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Desire, Love, and Respect
Brighter Than the Sun follows an ambitious performer dreaming of opening a club and a cautious business student learning to trust desire as they build a romance and a community where dignity and passion share the spotlight. What was the inspiration for the setup of your story?
One of the first images that came to me was Blake as a young boy, singing and dancing for his mother and dreaming of being a star. Because he struggled in school with undiagnosed learning disabilities, he grew into a man who reached for the performance venues that felt accessible to him – adult entertainment and exotic dancing.
I wanted to explore what happens when a man who has been celebrated for being sexually desirable starts to wonder whether people can see the artist underneath. Could he be admired for his body and still be taken seriously as a performer?
I drew a lot of inspiration from the TV show Girls5Eva. Like the girl group at the center of that show, Blake’s story is about reinvention. His evolution doesn’t involve rejecting his past as a sex worker – it’s about integrating that experience into his performance style. His burlesque club allows him to showcase all his talents: singing, dancing, costume design, theatricality, humor, and sex appeal. He creates a venue where he can be sexy on his own terms, while finally building the kind of stage he always dreamed of having.
Ethan’s journey involves shame, family expectations, and learning to trust his own desires. What did you want readers to understand about his growth?
I wanted readers to understand that Ethan isn’t prudish or judgmental. His caution around sex comes partly from his father’s belief that Ethan has to be “respectable” to succeed as a gay man, and partly from self-preservation. When he met his friend Zane and tried being more sexually adventurous, he was hurt by a disrespectful hookup. That experience reinforced his father’s message that sexual freedom and self-respect were at odds with each other.
Then Ethan meets Blake, a man who is the opposite of everything his father considers respectable, and discovers that Blake is clever, sensitive, generous, and caring. That forces Ethan to confront the beliefs he’s internalized. He finally realizes he’s been making himself smaller in order to earn his father’s approval.
Ethan’s growth is about rejecting the idea that there is one “correct” way to be gay. He gets to decide what desire, love, and respect look like for him. In the end, he learns that true respect doesn’t come from performing an acceptable version of yourself – it comes from living honestly.
The transformation of The Firehouse into Siren gives the romance a strong community-centered backbone. How did the club storyline evolve as you wrote the book?
When I began writing the novel, The Firehouse was mostly the launchpad for Blake’s dream. It was where he honed his skill as a dancer, and where he got his first taste of performing for a live audience. When the club was threatened by a developer, it gave Blake something concrete to fight for: a beloved space he could transform into Siren, the burlesque club he’d always wanted to open.
As the story developed, though, The Firehouse became a character in its own right. At one time, it had been the beating heart of a vibrant gay community. But as dating apps changed the way men met and socialized, the club fell into disrepair. Although the building is a little worse for wear, it’s alive with a rich history stretching back over a century. Blake’s vision for Siren honors the building’s historic role in the gay community while giving the club a future: a place where men can once again gather to watch a show, have fun, and maybe fall in love.
The men Blake works with also came into clearer focus as the story progressed. Although they began as incidental side characters, they eventually became a quirky found family: a ragtag group of men with big personalities who love Blake and support his dream of opening Siren. Virgil, the salty owner of The Firehouse, surprised me the most. He started as more of a comic relief character, but as my understanding of the club deepened, he became a father figure to the dancers – someone who loves his boys, even when he’s grumbling at them through a cloud of cigarette smoke.
Blake’s dyslexia is woven into his daily life without defining him entirely. How did you approach writing that aspect of his character?
Because he struggled in school, Blake spent most of his life thinking he wasn’t smart enough for the things he wanted. Over time, he became very good at using self- deprecating humor as a shield. He beats people to the punchline so they can laugh with him instead of at him. Playing the himbo hurts less than letting people see how much he struggles.
But he’s also charming, sexy, funny, and resourceful. Ethan sees that right away. Ethan doesn’t try to “fix” Blake. He recognizes Blake’s struggle, and gives him the language to understand something he’s been experiencing his entire life. Blake’s diagnoses of dyslexia and dyscalculia don’t change who he is – they change the story he tells about himself.
I wanted his diagnosis to feel less like an impairment and more like a door opening. Once Blake understands that his brain just works differently from other people, he’s free. He can finally stop making his dreams smaller to fit inside his old, limited idea of himself.
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By day, Blake’s a mild-mannered bartender. By night, he’s porn legend Dirk Slocum, heating up the runway as an exotic dancer at The Firehouse, San Francisco’s hottest club. When a developer threatens to gut the building and erase everything he loves, Blake makes a daring counteroffer: he’ll take over the lease and transform The Firehouse into the burlesque club of his dreams.
There’s only one catch – Blake can sell a fantasy, but he has no idea how to run a business.
Enter Ethan: a brainy business student with boy-next-door charm who has no idea who he just asked out. Ethan likes taking things slow – cuddling on a blanket under the stars slow – the kind of sweet, get-to-know-you romance Blake hasn’t had in a long time.
As they throw themselves into saving The Firehouse, their business partnership deepens into something more. Blake wants to come clean about his past, but the truth might cost him the first man who’s seen him as more than a hot body and a pretty face.
Can he risk losing the love he never thought he’d get to have?
Brighter Than The Sun is a spicy, opposites-attract romance about found family, big dreams, and the kind of love that asks you to step into the light… even when you’re afraid of what it will reveal.
Sometimes, the bravest thing you can do is let yourself be seen.
(Brighter Than The Sun is book 2 in the San Francisco Sex Gods series. Each book follows a different couple and can be read as a standalone story.)
Political and Religious Questions
Vanguardian: Book I follows an exiled mother and her son, who develops supernatural powers that draw the attention of those in power, sparking political upheaval. What was the inspiration for the setup of your story?
Admittedly, the setup, particularly with there being two parts in the 326-page book, might come off as a bit unorthodox for some sci-fi romance readers. That divide comes from what first inspired the story, colliding with my desire to add more to it. The initial spark was the opening scene of a soldier capturing a refugee. At the time, I was big on romance books, especially historical romance, and the scenario was somewhat dark fantasy. I was in my 20s (~2013)—my mind was in the gutter half of the day. I understand that these days, a fantasy like this has to be executed delicately, so over the years before publishing the book, I reworked it and toned it down. And although the opening scene was a dark fantasy scenario, it is also something you’d never want to actually have happen to you, because reality is always different than fantasy. Still, I included reality—such as certain consequences Nasrin, the refugee, could face—in the fantasy to create depth and give me more to play with for the rest of the book.
As for the political elements, I hate romance stories with fake conflicts, so after completing my first chapter, I grew bored of the idea of a narrative focused on just two people. I also knew I wasn’t going to write a play-by-play of a spicy scene, which is a payoff romance readers expect. So, I threw in political and religious questions that I’m interested in. The social elements, like the racism levied on Nasrin, came from things I’ve experienced, observed, or read about. Overall, the politics and religion in the story aid in touching on the bigger picture of the series. Once we step outside of Book One, there will be different systems to compare it to. And the questions readers can ask are: Which system is actually good? Which system is bad? Can there be something in between? Can we escape the bad? Is the bad necessary? Ultimately, why are things the way they are?
While writing Vanguardian, I decided to pull the story, which was supposed to be purely a love story, into my astral warrior series—a series I started taking a hack at around 2010. Lucian is key to tying Book One to the rest of the series. Also, throwing a kid into the mix of a historical romance story is uncommon, particularly a kid who can steal the show/narrative on his own. I found that adding a young child to the plot was a good way to add a different dynamic to the romantic element and branch off into something else; hence, the two parts of the book. The romance served as the setup to legacy.
Finally, music inspired parts of the story:
Vermilion Pt 2 by Slipknot
Inspiration for Nasrin/Fabien – I used the lyrics in this song to get a male perspective of how Fabien might feel about Nasrin during kidnapping and wooing/trapping Nasrin – a man obsessed/possessed kind of scenario. After reading the book, readers find out why his feelings are so strong.
Key Lyrics:
“She is [ . . . ]
The unrequited dream
A song that no one sings
The unattainable
She’s a myth that I have to believe in
All I need to make it real is one more reason
I don’t know what to do
I don’t know what to do
When she makes me sad [ . . . ]
She isn’t real
I can’t make her real.”
Down with the Sickness by Disturbed
Inspiration for Lucian and his urges.
Key Lyrics:
“The world is a scary place now that you’ve woken up the demon in me.”
10,000 Days (Wings Pt. 2) by Tool
Inspiration for my overall astral warrior series, particularly End of One, which has been sitting on my hard drives since 2010. That story requires me to be a more experienced author to sufficiently complete. But elements of the song also directly inspired how I have others view Lucian within Book One.
Key Lyrics:
“You’re the only one who can hold your head up high
Shake your fist at the gates saying
‘I have come home now
Fetch me the Spirit, the Son, and the Father
Tell them their pillar of faith has ascended
It’s time now [ . . . ]
You were the light and the way they’ll only read about [ . . . ]
You’re going home”
Monde feels structured around hierarchy and perception. How do reputation and social control function as forces in the story?
Like any other society. Like America now. Optics and narratives matter. From my self-education on the great houses of the titled class in Europe, I learned a lot about how servants spread gossip about the goings-on in private estates. Hence, practices such as staff turning to face the wall or standing in corners when the masters of an estate and their guests came nearby. They were to be invisible, never to interact unless called on. But, I also learned about countless inappropriate relationships between masters of homes and staff, such as in stories like Pamela, or Virtue Rewarded by Samuel Richardson, even recently in the series Downton Abbey. So, I could not help but play with those old realities. My focus in my stories is on gritty realities. Those things that truly happen behind doors, not just how things appear. I did not choose to start my series with historical fiction to focus on the revered, pretty customs, gestures, and dress. The historical dramas and history that always hold my attention are those stories that go behind the veil, exposing human flaws and struggles. Although a lot of historical romance glamorizes the past, particularly the Victorian, Regency, and Edwardian eras, those periods were as corrupt, if not more corrupt, than now, despite the elaborate outward displays of civility. One only needs to read The Rag Nymph to get one slice of the corrupt pie of the past.
The book gradually reveals its speculative scope. Why choose a slow unveiling instead of immediate explanation, and what themes are you exploring through Lucian’s abilities and origins?
For pacing, I took a lot of inspiration from the TV series The Outer Limits, and how that show lulls people into ignoring odd clues as to something not being quite right, and I also wanted to make the oddity that was Lucian and the lights seem believable for the 18th-century French-adjacent period and location through long-term exposure to those elements. Making the lights a cyclical, almost common occurrence made the sci-fi element feel like it could happen in any time period. In modeling after the staging and pacing in Outer Limits, in which every episode ends with a moral about humanity or something in the universe, I slowed down the story and trickled in sci-fi elements. Also, similar to The Outer Limits, I blew what is odd wide open into what became obvious for the audience. The goal is for the reader to say, “That makes sense,” when they close the book.
Lastly, regarding pace, I probably have read too many pre-20th-century books and have grown accustomed to slower pacing as a reader. Going forward, I plan to pick up the pacing in my writing.
Where does the story go in the next book, and where do you see it going in the future?
This series focuses on individual warriors of different ranks in a vast system of what is essentially part of the universe’s immune system. The concept of the universe having an immune system is indirectly inspired by an Outer Limits episode. So, keeping with that concept, I planned to introduce each warrior in a separate book, then move on to them working together in battle. However, plans often change once you get started on things, so based on reader feedback, the next book will focus on what happens to Lucian after Book One. Then, I plan to publish the 2010 manuscript I referenced above, which is the true Book One of the series, but it will likely be Book Three. Readers might be delighted to know why I spent so much time on Nasrin and Fabien in Book One . . .
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A war refugee and her supernaturally gifted son find shelter in the kingdom of Monde, where a marshal’s protection leads to dangerous political consequences.
The empire of Monde is the envy of its neighbors. Nasrin, a war refugee in hiding, has lived illegally in the kingdom for years with her son, Lucian. Her raven-black hair and prismatic eyes mark her as a foreigner, ensuring she will never escape scrutiny. Lucian is also different, but not in the same way as his mother: his silver-gray eyes can arrest someone with a glance, his memory is infallible, and his body recovers from wounds no one else could survive.
When Fabien de Vistré, Marshal of Monde, captures Nasrin, duty demands he punish her. Instead, he shields her and her child, threatening his standing with the king. The marshal knows his duty: serve His Majesty and enforce the law. Yet his preoccupation with Nasrin drags him into dangerous defiance.
Lucian’s gifts cannot remain hidden. As he grows, he defies his mother’s warnings, drawing the attention of rival kings. When he reaches manhood, his powers shift. Something beyond himself begins to guide his path. And after a long-buried secret surfaces, the empire that once offered refuge may become a battlefield.
Vanguardian: Book I
Vanguardian: Book I by The Clerk is a science fantasy novel with strong romantic, political, and coming-of-age elements. It begins with Nasrin, an exiled mother hiding in the harsh woods of Monde with her young son, Lucian, and gradually opens into a much larger story about power, identity, war, motherhood, and a boy whose life may not belong only to the world that raised him. The book moves from snowbound survival and courtly tension into cosmic questions, and that genre blend is one of its most distinctive features.
I liked the emotional pressure in this story. The early chapters are cold in every sense, with hunger, fear, class difference, and danger pressing in on Nasrin from all sides. I liked that the author does not rush past her vulnerability or her suspicion. She feels like someone who has learned to measure every room for exits. De Vistré is a difficult character to sit with, and I think that is intentional. The book asks the reader to watch people make choices that are not clean, not easy, and sometimes not comfortable. That gave the story weight.
The writing has a dramatic, old-world feel, especially in the way it handles estates, soldiers, rank, gossip, and public reputation. The prose lingers on appearances and formal gestures, but I came to see that as part of the book’s texture. This isn’t a minimalist story. It wants atmosphere. It wants candlelit rooms, frozen gardens, whispered judgment, and the sharp edge of social power. Then, just when I thought I understood the shape of the novel, the science fantasy side widened the frame. Lucian’s arc gives the book its spark. His anger, confusion, gifts, and longing to understand himself make the larger mythology feel personal instead of abstract.
I would recommend Vanguardian: Book I to readers who enjoy genre-blending stories, especially science fantasy with romance, political tension, family drama, and a slow build toward a bigger cosmic mythology. It will probably work best for readers who like emotionally intense character dynamics and don’t mind a story that takes its time setting the table before revealing how large the feast really is. It’s reflective, dramatic, and ambitious. Not light reading, exactly, but memorable.
Pages: 337 | ASIN : B0FHC824SN
Wings Against The Wind
JoDee Neathery’s Wings Against the Wind begins as a Paris-set tale of illicit love and suspicious death: Gretchen Cassidy, a young American in France, loses her older married lover, Andrew Dupont, just as their affair seems poised to alter both their lives; from there the novel veers outward into grief, exile, reinvention, motherhood, custody battles, illness, and second chances, carrying Gretchen from the charged glamour of rare books and police interviews into a much broader saga about survival and chosen family.
I was pulled in less by the initial mystery than by the book’s willingness to keep changing altitude. What starts with a dead man at the foot of a staircase and a wife who seems almost too composed gradually opens into something warmer and more sprawling: a story about being battered by circumstance without surrendering one’s tenderness. Gretchen, especially, is written as someone both naïve and stubborn in a way that feels emotionally legible; she’s not polished into a saint, which helped me stay with her. I also liked the novel’s unabashed affection for books, places, songs, and gestures of care. Neathery does not write in a minimalist register; she likes ornament, atmosphere, and emotional declaration, and when that sensibility works, it gives the novel a kind of full-bodied earnestness that feels almost old-fashioned in the best sense.
This story takes risks by piling on turns that another novelist might shave away: Heidelberg, homelessness, triplets, adoption, a custody fight, a new romance, a child’s medical crisis, even an act of startling generosity late in the book. Sometimes the novel can be melodramatic, but I was still genuinely moved. The book has a real pulse for consolation, and it kept persuading me with its sincerity. By the end, I was reading to see whether these bruised people might finally be granted a harbor. On that score, the novel absolutely knows what it is doing.
I’d recommend Wings Against the Wind to readers of women’s fiction, family drama, romantic suspense, contemporary romance, and emotionally driven literary fiction who like sweeping, eventful novels with ache, uplift, and a strong belief in redemption. Readers who enjoy authors like Nicholas Sparks will recognize the blend of heartache, fate, and healing here, though Neathery’s book is baggier and more baroque in its plotting. It’s a story that keeps reaching for grace even when life has already slammed the door.
Pages: 326 | ASIN : B0GR89T9PL
Crossfire
Crossfire follows Moirin Garrett, a high-powered executive juggling corporate pressure, family expectations, and the uneasy beginnings of an environmental partnership that forces her into the political, personal, and ethical “crossfire” she’s spent a career avoiding. From the first chapters, the story grounds us in her world of boardrooms, complicated family brunches, and the shimmering social circles where everyone wants something from her. As the plot widens, the book becomes a layered look at ambition, reinvention, and the messy overlaps between public responsibility and private longing.
Reading this in first person, I found myself rooting for Moirin even when she frustrated me. She’s sharp, driven, polished on the outside, and quietly unraveling beneath the surface. The writing makes room for that contradiction. The scenes move with a steady rhythm, sometimes clipped and tense, sometimes opening up into softer, more reflective moments that show how lonely success can feel. I liked how Herman lets small details do the emotional lifting: the staleness of office coffee, the weight of a family legacy, the flicker of discomfort when Moirin realizes she’s being sized up not just as an executive but as a woman in a room full of men with agendas.
What stood out most was the author’s choice to frame the story’s tension around both career stakes and personal awakening. The environmental study storyline sets up a believable moral tangle, especially as shady players circle around Moirin’s work. At the same time, the book gives her space to question what she actually wants beyond the next professional milestone. Moments with her friends feel warm and real, and her slow steps toward vulnerability make the corporate drama feel more human, not just high-stakes business maneuvering. The writing stays simple, grounded, and clear, letting the emotional beats land without theatrics.
The book feels like a story about a woman stepping out of a life she mastered and into one she’s still learning how to want. It’s women’s fiction with corporate intrigue woven in, built for readers who enjoy character-driven arcs, workplace complexity, and the slow burn of personal transformation. If you like stories about strong women navigating reinvention in midlife, or if you enjoy fiction set at the intersection of power, family, and identity, Crossfire will hit the mark.
Pages: 365 | ASIN : B0FTDX5MML
Fulfilling Relationships
Moving Maggie follows a sixty-year-old woman going through a divorce, losing her job, and having to move all at once, who tries to build a new life in a new town and rediscover herself. What was the inspiration for the setup of your story?
I’ve been doing a lot of book signings since Reinventing Rita, my first Midlife Moxie novel, came out in 2023, and I have had the most fascinating conversations with women 50 and older. They tell me about their lives—the good parts and the bad—and the challenges they have had to overcome. So I’m sure that some of the characters in Moving Maggie came out of those interactions.
As for the inciting event, well, while I have never had to move from my home, I have had relationships end unexpectedly and career choices that didn’t quite go the way I anticipated. That meant I had to discard the idea I had formed of what the next 10 or 20 years were going to look like and come up with a new vision and goal.
Being a planner and a bit of a control freak like Maggie, those early stages of transition and reinvention weren’t very much fun! But looking back, I see that it all turned out for the best and gave me an opportunity to develop new skills and strengths—just like Maggie.
Maggie is a fascinating character with a lot of depth. What scene was the most interesting to write for that character?
I think it was Chapter 26, when Maggie and the teenage girl, Janna, have a verbal altercation. Until that point, the two of them had a good relationship, which, given Maggie’s childless state, was unusual for her. But when Janna expressed her frustration after the hospital refused to consider her as a kidney donor for her brother, Maggie responded in “hospital administrator speak.” That generated an angry retort from the young girl that surprised and dismayed Maggie, who had prided herself on knowing how to handle problems in the work environment.
Maggie’s sense of guilt that she had failed to give the right response made her think of other times in her past when she didn’t recognize what the other person needed from her but was instead “all business.” It’s one of the times in the story when she begins to understand that she had to develop a sense of empathy if she wanted to have fulfilling relationships with other people.
What were some themes that were important for you to explore in this book?
Always central to the Midlife Moxie novel series is the idea that we are stronger than we think and that we can handle the changes that come unexpectedly—regardless of our age or perhaps, because of our age, and the wisdom and experience we have gained through the years. And also, that reinvention is not something to be avoided or rejected but is instead a positive activity that can open new doors.
A theme specific to this book is the willingness to be vulnerable and take risks, personally and professionally. As Maggie gradually opened her heart to those around her, she saw that her self-protectiveness had isolated her in the past and resulted in a lonely existence. By allowing herself to care about those she met, even at the risk of being hurt or rejected, she realized her life was becoming much more fulfilling.
And when she found herself taking on responsibilities at her new job (that itself came with no small learning curve), she recognized that making mistakes is part of the process and there is no shame in doing something wrong the first time, if subsequently she did it right.
A second theme is the importance of learning from past missteps and bad choices. Maggie was very driven when it came to her life, and her primary commitment was to her career and professional future. While initially it worked out to her benefit, her tendency to ignore warning signs that developed over time, both at work and at home, ultimately resulted in the end of her marriage and the loss of her job. Now she not only had to create a new future but also make time in her life for other people and experiences without repeating those same errors in judgment and negative tendencies.
I hope the series continues in other books. If so, where will the story take readers?
Because each novel in the Midlife Moxie novel series is a standalone, I will have to leave it to the reader’s imagination to envision what happens next to Maggie and the rest of the Eden community!
However, Maggie’s boss, Sheila Jones, also appears in With Any Luck—one of the stories that’s part of my short story collection, The Language of Love, which was also released in 2025. Sheila handled the sale of a home in Eden to Amy, a newcomer to the town, and, in true Sheila fashion, provides more than just a real estate service.
I hadn’t originally planned for that to happen, but as I was writing that short story, I needed to have someone who would arrange the house sale. I liked the character of Sheila from Moving Maggie so much that I couldn’t help making her part of it!
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The year Maggie Cartwright turned 60, she is hit with a triple whammy of unpleasant and definitely unwanted events: the loss of her job, the ending of her marriage, and the need to find a new place to live. The impact of all these undesirable occurrences is that the woman once known as “Move-Ahead Maggie” has lost her moxie and can’t figure out where she can go or what she can do with the rest of her life.
Maggie’s move to a small rural community sparks a series of unexpected opportunities and new friendships, and she realizes that making a life change can bring unexpected benefits. But as she begins to reclaim her “Move-Ahead Maggie” identity, can she let go of her career-driven focus to take advantage of them?
MOVING MAGGIE is a double winner in the 2025 Firebird Book Awards Competition: Summer Beach Read and Women’s Fiction categories!
This Time
This Time is a story that weaves together love, loss, and redemption in the small town of Tartan Springs, West Virginia. At its heart, it follows Ty Harrell, a Marine pilot, and Siena “Seeney” Tyson, a woman rebuilding her life after a messy divorce and betrayal. The story opens with their ten-year high school reunion, where old sparks rekindle and dormant feelings stir. Around them, the novel paints a vivid picture of small-town America, filled with complex relationships, community politics, and quiet battles for dignity and forgiveness. Beneath the romance lies a thread of corruption, environmental tension, and moral choice, giving the book more depth than a typical love story.
Coe’s writing is full of detail, almost cinematic, and that made it easy to slip into the world he built. I could smell the rain in the hills, hear the small-town chatter, and feel the awkward warmth between Ty and Siena as they stumbled through old emotions. Sometimes the dialogue felt a little too polished, but the emotional truth beneath it rang clear. I liked that the characters were flawed, real people who made mistakes and carried scars. Siena, especially, stood out, resilient, sharp, and unwilling to let the past define her. Ty’s decency and quiet loyalty balanced her strength perfectly.
What really got to me, though, was how the story handled forgiveness. It wasn’t wrapped in a neat bow. The pain from betrayal lingered, and love didn’t erase it. Coe didn’t shy away from showing the ugliness of pride, or the way people cling to control when their lives are falling apart. Yet, somehow, through the grit and sorrow, the book stayed hopeful. The scenes about military service, small-town politics, and even environmental issues added layers that gave it substance without slowing the pace too much.
I’d recommend This Time to readers who enjoy heartfelt fiction with real emotional weight. It’s perfect for anyone who loves stories about second chances, especially those set against the backdrop of small-town life where everyone knows your secrets. It’s not just a romance, it’s about rebuilding, forgiving, and learning when to fight and when to let go. This book pulled me in, and when I turned the last page, I just sat there for a minute, thinking about how some things are worth risking again.
Pages: 348 | ASIN : B0FST7LVL2
Ultimate Sin
Ultimum Judicium: The Last Judgment follows a prophet living in a civilization that has fallen who has been chosen by God to lead the survivors on an odyssey to a place of redemption while battling his own inner demons. What was the inspiration for the setup of your story?
The current state of the world is the basis for what prompted me to explore a future doomsday scenario in my novel—a warning, maybe? There is more anger and disagreement than I’ve ever before seen or read, leading to fighting and rioting that could ultimately lead to the end of civilization—or so it did in my book.
Ultimum Judicium is a novel exploring the classic concept of good versus evil. Growing up as a Roman Catholic, and that being the largest formal religion in the world, I adopted that Christian perspective for this book. The basis for most end-of-world stories seems to be rooted in themes of good vs evil, focusing on exorcism and demonic possession governed by Catholicism. The priest I created was ordained by God, the good, and is tempted by Satan, the evil. Here, I gave him a weakness in his attraction and passion for women—an ultimate sin for a priest. The story follows the Christian Bible’s Revelation. It is the journey to Armageddon—the last battle between good and evil.
I find the world you created in this novel is haunting and full of possibilities, with both light and dark elements. Where did the inspiration for the setting come from, and how did it change as you were writing?
The future I invented occurred 200 years after all governments of the world had fallen. A reader must try to envision exactly what a world would be like after so many years without laws or any civilization whatsoever. It would likely be a horror show. We can realize this with certainty after reading about the hairline fractures of civilization called wars that history has documented so clearly. In all wars, we saw the extreme brutality of humanity.
Once I committed to embracing that reality—one of extreme brutality—I found I had created a very different place. So, I contrasted the wickedness of such viciousness with love and kindness. Hence, I gave birth to three loving romances to counteract the savagery. Also, most of the characters within the stronghold, including the Manhig, or Leader, are good and caring people, except for the few bad ones.
What were some themes that were important for you to explore in this book?
My book, Ultimum Judicium: The Last Judgment, explored good vs evil in a broken world. However, it also shows the resilience of men and women in such times. As with war, it shows humanity’s ability to overcome and survive. And ultimately, love will defeat hatred.
Where do you see your characters after the book ends?
At the end of this book, the characters judged as good went to a place some theologians refer to as the Millennial Kingdom of Saints from the book of Revelation. The evil went to be with Satan, locked in the pits of Hell for the same millennium period.
At the last minute, before this book went to publication, I removed the Aftermath written for the book. It thoroughly explained the actual places each character went and what they planned to give closure to the story.
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Since the dawn of humanity, people had always survived. Cultures fell, but new ones continually emerged and thrived. Humans fought wars, but they kept rebuilding after the destruction. That pattern changed in the future—everything did.
There were predictions and warnings—both spoken and written—but no one paid attention to them. As the ominous signs grew, still, no one obeyed. The unrighteous one kept everyone from seeing what was coming, even though it was obvious; he cast veils over their eyes. Not long after the final recorded year of 2040 AD, humanity faced a worldwide economic disaster of catastrophic proportions following years of street riots. Over time, human moral transgressions led to the collapse of societies worldwide. Countries turned against each other as the world became a wicked and ungodly place. More than two centuries after the last civilization fell, people lost the ability to speak—their capacity to verbalize had ended years earlier. Our future became our past—one marked by brutality and barbarism.
Guided by angels, a prophet chosen by God leads His remaining followers on an odyssey to a place of redemption. Anointed as Manhig, or Leader, he and his armies of male and female warriors are the only hope of preserving some form of civilization, where everyone must obey the laws or be forever banished into the now-wild wastelands of the countryside, overrun with destructive intruders.
Attracted to a feisty woman he cannot have and tempted by the young and beautiful, captivating yet sharp-witted and brilliant General Helen, the manhig wrestles with his inner demons—his inability to resist the lures of Satan regarding women. If he succumbs, the way of life he spent years cultivating will unfold—all will be lost.
The manhig leads his warriors and people from one temporary stronghold to another for defense in an otherwise shattered world—a place now dominated by hordes of unhuman beings: evil cannibalistic beasts, demons, and other mutations—created centuries earlier by the science of that long-ago era. Now living in a surreal culture, while following strange laws, customs, rituals, and practices, and speaking a vernacular of the future, the manhig commands his warriors while battling these creatures alongside many evil humans: thieves, wicked gangs, slave traders, and other nefarious characters who roam the wilderness as the followers journey toward a confrontation between good and evil—the last battle before God’s judgment.
The strongholds—an attempt by the manhig to provide some form of civilization to battle-weary warriors—taverns and bars for his followers to eat, drink, and socialize. They are also a haven of temptation from the evil one. Adultery—forbidden by law by the leader—manifests within those walls of protection as the end draws near.
