Mostly I write speculative fiction, including fantasy, science fiction, metaphysical, supernatural, dreampunk, and other wonderfully weird categories.
I love putting my own spin on established genres as well as mashing several together to come up with something new. Having said that, sword-and-sorcery fantasy will always hold a special place in my heart. It’s where I started, and I love to make return visits when I can.
I prefer writing longform fiction, such as novels and series, to short stories (though I have a few of those too).
Beyond fiction, I write creative nonfiction (such as my blog) and have experience in journalism, public relations, and marketing copywriting.
The stories come whether I want them to or not. If I neglect the craft, it takes a toll on my mood. Inversely, few things compare to the joy I experience when sharing my stories.
In short, I write because I can’t not write—and because I’m not good enough at drawing. (More on that below.)
I was a storyteller before I was a writer. When I was a kid, I’d sketch characters and draw “action pictures” to create a narrative or act out storylines using action figures or LEGO minifigures. I tried my hand at writing early in life but quickly grew frustrated with my limitations.
In high school, however, I realized writing was the most efficacious way for me to preserve my many intertwining plots. Those early efforts were terrible but necessary.
During my freshman year of college, I took my first serious stab at a novel. That book eventually became Rebels and Fools.
My only limit as a writer is imagination. Words allow me to harness my creativity without worrying about the cost of materials, hard-to-acquire equipment, and so forth, which other artistic types have to deal with.
If I can think it, I can write it.
I also like how writing lends itself to so many different avenues. You need writing not only for books, but also graphic novels, video games, tabletop games, teleplays, and movie scripts.
So, yeah, the possibility and the variety.
Before a book is published, the characters and their world exist solely in my mind. Once other readers get their hands on the stories, I’m able to have conversation about these imaginary people and places. It makes everything real in a way I can’t explain—real and rewarding.
Writing novels is incredibly time consuming. If I were better at short fiction—and if the market were more lucrative—I’d be able to transform more of my ideas into fully-realized stories. But novels can take years to complete. And when I’m working on a series, I’m fully immersed in that world for several years.
The impatient part of me wishes I could unleash my creativity upon the world in a timelier manner. Then again, there’s something to be said for quality over quantity.
Some of my best writing can be found in The Soul Sleep Cycle not only in terms of the craft, but also the story itself. I’m incredibly proud of how that series turned out.
One of the most fun things I’ve ever penned, however, is a certain children’s chapter book my wife and I self-published many years ago.
Sure, I’ve written myself into a corner once or twice, and there are days when the words flow faster than others. But I tend to suffer from the opposite condition: more ideas than time to explore them.
First and foremost, I want to continue to publish my novels, whether through a traditional publishing house or through One Million Words. I have a lot of ideas, so here’s to hoping I find readers who appreciate my stories and will support my dream.
In addition to novels, I’d love to write for a video game and/or a graphic novel.
Some of my favorite fantasy authors are Margaret Weis and Tracy Hickman, not only because of their contributions to the Dragonlance saga, but also for the Death Gate Cycle; R.A. Salvatore, primarily for his DemonWars series; Neil Gaiman; George R.R. Martin; and, of course, J.R.R. Tolkien, the grandfather of the fantasy genre.
Beyond fantasy, I’m a big fan of William Faulkner, and one of my favorite novels of all time is Alexandre Dumas’ The Count of Monte Cristo. A longtime connoisseur of comic books, I can’t get enough of Brian K. Vaughan’s Saga and Paper Girls.
Oh, I have lots of advice—mostly lessons I’ve learned along the way. I include writing tips on my in my blog.
What I will say is I’m glad print-on-demand publishing was not available when I was in my early twenties. Self-publishing almost makes it too easy to put one’s work out there, and I’ve seen plenty of examples of dabblers and amateurs publishing before they are ready.
I fear I would have been among them; if I had published The Renegade Chronicles before 2016, they would have been an inferior product. My advice to young writers is to wait until you’re prepared to treat your fiction as a business before considering self-publishing.
After having several close calls with traditional publishing, I decided to take fate into my own hands by publishing my novels myself. I created One Million Words LLC because I thought it was important to treat my craft like a business as well as for the legal protection it provides.
A good friend of mine once told me everything an author writes before one million words is just “finger exercises.” It’s a derivative of a familiar adage that proclaims a writer must put in a ton of practice before he or she will be any good. After he told me that, I did a word count and was pleased to report back that I had, in fact, already written one million words of fiction.
There are also roughly one million words in the English language, and I thought “One Million Words” had a nice ring to it. I had been using that phrase for my blog and social media accounts for years, so when it came time to create my own imprint, I couldn’t think of a more appropriate name.
Currently, no. I became a publisher as a means to an end: getting my fiction into the hands of readers. I have assisted other authors with self-publishing, but to date only the works of David Michael Williams are published under the One Million Words imprint.
There are two big reasons why I do not publish other authors’ works:
- More publishing means less time for writing, which is my chief passion.
- Expanding One Million Words would open the door to additional liability.
Which is not to say the business won’t, one day, evolve and expand its catalog. For now, however, I’m content with keeping OMW all to myself.
I love the control I have as the publisher of my own books—from having the last word on the cover art and marketing blurb to releasing a story exactly the way I want it. Plus I am extremely satisfied with my products.
If another publisher were interested in buying the rights to my books, I would certainly be open to a conversation. Extending my distribution channels and flexing additional marketing muscles are two motivators for exploring that path. As with everything, the devil is in the details.
(If you want to discuss publishing my books under your label or adapting them for a different medium, contact me.)
The Renegade Chronicles
On the surface, The Renegade Chronicles are about a civil war in the magical, medieval world of Altaerra. The most powerful peace treaty in history is on the verge of collapse, and a certain band of rebels has made it their mission to learn who is really pulling the Alliance of Nations’ strings—and why.
The series is firmly entrenched in the sword-and-sorcery fantasy genre, though there are elements of mystery, suspense, and even comedy. While the world of Altaerra is populated with mythical creatures like elves and ogres, the series focuses primarily on humans caught up in political intrigue and matters of life and death.
In a nutshell, The Renegade Chronicles is about war, unexpected alliances, magical swords, unholy crusaders, redemption, and hope.
The series features a wide array of characters, including thieves, knights, pirates, wizards, and assassins. Everyone has his or her own agenda, and most people believe they fight for “the side of right.” But a major theme woven throughout the series is that the truth tends to fall somewhere between black and white.
The main characters are the Renegades, a ragtag band of rebels brought together by a twist of fate. They are Klye, a former thief and self-proclaimed leader; Ragellan, a disgraced Knight of Superius, and his protégé Horcalus; Othello, a taciturn forester; Plake, a former rancher who thinks with his fists; Scout, an explorer who knows the island better than most; the pirate king Pistol and his loyal first mate, Crooker; Arthur, a young runaway; and Lilac, a mysterious woman with an enchanted blade.
That’s like asking me who my favorite child is!
I suppose I have many favorites. Klye Tristan, the Renegade Leader, is probably the easiest for me to write; I’ve known him the longest. Characters like Scout and Noel are gems because they provide comedic relief. I have a lot of respect for Horcalus and Stannel Bismarc, both men of principle. And as obnoxious as Plake can be, he’s undeniably a catalyst when it comes to the plot. Zusha is a lot of fun, too, because of her unique perspective.
The story takes place in the fantasy world of Altaerra, which is home to many different peoples, including humans, dwarves, elves, ogres and a few other traditional fantasy races. And there are a few species that are unique to Altaerra alone, such as the dreaded midge.
Readers of The Renegade Chronicles will traverse the breadth of the island of Capricon, which is populated primarily by humans and defended by the Knights of Superius. The island is home to temples, castles, foreboding mountains, abandoned settlements, and no shortage of secrets.
Fans of fantasy fiction who like fast-paced, action-packed plots, a robust cast of characters, and plenty of plot twists will appreciate The Renegade Chronicles. The focus is on the individual adventurers, most of them humans, and while the series borrows from established fantasy tropes, folks who have never read fantasy books before should be able to grasp and enjoy these stories.
The Renegade Chronicles would be a good steppingstone for teens who grew up on Harry Potter and are looking for a series that features more mature characters. They’re ready for something with a little more grit—but not something as brutal as George R.R. Martin’s Game of Thrones. Having said that, I also believe adults of all ages can appreciate these adventures.
I’ll be the first to admit the series is something of a throwback to the sword-and-sorcery stories I grew up with. It’s not as arch and grueling as Tolkien, and it’s certainly more lighthearted than the gritty urban fantasy that has gained popularity in recent years.
I published The Renegade Chronicles for people, like me, who want a healthy balance of high-stakes danger and good, old-fashioned fun.
If this were a movie, I’d say a hard PG or a soft PG-13. There is mild language and a few sexual innuendos. There’s also violence, and characters do die occasionally. But blood and gore are not the focus.
The first book, Rebels and Fools, took the longest. I wrote the first draft while attending college and rewrote the entire manuscript my senior year. Heroes and Liars and Martyrs and Monsters took a year apiece to write (two drafts each).
When I came back to the manuscripts in late 2015, I dedicated a month to each one, refining them and making substantial edits.
Don’t get me started on how difficult it is to come up with compelling novel titles!
All three titles hint at the duality of the characters. For example, Rebels and Fools—does that mean the enemies of the rebels are the fools, or are the rebels themselves fools? The same goes for the other two books. The ambiguity is intentional and, in fact, integral.
That’s an arcane secret…kind of like why every potion requires “eye of newt.” In all seriousness, I don’t think I set out to write three books specifically. I always knew where Volume 1 would end, and after I finished Volume 2, I realized it would take only one more installment to complete the main story arc.
But it’s altogether possible additional volumes could be published somewhere down the road. The Renegades have more adventures ahead of them.
We live in an age of instant gratification. I know I hate waiting for a writer to finish the next installment in a series. Since I already had written all three novels, it didn’t make sense to stagger the releases of Volumes 2 and 3. If someone enjoyed Rebels and Fools, I didn’t want anything getting in the way of their buying Heroes and Liars and Martyrs and Monsters immediately.
It’s a similar philosophy to Netflix series in which an entire season is released all at once. People like to “binge watch,” so why not “binge read”?
I wrote three complete manuscripts before searching for an agent to represent the series or a publisher to buy it. And, frankly, no one was interested. To be fair, the first book was bloated—175,000 words is too long for an unknown author’s first book—and all three books needed copious edits. The decade in between finishing the third book and revisiting the series provided me with the skills and the objectivity to go back and fix the manuscripts.
The bottom line is I had faith in the stories and the writing, and I wanted others to be able to enjoy them. Creating my own independent publishing company, One Million Words, was a means to that end.
I’ve been a fan of fantasy since before I even knew what fantasy was. Books, movies, television, video games—I always gravitated toward medieval settings and magical adventures. I wholeheartedly fell in love with the Dragonlance books when I was in high school, and I was a big fan of the Final Fantasy video game series before that. I wanted to create a rich world of my own, a mystical playground for the characters that popped into my head.
When you are preparing to publish three novels in two formats (print and digital), there are a lot of moving parts. On top of that, I held myself to a very aggressive timeline. When things are running that tight, even a minor setback can impact a lot of other tasks.
To tell the truth, I think my greatest challenge still lies ahead: marketing the series and reaching new customers.
I’d love to write more stories about Klye Tristan and the gang. I have plenty of additional plots already mapped out, so jumping back into Altaerra wouldn’t be difficult. I’ve written a complete draft of a novel starring a young wizardess who will eventually cross paths with the characters from The Renegade Chronicles. It’s called Magic’s Daughter.
By and large, sales of the first three volumes will determine whether I can afford to return to this world.
The Soul Sleep Cycle
If Souls Can Sleep
The back-cover blurb sums it up nicely:
First he lost his daughter. His mind may be next.
After years of being haunted by the day his little girl drowned, Vincent faces a new nightmare—one that reaches into the real world and beyond the grave.
If Souls Can Sleep introduces a hidden world where gifted individuals possess the power to invade the dreams of others. Two rival factions have transformed the dreamscape into a war zone where all reality is relative and even the dead can’t rest in peace.
The story centers on Vincent Cruz, a man who lost his daughter and never recovered from the tragedy. He’s stuck, haunted by a dream that replays the dreadful memory over and over. Then the dream suddenly stops, and he’s faced with a new nightmare that starts to bleed into the real world.
It’s largely Vincent’s story, but he’s not in it alone. Jerry, Vincent’s stoner roommate, and Leah, a sleep doctor with issues of her own, get pulled into the insanity.
There’s also Milton, a partial amnesiac who is on the run and doing his best to stave off sleep forever.
I don’t think I could ever pick a favorite, but I do love writing characters that allow me to express humor. Jerry provides comic relief, but honestly, DJ—a possibly crazy bus rider—takes the cake for fun dialogue. He has some of the best lines in the whole book.
Most of the story is set in Milwaukee, Wisconsin. In fact, Vincent’s and Jerry’s apartment mirrors the one I lived in while attending college there. After writing The Renegade Chronicles, which take place in an alien world of my own devising (Altaerra), it was fun to draw from real-world locations and experiences. The bulk of the book is set in the year 2007.
If Souls Can Sleep also includes glimpses at other worlds that may or may not be real.
I don’t start out by picking a specific demographic to cater to throughout the writing process. Instead, I write the best version of the story clinging tenaciously to my gray matter and hope there are people out there who will also appreciate it.
With If Souls Can Sleep, I set out to write something very different from the sword-and-sorcery fantasy stories I had been reading and writing up until then. I wanted to create a book I had never read before—something very unusual and unique.
To be blunt, this book was an experiment, not so much nudging me out of my comfort zone as submerging me into a completely unfamiliar environment. As a result, the book is a mashup of several different genres, including science fiction, fantasy, suspense, metafiction, and dreampunk.
Categorizing If Souls Can Sleep can be tricky, but I consider its genre-bending nature a strength because the story has something for readers of many different backgrounds. It’s complex yet accessible, peculiar yet relatable.
While fans of speculative fiction—including fantasy and science fiction—are perhaps the obvious audience, I’m pleasantly surprised to find, among my pre-readers, that the book appeals to people outside those genres too.
Bringing it back around to my initial goal: if you want to read a book that’s unlike any you’ve read before, give If Souls Can Sleep a try.
I’m not the first person to entertain the notion of oneironauts (individuals who can psychically visit the dreams of others), but my take on “dream drifters” paints an original portrait of the relationship between life and death and the dreamscape. I’ve cobbled together a number of theories, philosophies, and religious beliefs to put my own personal spin on the collective unconscious.
Things also get very “meta” in If Souls Can Sleep, as I explore what qualifies something real—including the people who populate books.
If it were a movie, it would likely earn a PG-13 rating. There’s swearing, some violence, drug and alcohol use, sexual content, and other mature topics. I expect the story will resonate with readers age 17 and older. That’s the suggested audience.
I started writing If Souls Can Sleep on Dec. 31, 2006, and it took two and a half years to compose a complete first draft. I then edited it, jumped into writing the sequel, and worked on a handful of other projects. By the time the book hits shelves, it will be more than 11 years in the making.
The title comes from a quote found within the book: “If souls can sleep, then why not dream?”
I flirted with other title options but realized, as time went on, that the opening line—“If souls can sleep”—could function as an apt foundation for the series as a whole. I also liked the idea of using a clause that leaves the reader hanging, an inherent sense of suspense.
The titles of the next two books in series follow a similar formula: If Sin Dwells Deep and If Dreams Can Die.
Yes. Sort of. Maybe?
I have written three books for The Soul Sleep Cycle to date. It wasn’t my intention to write a trilogy. In fact, I once (naïvely) believed I could tell the entire story in a single volume. Halfway through If Souls Can Sleep, I realized I needed to streamline my subplots. A second book became necessary to tell the whole story, and even before I started writing If Sin Dwells Deep, I realized I would need a third book to reach a satisfying conclusion.
Quite possibly, three books are enough. Yet I always leave a few doors open for future storylines, just in case…
I certainly could have, and I’m sure there are those who would rather not have to wait to see what happens next. But publishing three books at once presents many challenges. I learned a lot from publishing The Renegade Chronicles en masse, and I didn’t want to end up cutting corners just so I could get this new series out there all at once.
From a marketing standpoint, it’s also difficult to sustain public interest when all three books are available on Day 1. As a compromise, however, readers won’t have to wait too long in between installments.
As with many of my story ideas, the inspiration came as a random thought—this one at a roller-skating rink in the late ’90s. I was thinking about the strangers in our dreams and wondering where they came from. Do they wear the faces of people we glimpsed in passing over the years? Or are they composites our subconscious cooks up to fill out the cast of any given dream?
What if they are real people—other dreamers?
The rough outline of a short story popped into my head, but it never made it to paper. Almost a decade later, the idea resurfaced, allowing me to play with a handful of abstract concepts, including identity and the definition of “real.”
For Vincent, I thought, “What is the worst thing that can happen to a guy?” Because I was a new father with a young daughter at the time, the answer came easily: losing a child.
How does a parent cope with that? What if he can’t?
If Sin Dwells Deep
Here’s the back-cover teaser:
Even good girls have secrets.
When straight-laced Allison sleeps, the rebellious goddess Syn wakes. Having a fling in the dreamscape may seem like harmless fun, but when a sadistic predator learns her true identity, the fantasy begins to bleed into real life.
If Sin Dwells Deep—a parallel novel to If Souls Can Sleep—exposes the hidden world of dream drifters and explores the war between gifted government agents and those who would use their abilities to corrupt life, death, and that which lies beyond.
The story centers on Allison, specifically her struggles while navigating multiple realities and the morality of managing conflicting identities. The reader also gets glimpses into the mind of the Wolf, a disturbed dream drifter who is determined to punish Allison for her alleged sins.
Intertwined with the main plot are chapters that feature psychiatrist-turned-fugitive William Marlowe, who was presented as an antagonist in Book One and whose scenes help uncover the true threat to the dreamscape in Book Two.
In If Sin Dwells Deep, I really enjoyed creating point-of-view characters who were all very different from me. Allison is a conservative young woman; the Wolf is a sexual predator; and William is a gay man of Japanese descent. All three have unique voices and presented their own challenges to me as the author.
While I don’t think I can pick a favorite, I always appreciate the characters who give me an opportunity to express humor. The relationship dynamics of Allison and her love interest, Eben, were a lot of fun to write, though William—a scoundrel on the verge of a mental break—gave me some of my favorite lines in this book.
The real-world scenes are split between Seattle and Philadelphia, but most of the action takes place in the dreamscape, the collective unconscious where dream drifters can access the minds of unsuspecting sleepers.
There are also a few flashbacks, both inside and outside of the dreamscape, that drop clues as to how the actions of William—and other members of the defunct Lucid Dreaming Society—resulted in the current conflict.
With If Souls Can Sleep, the first book in the series, I set out to write something very different from the sword-and-sorcery fantasy stories I had been writing previously. I wanted to tell a story I had never heard before, something unique and unusual.
As a result, Book One and Book Two of The Soul Sleep Cycle are both mashups of several genres, such as science fiction, fantasy, paranormal, suspense, metafiction, and dreampunk.
Fans of speculative fiction—including fantasy and science fiction—are the obvious audience, but the series also appeals to people who read outside those genres. It’s a wonderfully weird story, so anyone who likes rich characters and unpredictable plots can enjoy If Sin Dwells Deep.
If Sin Dwells Deep earns an R rating. The Wolf is one twisted soul, which brings mature aspects into the story. There’s profanity, violence, and sexual content. The suggested audience is age 18 and older.
I wrote the first draft of If Sin Dwells Deep in about eight months in 2011 and 2012. It wasn’t until 2014 that I wrote a second draft. Then I wrapped up the final edits and proofing in early 2018.
On paper, it looks like it took six years, but when you ignore the time I spent working on other projects, I’d estimate just under a year from writing the prologue of the first draft to finishing the final version.
I really liked the title of If Souls Can Sleep, which came from a quote within the book. Using an “if clause” leaves the reader hanging and injects some suspense.
The working title of Book Two was “Almost a Fantasy,” but it lacked vim. So I tried to come up with something better, something that tied into the first title.
If Sin Dwells Deep was perfect in that it touches on two themes in the novel—whether one’s actions in a dream could be considered actual sins and the idea of “going deeper” while dream drifting.
If Sin Dwells Deep is not a direct sequel to If Souls Can Sleep.
With Book One, I realized early on that I was trying to write three books at once. I had to cut two significant storylines in order to streamline it. In the end, Book One became Vincent’s—and to a lesser extent, Milton’s—story.
Yet I knew I wanted to reveal more about the gods and goddesses of Project Valhalla. Ultimately, I decided If Sin Dwells Deep would be a parallel novel to If Souls Can Sleep. This allowed me to tell another side of the story—the stuff that couldn’t fit into the first book—while giving readers an alternate entry point into the series.
No. If Sin Dwells Deep isn’t just a retread of the first plot. While the new book will fill in some blanks, shedding light on Project Valhalla’s actions during If Souls Can Sleep, it’s strong enough to stand on its own.
Although the two books share a handful of scenes, I thought it was important to make both books self-contained. The two books are interconnected yet independent.
I like putting realistic, relatable characters in strange situations and seeing how they will behave.
As with Vincent in the first book, If Sin Dwells Deep focuses on an ordinary person in an extraordinary situation. What would you do if you could do anything without consequences? Who would you become?
Allison uses the dreamscape as an escape. So does the Wolf, though his explorations skew to a much darker extreme. And then there’s William, who hopes to capitalize in the real world from what he can do in the dreamscape.
As for the dreamscape itself, well, I’ve always had vivid dreams. Why do our minds produce their own movies every night? What if dreams actually link our brains to others? I find psychology and neurology fascinating. There is still so much we don’t understand about the science of dreams; I suppose that is what science fiction is for.
If Dreams Can Die
Life and death, love and hate, hope and despair, dreams and reality, identity and illusion, friendship and rivalry, faith and doubt, damnation and redemption—these are all themes found within The Soul Sleep Cycle and If Dreams Can Die especially.
But the back-cover blurb sums up the story much better:
The grave could not contain her grief.
Annette has devoted her life—and afterlife—to reclaiming her departed family, no matter the cost. To stop her from destroying the dreamscape, former enemies must unite and declare war on the so-called Lady of Peace.
But how do you defeat someone who is already dead?
If Dreams Can Die depicts the final confrontation between a death-defying cult and the CIA-sanctioned dream drifters sworn to defend the collective unconscious.
The book focuses on Annette Young, a woman who lost her husband and daughter early in life and never fully recovered from the emotional trauma. She takes matters into her own hands, making compromise after compromise in the pursuit of what she perceives as a happy ending for everyone.
It’s up to the reader to decide whether Annette—as the so-called Lady of Peace—is a hero or a villain.
Characters from the first two books also carry the story at various points, including Milton, a dream-drifting pioneer recovering from a coma; William, a brilliant but dangerous fugitive; and Allison (a.k.a. Syn), a CIA-sanctioned dream drifter. If Dreams Can Die introduced a new point-of-view character as well: Brynhildr, the valkyrie commander of Project Valhalla.
That’s a tricky question since many scenes take place in shared dreams. Real-world action is split between the East and West Coasts in the U.S., while various dreams and memories will take readers across the globe, including China, Russia, and maybe even Antarctica.
And then there’s the tumultuous space between dreams, the setting of the series’ climax.
I’d love to say anyone can pick up If Dreams Can Die and enjoy it, but that’s simply not true. Although I think the story is strong enough to stand on its own, newcomers to the series would lack necessary context to understand the full extent of the plot.
Readers should definitely read If Souls Can Sleep and If Sin Dwells Deep before diving into Book Three.
As for the series as a whole, fans of speculative fiction are the most obvious audience. The Soul Sleep Cycle contains elements of several genres, including science fiction, fantasy, paranormal, and suspense. The series could also be categorized as dreampunk, a subgenre that raises the question “What is real?”
However, anyone who loves rich characters and unpredictable plots can enjoy the series.
The suggested audience is age 18 and older. While If Dreams Can Die lacks the explicit sexual content of its predecessor, Book Three nevertheless contains course language and explores mature subjects, including infidelity and suicide.
I established something of a naming convention with the first two books, If Souls Can Sleep and If Sin Dwells Deep. I’ve always liked using “if clauses” for the series because they inject a sense of suspense.
I decided on the title If Dreams Can Die very early in the project. Dreaming and death have been prevalent themes throughout the series, and then there’s the ambiguity. Are all dreams on the chopping block or just one woman’s vision? The alliteration didn’t hurt, either.
Yes, it does.
Whereas the first two books were parallel novels, covering roughly the same time span from different sides of the saga, If Dreams Can Die begins immediately after the events of If Souls Can Sleep and If Sin Dwells Deep.
In some ways, it was more difficult than I had anticipated. I knew, broadly speaking, where the series was headed. I knew where it had to end. But how I was going to tell this story changed throughout the planning phase and from draft to draft.
The greatest challenge was choosing the right narrators. Book One, by and large, was told by three point-of-view characters; it was Vincent’s story, as told by Leah and Vincent himself, with Milton’s scenes providing hints at the bigger picture. Book Two centered on Allison/Syn, with chapters from William’s and the Wolf’s perspectives sprinkled throughout.
I knew Annette had to tell her story in Book Three, but what other voices were needed? I struggled to find the best support narrators. In the end, I decided not to artificially restrict myself to only three p.o.v. characters.
Milton, Allison, and William return to provide their perspectives for a handful of chapters, and Brynhildr also steps into the spotlight to reveal more about the dynamics within Project Valhalla.
I honestly don’t know.
I do know If Dreams Can Die spells the end of the story I set out to tell when planning Book One. But I’d love to return to the dreamscape someday. I suspect Daniel’s daughter has an interesting life ahead of her, and the future of Project Valhalla surely contains some twists and turns.
If there is enough interest—and if there are enough sales—to justify it, I’d love to add a fourth book to The Soul Sleep Cycle.
For now, however, I’m excited to pursue something new. I’ve been working on this wonderfully weird series, on and off, for 12½ years, so there’s a backlog of stories I’m eager to tell.
First and foremost, I wanted to provide a satisfying resolution for the series. I’m not one to tie up storylines with tidy, little bows. Yet the first two books posed a lot of questions, and I felt it necessary to answer the most important ones before the end of Book Three.
If Dreams Can Die is largely Annette’s story, a tale that started decades ago when she lost her family. What makes Annette remarkable isn’t her ability to dream drift, but her single-minded determination to defy the natural order of things to accomplish her goal—no matter the sacrifice.
It’s a stark contrast to the Vincent’s actions at the end of If Souls Can Sleep…
And while I didn’t set out to write a book about grief and hopelessness and the value of life, I have seen the impact of depression firsthand. Even though I write books with fantastic elements, I believe it’s important to ground my stories in reality, which means writing believable characters grappling with relatable problems.
Did I miss anything?
Shoot me an email, and I’ll do my best to answer your question!