Going Do not go. My silent voice is chanting that over and over and over again. All I can think of is: Do not leave. Do not make me say farewell one last time. Do not walk away. Do not go. But she does. She always does. She is already turned away from me at this point. Already looking off into the distance. Her future. Without me in it, of course. If I was in it, in anyway, even the most inconsequential of parts, I would be content. But I am not. I am nothing. She walks away from me without even looking back once. My breath hitches. I stumble back, my clunky feet gliding against the gravely sand. Gliding is not the right word — I tumble back in a controlled manner. I do not fall but I almost wish I had. At least then it would have felt like something happened, instead of this muted parting that did happen. We were lovers, we were mates, we were something, should there

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I’m a bit of a history buff. Egypt was one of my first interests and because of that the series has a variety of Egyptian influences sprinkled throughout it. Religion is a large point where I draw from Egyptian mythology. A few of the Gods in the pantheon of my series are Egyptian in origin. Ra. Osiris. Isis. Anubis. And so on. They function similarly to their Earth counterparts, but with my own take on them, of course. My own spin and madness thrown at them to make them fully my own interpretation. My mind’s eye picture of them is kind of the same as how the Egyptians saw them. The Scion’s of Anubis, Anubis’s guards, basically, look like the typical depictions of Anubis. But that is just for the pantheon of Gods. There are other parts of Egyptian mythology and philosophy that I was inspired from. One of them is the Egyptian parts of being, which are the heart, shadow, name, soul, will, more divine/ethereal soul part, a lesser

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The good days are when I: Can spin a phrase without even trying. Put together dialogue seamlessly. Make only minor mistakes. Plow through a chapter in a sitting. Feel my blood spark with inspiration. Start planning out the future, smiling as I do. Flow through the story and words like I am swimming. Can focus for hours on end. Know exactly where I am going. Create a structure and order that is instantly pleasing. Find the word and phrases to say what I want. Turn my imagination into beautiful prose. Create a product I am proud of. The bad days are when I: Can’t find the words. Butcher a phrase so that it looses all meaning. Lost in what is happening. Have no drive or passion. Can’t look back or forward. Am conflicted on what to do and where to go. Have neither ideas nor solutions. Spend a few minutes rearranging the same sentence, watching it disintegrate. Want to crawl up into a ball and not do anything. Get all

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It is that time of the year again. Time for a SIA book event! This one is called Hash’s Bash 2.0. It is bigger and better than ever; it is packed with delicious deals and has a longer duration. It takes place from July 1 to July 4. Books will be free, on sale, and book combo packs have reduced prices. It’ll be great. There are so many great books going to be on sale and free during the event. Including mine, of course. Which ones? Well, the entire Adventures of the Trinity and the One series so far! (Pretty obvious, but whatever. This is my core stock.) How to Stop Wildfire will be free (as usual). Harmonic Waves and Threads that Bind the Tempest will both be on Countdown deals–99cents throughout the entire event run and a little after. So yeah. Pick up my stuff, if you already haven’t during Hash’s Bash 2.0. And pick up other people’s work too, because it is just as good. They can be found through

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Writing, like most things, has a point known by a variety of terms: writing flow and zone are but two of many words and phrases. They mean the state of mind one enters when fully engaged with an activity. When one becomes one with it. Conscious thought is lost to the act of doing. We become so wrapped up in the process that the bigger picture is lost. It is the essence of engaging. I love this writing flow. It is not what writing is to me, but it is certainly a big part of it. Getting into the groove and not letting up until I hit the end of my thought or section that I fell into completely. It feels substantial and powerful. It has its downsides, though. Sometimes seeing all the trees is a good thing, but sometimes you really need to see the forest. Planning and careful thought is lost to the process of the art. What you have at the end of this stint may not

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I haven’t hashed it out that much, but I’m thinking about taking a break of some sort between book 4 and book 5. I don’t know if it’ll be a few months or just a few days, but I’m planning on working on a side-project, The Lost, intently for a little bit. Whether I’ll finish it in this break or not, I don’t know. I just have a feeling that after book 4 I’m going to need to spend some time just thinking and planning–not completely writing. Why? Because book 4 marks the end of the first four novels, which are thematically linked. They are like their own complete arc. The next four books are their own set, so I want to be in a fresh, thoroughly planned out mindset for them. Also to give the first four some time to settle. When book 4 comes out, I’m planning on making HTSW perma-free and maybe price dropping Harmonic Waves. So I can market that. I’m also thinking about creating a streamlined

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There are times when I hit a snag along the line. The internal version, updated every moment, of the world and the events spirals along and maybe goes against what I’ve put forth as canon so far. What I believe is canon conflicts slightly with what is canon in the print. It is never a hard conflict; just like a phrasing stumble that has put me in a bit of a corner. I get extremely frustrated when this happens. Part of me wants to go back through the already published works and make those tiny spots clearer to what I currently think it should be, but that isn’t a solution–it is a patch up. I don’t work with patches, I work with a continuous narrative. These edges can’t be smoothed out. They need to be worked with to create the entire whole that is the mosaic of my world. Having to work with two ideas, not necessarily mutually exclusive, creates a variety of opportunities for advancement in my own world

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Another lovely character interview, this time from Spellbinder, member of the Trinity and the One and only known robot to be able to use magic. Set after the second book, Harmonic Waves, but before the third, Threads that Bind the Tempest. Interviewer: So! The Trinity and the One has started off great with dealing with that little incident with Sargon. Spellbinder: It has, has it not? That was certainly a feat we pulled off. Although the matter is still being dealt with on the side of the Grim Reaper and Sargon, we have assisted in retaining Empirian honor and face. Something important. The Empire thanks you, Spellbinder, and the rest of the Trinity and the One. The Empire should especially thank Cyclone, he was the primary agent in dealing with Sargon. Yet- He needs no thanks, the glory is all he needs. How is it working with him? He is even more famous now than he was before. It is…interesting. We are growing to understand each other. It is an

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Well, it’s been a crazy ride. It has been one full year since How to Stop Wildfire was originally published. This is the one year anniversary of How to Stop Wildfire. One whole year. Wow. It doesn’t feel that long at all. So much has happened and the time blew by pretty quickly. What exactly happened? Well, I’m going to list off what I can remember. I think it is good to do retrospectives sometimes to see how far we’ve come and all that  jazz. So that’s what’s going to happen. So April 22, 2015, I released How to Stop Wildfire as my first published work. The cover was originally this crap: Please forgive me for it. It is terrible and I knew it at the time but I was so excited to get HTSW out there and to the world that I didn’t pay attention to covers and stuff. I just wanted to show off my book to the world and I did. I spoke about my work. Blogged.

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How did you discover you were a writer? Discover? Do you mean discover like how Columbus ‘discovered’ the new world? Because he really did not. The Americas were always there. There were people that lived in the world that he ‘found;’ they certainly knew it existed. It had always been there for them as long as they had been. No discovery needed. In that same way of knowing, I knew that I was a writer and storyteller. It was a simple knowing. A fact of being that was clear as the color of the sky. I always had stories to tell. Writing is another shape of storytelling, another representation for the same concept. I wrote my first stories in Legos and scrawled drawings, fueled by pure imagination and thought. Then they took the form of fiction tales written for school assignments and personal pleasure, with the same passionate fire as ever. The stories evolved as I evolved. They became more mature, more refined. Words became their home. They settled there

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