Meadows.
How did you balance the emotional core of the story with the background elements of danger and past trauma, such as the kidnappings?
Sky and Cali would hope that kidnappings are a thing of the past, but what they learned from their traumatic experiences has made them resilient, crafty, and determined to help anyone else who’s path they might cross who is faced with injustice and criminal intent. Although they are now dealing with emotional despair over their separation, they continue to find ways to support and encourage each other. Their bond has been built on more than teen romance.
The friend group feels like a second family. How did you approach writing their loyalty and messy humor to keep the story from becoming too heavy?
The fact of teen suicide looms too large in today’s teen world. Kids who forego suicide as an answer to emotional isolation and humiliation are usually ones who have a network of supportive and knowledgeable friends. Sky and Cali give insight and support to their friends and in return receive the same. Humor helps grease the friendship wheels but there has been a growing unshakeable support when Sky and Cali desperately need it. Teens need to value friendship and to invest personally in building and maintaining friendships.
If you could add one more scene to further highlight the theme of “surviving change,” what moment would you explore?
I should have had a scene where Cali and Sky meet again, during their separation, and before the need to rescue Solina. Probably they would meet again at the stadium of their high school. They needed a face-to-face where they could vent their frustration over being apart but have a chance to express why they were experiencing such emotional loss. To express the ways that their friendship has been important and undeniably crucial in their successful transitioning from teen to adult. Maybe if there is one final book in the series, Sky and Cali may have that conversation when they graduate and go separate ways.
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Cali’s mom must deal with a problematic relationship and one of Cali’s new classmates faces difficult choices because of her toxic and dysfunctional family. Skyler finds himself in a confusing supportive role to a troubled female classmate that puts him at odds with Cali. As in the past, Cali and Sky continue to grow and encounter adventures and dangers that they had not expected to face during their junior year in high school.
Tracking Ariana
Tracking Ariana opens with a quiet spring afternoon that turns into a nightmare. Ariana Wilkinson, a young Afghan immigrant and mother of two, is detained after an Eid celebration, swept up with other families by ICE despite carrying full legal documentation. Her husband Joe, a newly retired Air Force colonel returning from deployment, arrives home to find his wife and children missing, sparking a desperate search. Meanwhile, attorney Seth Bodner and private investigator Dan Burnett begin uncovering the political machinery and secrecy behind the detentions. The story moves quickly, shifting between Ariana’s terror, Joe’s rising panic, and the investigative puzzle unfolding around them.
I felt pulled in by the writing’s straightforward, almost unvarnished style. The chapters move fast, and the scenes stack tension one on top of the next. The emotional beats land without feeling forced. Ariana’s fear hit me hardest. Her instinctive scanning for danger. Her remorse at wearing a hijab. Her panic as ICE officers question her. These moments felt raw and personal, and they gave me a knot in my stomach. Joe’s chapters brought a different kind of emotional punch. His transition from joyful anticipation to helpless dread felt honest, especially when he struggles to calm his children or walks into an empty house that should have held a reunion.
I also liked how the story brings in bigger themes without sounding preachy. There’s anger simmering under the surface. There’s confusion, too, and the sense that the characters are caught in a machine much larger than themselves. Watching Seth and Dan pull together scraps of information while the government stonewalls them made me feel both frustrated and invested. The narrative balances personal drama with political suspense in a way that feels accessible. I found myself rooting for everyone to just catch a break. The pacing keeps rising, and even the quieter scenes carry tension because the stakes never let up.
By the end of what I read, I felt fully locked into the characters’ emotional worlds, and that’s what made the story work for me. If you enjoy thrillers rooted in family, justice, and real-world tension, this book is a strong pick. It’s especially good for readers who like fast pacing, clear writing, and stories that weave personal stakes with political complications.
Pages: 272 | ASIN: B0FYZNJ81B
Drinking from the Stream
Drinking from the Stream follows two young men on the run from themselves. Jake, a Nebraska kid turned Louisiana roughneck, flees the guilt of a killing on an oil rig. Karl, a disillusioned American student at Oxford, escapes the wreckage of the sixties and a painful relationship. Their paths cross, and they drift through Ethiopia, Uganda, Rwanda, Burundi and Tanzania in the early seventies, bumping into coups, massacres and love affairs as they go. The book stretches from the Gulf of Mexico to the Great Lakes region of Africa and on to Chile, and it ties private coming-of-age stories to state violence and postcolonial chaos.
I felt like the writing landed with real weight. The prose has muscle and rhythm, and it keeps a steady pace through long stretches of travel and talk. Scenes on the road, in trucks, on ferries, and in cheap guesthouses felt vivid to me. Dialogues carry a lot of the load. Characters argue about politics, race, faith, and guilt, and the conversations feel relaxed on the surface but tense underneath. I could sense the author’s years in Africa in the way a village lane or a border crossing appears in a few sharp strokes. The flip side is density. Historical detail piles up. I stayed invested in Jake and Karl, and in Beatrice, Bridget and the others, because the book lets them be flawed, funny and sometimes selfish, not just mouthpieces for a lesson.
The novel looks at racism and antisemitism inside Jake’s own story, then places him in countries where mass killing happens out in the open and on a terrifying scale. It plays with the dream of revolution and tears it apart. Young Westerners arrive full of ideals, then watch soldiers and militias burn those ideals along with villages. The book keeps asking who gets to walk away and who does not. Jake carries private guilt from the rig into places where guilt comes in rivers. Karl drags his Vietnam-era anger into a world where America is almost irrelevant. I felt anger, shame, and sadness while I read, and also a stubborn hope, because the story keeps circling back to friendship, loyalty, and small acts of courage. The novel does not pretend to solve anything. It simply puts you close to the fire and forces you to look.
I would recommend Drinking from the Stream to readers who enjoy historical fiction with grit, to people curious about East Africa in the early seventies, and to anyone who likes character-driven travel stories with real moral stakes. The book asks for patience and a strong stomach. It pays that back with a rich sense of place, big emotions, and a set of memorable characters.
Pages: 377 | ASIN : B0DXLQTN5M
LITERARY TITAN 