The Books


I write a lot of stuff, y’all. Stuff that wanders all over the map of speculative fiction, and while I do have things that are consistent about my work – I deeply love strong female protagonists; I don’t like evil villains that run around crushing things; I prefer a more-positive worldview about how things turn out, no matter how dark and gritty and awful things get along the way – there are very good reasons that some readers will take a shine to one series or cast and not be interested in another.

I’ve tried in various ways to talk about my different worlds in a way that will help my readers figure out which ones are worth a try, and none of them have really suited me in this format, because I want to *talk* about them, not *sell* them. So. You will not find any links below, and I may not even go slam in book pictures, because with this sidebar and that sidebar and everything that’s going on on any given web browser (not to mention phone!) a picture just crowds out all of the words and makes a nuisance of itself. This is just a brief discussion of the stuff I’ve got out right now and what you might like or not like about it.

Sam and Sam

This is my base series, and the place that feels like home for me. It’s often violent and bloody – some commented to me that I *do* write horror, though it doesn’t fall in to the classic horror genre because it lacks dread anticipation – but it’s also personal and optimistic and about family and relationships and people who are ultimately positive and optimistic that they are going to win. It is an urban fantasy/dark fantasy (I’ve seen a very reasonable comment that it’s grittier than your usual urban fantasy, and I don’t disagree with that at all) with angels and demons and magic. The main trio is generally off on some quest or another to save the innocent or the entire world, depending on just how high the stakes have crept, this time. I will give you fair warning that I’ve had two early-process readers beg off of this series because it’s too intense for them. Children die, sometimes, though that is always off-page, and the demons die badly.  But readers who dig this series dig it hard.

Rangers : Shaman : Psychic : Warrior : Dragonsword : Child : Gorgon : Gone to Ground Civil War*Cult of Renouch*

*yet to be released as of August 2019

Book of Carter

This is the prequel to the Sam & Sam series. Theoretically, I would recommend reading it after the first four books of Sam & Sam, but I have had readers come to the main series after having read Book of Carter, and I have series readers who have never read it, and both do fine. It tells the story of one of the main characters from Sam & Sam from years before the beginning of Rangers, and a lot of the events from Book of Carter come up in Sam & Sam, but the information should not be critical, nor should it spoil critical reveals in the Sam & Sam series. Carter is the main character, he is dark, he is brooding, he is sarcastic, and he is much beloved by the readers who love Sam & Sam.


This is another prequel to Sam & Sam, though it follows a character who is not introduced in the Sam and Sam series until Gorgon. I would recommend reading it between Child and Gorgon. It is tonally very different from Sam & Sam, having a feel that is a lot more like a historical fantasy or even historical fiction and following family-level drama, but don’t be fooled – this is a character who is going to be instrumental in the Sam and Sam series later on. I wouldn’t recommend this as a character or a series (there are more Isobel books coming) for readers who don’t like the way that Sam and Sam reads.

Gypsy Queen

This is a parallel series to Sam and Sam, following a group of Makkai demon hunters. The characters cross over from time to time, and there are later books that overlap completely with Sam & Sam books. I would recommend reading books 1-3 after Warrior or Dragonsword (books 4 or 5 of Sam and Sam) and book 4 (yet forthcoming as of June 2019) after Gorgon or Gone to Ground, before Civil War. This is a more colorful, more optimistic, and more magical world by feel, and it may be a better fit for more traditional urban fantasy readers. You don’t have to read Sam & Sam to enjoy Gypsy Queen, but if you are invested in Sam & Sam, I would recommend picking these up because they have a lot of story that crosses over with Sam & Sam at Civil War.

I reserve the right to add another book between books 3 and 4, because of a significant time gap between them. Just saying.

And I know I need a series map.  Stay tuned.  I drew one once and it made me laugh.

Portal Jumpers

Science fiction with aliens and hand-wavey technology. Things just work. Lots of world building, lots of culture-building, lots of characters who come and go. This is very much not hard sci-fi, but I wouldn’t call it social sci-fi, either, because a lot of the technology does turn up as important to the plot. The plot is set on real-earth in the near future, in a time when a newly-developed technology, portal technology, has allowed people to jump across the universe without the need for intervening spaceships. It’s playful and fun and mostly light-hearted, though they do deal with issues of planetary importance.


I think this may be the darkest thing I’ve written, because it takes the darkness most seriously. This is a psychological fantasy, and while people aren’t routinely in mortal danger, they’re a lot less stable and a lot more broken in this one. This may also be the closest thing to a romance that I’ve written. (I know.) Where the Portal Jumpers books and the Sam & Sam universe books both fit pretty well into their categories, this one is off by itself. It’s one of my favorites, though, and I think that some of my readers who like a spectrum of my work might really enjoy this one.

Sarah Todd

Western on another planet. Sarah Todd is tough, she’s on her own, and she’s about the only thing keeping her town on the map. This is a fun one. Bolt-action rifles and horses and mining, this was my first foray into westerns, and while I’ve written a few as Jessie Noble, now, that are proper westerns, I knew that I didn’t have the historical chops to write a western on this planet, when I undertook Sarah Todd. (Hat tip to Rob Peecher, who has bridged that gap for me, more recently.) Also, it’s a lot more fun to write a western where you get to make up all the rules. So I did. There are two more to complete a trilogy in this world, written and forthcoming but not on a schedule yet. Sarah Todd is a rough character, and she does things that are pragmatic but unpleasant in some cases. There’s not a lot of warmth and affection in Sarah’s world, but there’s certainly a passion that keeps her moving and keeps her alive.
Continue reading “The Books”


I am a dwarf

I. Am a dwarf.

As much as I’d love to be an elf or a ranger or a sorceress, history and self-awareness tell me that I am a dwarf. A digger-dwarf, specifically. Not even a battle dwarf with fancy weapons and fancy armor and big campaigns.


I’m a digger dwarf, and when I sit down to a new game – or any challenge – the first thing I tend to do is go looking for a shovel. Because I’m going to go dig a giant hole, amass a huge pile of resources, and figure out how to hack the economy.

I’m quite serious about this. I get to the point where the piles of resources are getting ridiculous and I’m having difficulty storing them, and I engage an adventurer – usually my husband – to come and spend them. He uses them to build some impressive structures of some kind relevant to the game. Since I keep digging further and further underground, often getting to the point that it takes too long to surface so I build a midway point to drop off piles of new resources, and he never interacts with me anymore, he tends to wander off with another adventurer on some epic quest, and resources begin piling up once more.

It is at this point that I give up on being a digger dwarf just long enough to build a castle. Or castles. And a peasant/villager/peon NPC army. And then a chain of castles. And go to war with a local populace, using nothing but castles and peasants.

And he returns home and looks over at me and goes ‘what did you do?’ and I smile and return to digging.

Because, at heart, I am a digger dwarf.

And it’s his fault he left me along long enough that I couldn’t find any place to store the chests and chests of stone and dirt and ore, and the furnaces filled up with iron and bronze and steel, and I had to do something with it all…

And he shakes his head with some disbelief and tries to figure out how to restore order to the warehouse – because no less than two of the castles are now dirt warehouses – and to the local uprising against my encircling citadels.

This has been my pattern for a great many years.

As a writer, it has been no different.

Well, it has. But I get ahead of myself.

I go down to the word mines nearly every day – I missed one day in 2018 – and I come back up with troves of resources. Sometimes it’s a load of dirt. Ifs and ands and thes and saids. Nothing wrong with them, and certainly writing needs an awful lot of them. Sometimes it’s stone. Structural, strong, necessary, but not that special or pretty. Sometimes it’s ore, meaningful, and worth distilling for what’s inside of it. Sometimes it’s a jewel, something that I take a bit more time to make sure I extricate it whole.

Regardless, I wander back up to the surface, dump it into a chest, log it in a spreadsheet, and cheerfully grab my shovel and go to dig some more.

Because I’m good at it, and it makes me happy. I can control the shape and nature of what I’m doing, if not the absolute quality, and I can see the progress I’m making in the holes I put in the earth, stories that exist that didn’t before. I do it alone, and while I rarely do it just for me – I have an intended purpose and a destination I’m trying to reach – I am the only one who is even aware of the decisions I’m making along the way.

I’m a good writer.

I’m a terrible author.

In 2018, I wrote 34 pieces of fiction, which include 7 novels, if I’m generous and round up to a full novel on the one that I didn’t finish before the end of the year.

I published 2 novellas and 3 short stories (two of which I wrote in 2017).


By volume, I published around 8% of what I wrote.

I’d say I’m ashamed of this, but the truth is I’m not ashamed. After some reflection here at the end of the year, I’m not even bothered so much as I am aware that there is a problem.

And the problem is that I have not fully filled the role of adventurer in my quest. Nor have I reached the point of employing hordes of peons and building castles. (Carefully steers away from allowing industry professionals to become peons in this analogy. They are not NPCs…) I’m just piling up resources and waiting for something to poke me into action.


Authors are an odd, paradoxical lot. They’re awfully optimistic, as a group, and at the same time I’ve never met one who didn’t wrestle with impostor syndrome to at least some extent. Many struggle enormously with the idea that other people would pay them money for words. This is a season where most of my writer friends are charging into the new year with an enthusiasm that borders on reckless, aiming to crush the coming year.

I’m not looking for meteoric performance. I have not the time, the energy, nor – honestly – the interest. But I do have a plan that involves change, for the coming year.

In the early half of 2018, I met an adventurer. One who saw the piles of words that I was amassing and couldn’t for anything figure out why I wasn’t off on a quest, spending them. Most of the good, successful authors I know live hand-to-mouth on their writing, finishing a project and moving it forward toward publishing as they begin their next project. A good lot of them are working toward a preorder deadline, writing stories that didn’t exist when the book went up for pre-order. My adventurer publishes what he writes, because what he writes has value, and sitting on it…


As far as he could figure out, that was stupid.

And here I sit, heading down into my word mine each day to happily toss those words into a chest and ignore them the following day.

And apparently he didn’t think those words sucked, because he asked me to work on a series with him.

Those would be the two novellas that I published this year, with two more coming in early 2019. I plan on continuing to work with him in 2019, feeding stacks of resources to him so that he can progress campaigns of publishing. This relationship has been enormously beneficial to me, this year, because – first – it feeds my normal way of doing things, and takes the pressure off of my mounting piles of unused resources, but – second – because I’m spending more time above ground, and realizing that it’s just about time to start building some castles.

I’ve got no idea if I’m any good at building castles. I don’t have a friendly video game rooting for me, with pre-packaged plans on how to do such a thing. But. I’ve got chests and chests full of words, and if I don’t start building something with them, they’re never going to turn into anything.


In 2019, look for more titles, look for more above-ground time, look for more experiments and attempts at castles. Because there’s a giant wilderness out there, and I aim to block out an increasing chunk of it as my own.



A number of years ago, I had a character in my head.

And she spoke with a drawl.

She ultimately resulted in Sarah Todd, a space western mostly because I can write sci-fi really comfortably, and true westerns – as much as I’ve enjoyed various formats of them – are a technical challenge, as well as a new genre to me.  I had a friend in a writers’ Facebook group who posted a number of true Western covers, and I admired them, mentioning Sarah Todd, and he bought a copy on the spot.

A few weeks later, he asked me to write a series with him.

A true Western series.

It took me maybe thirty seconds to say yes.

And so Jessie Noble was born.

The Animas Forks series is slated to start releasing on August, with my first contribution – The Drifter and the Colt – showing up likely in September.  It’s been more fun than I can say to collaborate with another author, and I’m truly excited for the books to start reaching readers.

Sleeping Quicksand

There’s no telling how long it had been there.  The quicksand in these parts was tricky, and it was hungry, but this particular pool of the stuff was… inert.

Glenda had no idea why, but she’d been studying it for weeks.  While the pockets of quicksand around the village were always full of the carcasses of rabbits and squirrels, even hogs and the occasional deer, this one was always empty.

She threw rocks at it, occasionally, and they sank just the way they should have, in quicksand, but the pool never caught anything live.  Glenda sat, cross-legged, on a boulder at the edge of the quicksand, chin on her palm, considering it.  What did it want, if not prey?  Wasn’t quicksand malicious?  It was what she’d learned her entire life – you had to watch out, because when you least expected it, the quicksand was going to jump out and get you.  She’d lived by that, even as a student of the wood, even when her peers married and started having their children, started vocations and families and life courses.

Glenda stayed in the woods, watching the quicksand, watching the animals, the trees, learning the ways the frogs acted during their seasonal heat and the way the deer spirited themselves away to give birth to their fawns.  She knew the sound of the earth when the great oaks grew, and the way the air breathed on fine days as the rain rolled in.

She knew quicksand.  She’d avoided it most of her life.

But this one slept, and she did not know why.

It had been months that she’d known about it, now, and she’d yet to unearth a single of its secrets.

She knew what she had to do.  Why she continued to return to this place over and over again to stare at the sleek-surfaced sand.  Knew what it felt like, to step into the loose pit.  Always before, she’d scrambled away, reaching, grabbing, thrashing for safety.

Today was different.  Her feet disappeared, and then her knees, and she slipped off of the rock, closing her eyes as the sand reached her face, drawing her down.  It may have slept, but it had never forgotten what it was.

She didn’t know what she would find at the bottom, but she had had a dream of a tunnel of sand that lead to another world, one that was out waiting for her in the forest, waiting, sleeping, ready.  Not just quicksand.  Not just sleeping.  Something that was there, just for her, turning away everything else.  As her lungs began to burn and a rush of blind sand flowed over her face, Glenda wondered what waited for her at the end.


For a long time, I posted here twice a month, once around midmonth about writing related topics, and once around the end of the month about something going on specifically with my writing.  It was a good pattern, and I liked it, but I stopped a few months ago because I had a lot of things going on.  I’ve written a few blogs since then, but none of them have been at the right moment of my writing to post, so they remain safely stashed away for another day.

What’s been going on is Magic After Dark, which I’ve talked a lot about in various places, but not so much in the blog as a writing project.

This was a huge undertaking.  There were more than twenty-five authors involved at various stages, and it ended up at launch as a collection of twenty-one novels, with many of the authors involved in marketing and promoting the set almost daily.  We advertised the heck out of it, but I suspect that a huge fraction of our sales went to readers we already had a relationship with, through newsletters, Facebook, and other places.  Pooling our resources and our reader groups has been an amazing way to generate visibility, and while I look forward to meeting new authors as content creators by reading the set myself, I’m equally looking forward to meeting new readers by having participated.

Gypsy Becca is the first in a trilogy, and she exists in the Anadidd’na universe with Sam & Sam, and she’s a great starting point to the world.  As is always true, I know she isn’t going to appeal to everyone (a lot of the set’s readers are going to be looking for PNR, for example, and this is not a romance), but I’m really excited to meet the readers who are looking for this style of story and who enjoy my writing, because I’ve got a lot more where that came from, both in already-existing work and in planned releases over the course of the next couple of years.

So, as far as that goes, the set has been an enormous success, and I’m so proud of the work that the rest of the authors and I put in to pull it off.  Because the launch price was a special price, and because the lineup of the set is going to be changing to allow authors who aren’t interested in Amazon exclusivity to opt out, we’re going to be releasing an entirely new edition in the near future with a new Amazon link, so I don’t have a link that’s going to be of any use for very long right now.  Gypsy Becca will be staying in the set through the entire rest of its run, then I’ll publish Gypsy Becca as a standalone novel.  Either way, you aren’t going to get another crack at this collection of novels at this great a price for long, so pick it up while you can.

The other thing I’ve also been working maniacally on is getting Portal Jumpers II: House of Midas ready for publication.  It was originally slated as an early-June release, but I had a bunch of other littler projects come up that pushed it back, and then I didn’t want to put it out directly on top of the Magic After Dark set release, so we pushed it to late July.  I don’t have a specific date yet, but it should be within a few days either way of the 20th.

I’m almost done with the manuscript, so those readers who have indicated in interest in an advanced copy should be getting it within the next week.  I don’t anticipate a preorder period, but there will be a sale on Portal Jumpers to go along with the PJII launch, so keep your eyes open for that.

In all, it’s been an amazing couple of months.  I’ve learned *a ton* about all kinds of things, and I’m grateful for all of the people providing their experience to the set and as readers.  I’ve started a reader group on Facebook who provide me with immeasurable insight all the time, and I’ve got new opportunities on the horizon.

One last thing, though.




Do Mind the Mess Dripping from the Ceiling

Alex was a pretty normal kid. He did normal things, by kid standards.

Well, so long as those kid standards took into account the fact that he was thirteen and had a very independent creative streak.

He’d gotten a chemistry kit for Christmas and a magnifying glass and a butterfly net for his birthday.

And that was really where the problem started. They probably should have seen it coming, in fact.

He’d been outside for about an hour when his mother – preparing to host a party that evening with a group from church – looked out the window to see him laying flat on his stomach on the back deck, peering at a glass jar.

She continued cutting brownies and counting glasses for another minute or two, but there was something about the way he was lying on the wood of the porch and something about her mother’s instinct that told her that this was a good time to intervene.

Her instinct was about a minute and a half off, but she wasn’t going to figure that out for another ten minutes.

She went out to the porch, hands on her hips, and asked him what he was doing.
She loved Alex like the moon and the sun combined, but he was thirteen and she had a group of ladies from church coming over in less than thirty minutes. You have to walk a fine line between being a champion of creativity and independence and making sure that he isn’t planning on launching mudpies at the ladies as they come up the front walk.


He had been testing remote trigger mechanisms, and honestly, if any of them had little boys of their own, they would have known to watch their feet more carefully. I mean, anyone who has ever lived in a house with Legos knows that for the rest of their lives. But these were younger ladies, and the only children any of them had were precious little girls in pink and gold dresses. Alex’s mother didn’t even try to explain it. They’d get there. Someday.

“I’m looking at my pets,” Alex said. His mother frowned.

“Isn’t that my cookie jar?”

He nodded, his chin never leaving his fists.

She shook her head. She had meat in the crock pot that she needed to get out, and a cheese ball to form for chips. She needed to shut this down now and worry about what was actually going on later.

“Come inside now,” she said.

“But what about my pets?” he asked.

“Bring them,” his mother said, looking for the option that got him inside and up to his room as quickly as possible so that she could get back to preparing for her party. She waited, making sure he’d actually picked up the cookie jar and was bringing it inside before she went back to the kitchen.

At this point, she had four minutes left.

But she didn’t know that.

She pulled a sheet of cookies out of the oven, smelling them with a happy smile. Her grandmother’s recipe. She went digging for a trivet out of a drawer and put it on the table, putting a bowl on it and sliding the cookies into it, then she went to check the crock pot. The meat smelled of barbecue sauce and beef, and she went to get the rolls out of the pantry, pulling them apart and putting them into a wicker basket.

Three minutes.

She finished cutting brownies and put them onto a serving tray alongside a row of mixed nuts and cubed cheese, setting that next to the cookies, then she got the cheese ball out of the fridge and went digging through a cabinet looking for the serving tray for chips.
She had one. She’d bought it at an after-Thanksgiving sale the previous year, and she loved it. It had festive colors on it that every time she looked at it she had to remind herself that they weren’t necessarily fall colors, they were just pretty, but the design was one she loved so much, she couldn’t resist.

“How many times are you going to use a chips-and-dip tray?” her husband had asked, but she’d gotten it anyway, and she was going to darned well used it every single time she had people over, just to prove to him that it had been worth it.

Two minutes.

She got out ice, putting it into the ice bucket and went digging through the random utensils drawer for tongs, then went to get the stool out of the bathroom so that she could reach the party napkins above the refrigerator. She lay those out in a fan pattern, thinking for a moment about folding one into an origami shape of some kind – she’d taken a class at the home goods store a few years ago, and she still remembered a few of them – but she thought that it would be a little pretentious, and she didn’t want to waste the good napkins like that.

One minute.

Drinks. Drinks. She’d gotten them at the store, but for a moment she forgot where they were.

The refrigerator in the garage. They’d run out of room in the refrigerator in the kitchen with all of the leftovers from going out the other night, and she’d had to put them all outside. She needed to get those out to the table so that she’d be in the house when Barbara rang the doorbell; her best friend usually came over early to help with the parties, but they usually ended up mostly just talking, because as much as they loved having parties and getting together, they never did, and as soon as more than one of them was in the room, they were talking about this or that, and so Alex’s mother needed to get everything important done before Barbara got there.

She was bringing in the glass bottles of root beer and setting them in a tub of ice by the table, one ear out for the doorbell, when there was an odd noise.

Odd noises turned Alex’s mother’s stomach, because if she didn’t immediately know what caused them, there was every chance that she didn’t want to know what caused them.

“Hey mom?”

She drew a bracing breath and started for the front hallway.

“Alex?” she answered.

The explosion hit her in the face.

Wet, greenish, and full of bits and pieces of something.

“Alex?” she asked again, her tone quite different this time.

“I just wanted to see what would happen,” he whined.

“Alex, what was that?”

She was doing her level best not to let it drip into her mouth.

“Well, I found these really big bugs out back and I caught them with my net, and I was seeing what they liked to eat, and then I started trying things from my chemistry set…”

Her brother had promised her that there wasn’t anything interesting in that set. He swore it.

She looked at the ceiling, feeling something run down her hair and onto her back. She hoped it wasn’t alive.

And then the doorbell rang.

The Stew or the Headdress

“You’re lost,” the bird said.

“I know,” Adam answered.

“You’re lost,” the bird said again.

“I know,” Adam said again.

Why did parakeets have to talk?

And why had Adam agreed buy one?

Leslie. That was the answer.

She was pretty and funny and had a temper like a rabid dog, and when she’d said she’d wanted one, he’d answered: yes, dear.

They’d looked at pet shops where their birds were clipped, but Leslie had said that that was immoral and unconscionable and so they’d gone to a private breeder who had sold them a parakeet who could fly, not just glide.

Which brought him to where he was now.


With the most evil parakeet the world had ever seen.

“This is all your fault,” the bird said.

“I know,” Adam answered.

It was the same story for most of his bad life decisions.

Leslie had wanted to raise chickens, so they’d built a mobile chicken coop. They keep the grass short, she promised, and they eat the bugs. You hardly have to feed them at all.

The problem was that she wasn’t willing to eat them, and at the beginning she’d said that it was only natural that they keep a rooster, too, so soon their little mobile coop that they moved around the back lawn during the day – at least two or three times a day, so that the chickens didn’t get bored – was too small and Adam had to build a bigger one.

And he’d done it. He’d sold the rooster, but he’d built a bigger coop for the original six chickens and the eighteen blasted offspring that had made it through the first few weeks.

Every time one of the chicks had died, she’d brought it into the house crying and lay it out on the table, germs and parasites and all, and she’d said words over it. Three, four, five times a day. Baby chicks were fragile, it turned out, and mother hens weren’t very good at caring for them.

Leslie said it was because they didn’t have enough space. The other hens attacked each other’s chicks and killed them.

So he’d built a bigger coop. Now it took both of them to move it, but the bloody little things could run around in there like it was recess, and she’d been happy. And they’d sat out on the lawn watching the chicks play and they’d laughed and drunk beer.

Then she’d wanted a goat.

They were clever and funny and they would keep the edges of the back yard clean of long grass and rodents, and she’d always wanted a goat.

And the first goat had died. Coyote, she said. Neighbor dog, Adam thought.

So they’d gotten two more, because there was safety in numbers, and they’d built a shed for them to live in at night. And every morning before he got up for work, he went out and fed them and washed them – because they stepped in their own excrement overnight, and Leslie wouldn’t stand for them having it on their feet all day long. So he became a goat pedicurist.

And then she’d wanted a cow. A good milking cow, she said. Just imagine the breakfasts you could have, with a flock of chickens and a cow!

And the neighborhood finally put its foot down, so they’d moved. They rented a little cabin outside of town where the barn was three times bigger than the house, and they’d moved the goats and the chickens, and he’d been ready to tear down the goat shed and move it, but she said no, they needed a bigger one. Because they deserved more space, if everyone else was getting more space.

And a more solid chicken coop, she thought, because the coyotes out there in the woods might be bigger and meaner than the ones in the suburbs.

Adam thought that suburban coyotes might be pretty rugged beasts, seeing as how they competed with so many dogs for prey, but he didn’t say it because she wouldn’t have thought it was funny. He just built a bigger chicken coop.

And then came the pets. They’d gotten three Great Pyrenees to watch over the livestock. Never mind that the one killed four chickens before Leslie declared him an indoor-only dog, that was what they were for. They got a cat, and then another, and then another, because barn cats shouldn’t be lonely either, and then all three of them became indoor-only cats when Leslie thought she saw a coyote out in the front yard. They got a ferret, because she read that they were supposed to be really great pets – smart, interesting, creative, and inquisitive – but the blasted thing got stuck behind the refrigerator and when Adam tried to get it out, he’d squished it.

She hadn’t spoken to him for three days.

And then came the parakeet. You were supposed to talk to it every day, and groom it with your finger the way it groomed itself, and never let it sit on your shoulder or your head, because that was the stupid thing asserting dominance, and then you’d never be able to train it.

It only ever sat on Adam’s shoulder. Leslie taught it all kinds of things, and it remembered everything she ever said to Adam, repeating it in an eerily modified version of Leslie’s voice.

“You’re lost,” it told him again.

He’d opened the window because it was spring and it was nice outside, and he wanted to get some of the animal smell out of the house. He was tired of not having any space in the bed, and if he couldn’t fix that, at least he could get some of the nice woodsy smell in and the dog-and-cat smell out.

And the damned thing had flown out the window.

He’d chased it for hours, from tree to tree as it called down criticisms at him, until it finally got bored and flew down and landed on his shoulder.

“You shouldn’t let him do that,” it said.

“I know,” Adam had answered, taking out the leather tie he’d grabbed from the back of the sink that you used to keep it from flying when you weren’t actively holding its feet. They’d gotten the leather thing after the parakeet had mauled one of Leslie’s friends in one of their rare human visits.

“It wasn’t his fault,” Leslie had said. “He thought he was in danger.”

Adam thought that generally birds that thought they were in danger flew off, but what the hell did he know?

He tied the bird to his shoulder, because it would attack him with its beak if he tried to tie it to his wrist, and he’d started back to the house.

That was four hours ago.

He had no idea where he was.

The sun was going down, and the weather was fine, but he was well and truly lost, and the bird telling him so didn’t help anything.

He sat down next to a tree and folded his hands across his stomach, resigning himself to sleeping out here.

At the end of the next day, he’d begun feeling weak and he hadn’t found a road, any sign of civilization, or a drop to drink. As he settled down against a tree, brushing the parakeet off of his ear as the bird bit him again, he looked up at it and he smiled.

He didn’t know if he was going to get rescued and he didn’t know if he was going to find his way home. But as far as he could tell, what he had now was one final decision.



The next spring, a pair of hikers stumbled across a rotted corpse laying against a tree. They’d heard about the missing man the year before, so they weren’t entirely surprised to find him, but neither one of them could figure out the odd arrangement of feathers he was wearing around the crown of his head.

Space Dare

There’s a reason astronaut food all comes in tubes and has the consistency of toothpaste.

It had started as a dare, more than a year earlier, one that Gorges got by e-mail. He hadn’t thought much of it at the time – just another one of the engineers with a crazy idea wanting to send it to someone who might find it funny – but as he spent more time thinking about it, he realized just how hard it would be.

A kid named Becky had found that one of the heating units on the station could alter its heat to a fixed level. It had a contained space it was heating and it had a fan pushing air through it to heat the rest of the station. Some of the electronics and other stuff wanted more heat than others, so they were using the thermal gradient to keep everything at its preferred temperature before the air got to the living space.

She’d referred to it as an ‘oven’.

And Gorges couldn’t see why that was a bad description.

Like most of the critical regions of the station, astronauts could get to it by removing the right panels, for servicing and that kind of thing, and he couldn’t see why they couldn’t change the heat of the thing to three-hundred and fifty degrees and turn off the fans for, say, thirty minutes or so.


He mentioned it to Robbie in passing, this dare from the kid at Houston, and Robbie had thought it was funny, but little else. That was how Gorges had presented it, anyway, and he hadn’t expected anything else to happen until Robbie came back to him.

“Why not?” the commander asked. “We’re always doing things just to see what happens, right? Why not add this to the list?”

And so the cake project was born.

Gorges had expected that the hard part would be convincing mission leadership, but they thought it was a great promotion. They’d film the entire thing and beam it live to the internet. Budget was always tricky, so anything they could do to make the time astronauts spent at the station more interesting to the public was great, especially if it didn’t require sending up anything more than a box of mix and an egg.

The hard part turned out to be the powder.

Fluids, like the oil and the egg and the water, those were easier. They had surface tension and they tended to kind of stay where you put them. Powder, on the other hand, in freefall, was going to be impossible to manage. It was going to wander everywhere and get in the equipment and the ventilation, and there would be no containing it once it got out.

There was talk of pre-mixing it on earth and sending up fluid batter, but the unspoken consensus was that it was cheating. Okay, the mix was coming out of a box anyway, but that was what almost everyone did, these days, anyway.

So how do you get cake mix out of a box and mixed in effective zero-gravity without making everything cake-flavored for the rest of time?

Gorges wasn’t sure what would happen, but the e-mail traffic on it was hysterical, which was worth it, even if the experiment got scrapped.

There was a second conversation going on about how to get to the heating unit and put the cake in there to bake. It wasn’t going to make quite the mess that the powder had the potential to, but it was arguably more important, to the health and durability of the station as well as quality of life for the astronauts.

You had to make the cake completely stationary in the middle of the oven while it baked, or else it would hit one of the sides and stick there, and when they turned the heating unit back up to its normal temperature and turned the fans back on, anything that was still there was going to carbonize and fill the shuttle with the smell of… burnt cake. There were cleaning procedures in place for the heating unit, but those procedures mostly assumed that they were cleaning off residual dust and minor debris, not deep-cleaning an oven.

And the conversation about mixing, among an entirely different team of engineers, was perhaps the funniest. Even assuming they could contain the powder, somehow, the assumptions around how to mix a batter were all gravity-centric. Growing plants and observing animals, the engineers were working on a zero-gravity assumption, but suddenly trying to bake a cake, they couldn’t think outside of their own kitchens. And they kept reminding each other of that. In pictures.

Gorges looked forward to opening his e-mail every morning the entire time they were working on the project.

Eventually, they’d gotten everything sorted out, put together a mission plan, and filed it away. The e-mails quit. And Gorges hadn’t though about it again.

Until today, looking at the bag of mix (the box was unnecessary weight), the egg, and the packet of oil.

He cut the corner off the bag of mix and injected the oil directly into it, looking over to narrate for the camera as he was working that they needed the oil to mix with the powder before he could do anything else, or else they’d get cake mix everywhere. Robbie did a pan of the station where they were, and Gorges started to work the oil through the mix.

“Chocolate,” he said. “We baked about a hundred cakes, trying to find the best mix, but I’m not allowed to tell you which one we picked. It’s chocolate.”

“And there’s frosting,” Robbie said from behind the camera. Gorges grinned and went for the water.

The water came out of a tap from the wall in the kitchen/sleeping area where they were filming, and he was going to have to guess. He blew a few water bubbles, gaging how fast the water came out and how much he was supposed to put into the mix, then he stuck the nozzle into the bag and pulled the trigger, counting out the seconds in his mind. The engineers had guessed four and a half seconds. He’d estimated five.

He started to mix the bag again, but a pocket of air that had been inside of it squeezed out through his fingers, erupting brown cake mix into the air. He bit his lips to not laugh.

“And that was exactly what I wasn’t supposed to do,” he said. “The filters will catch most of it, but there’s going to be a fine dust of cake mix on things in here for the rest of the station’s life.”

“Yum,” Robbie said, and Gorges laughed, opening the protective plastic the egg came in. There had been conversation about sending it up without a shell – because it was lighter and because it was easier – but everyone had wanted to watch Gorges crack an egg in space.

And so he did.

He tapped it on the edge of the sink and pulled the two halves apart for the camera.

The egg wobbled in the air for a moment, then snapped slowly into the larger half.

Gorges looked at Robbie, who shrugged and laughed.

“Your move.”

He eventually went in after it with a finger, managing not to make too big a massacre of the egg before he shoved it into the bag with his finger, finishing the mixing process and then squeezing the batter out of the bag like toothpaste. He mashed it into a ball with his hands – no one had been able to come up with a better idea – and put metal sticks into it at ninety-degree intervals – the solution to not bumping into the walls inside the oven – and went to the panel where Sarah was waiting to open it for him.

“Here goes nothing,” he said as she opened the oven. He felt the burst of heat against his face, just like opening an oven at home, and he pushed the cake at it. He had a shoulder-length oven mitt for getting it back out. They’d talked about using a space suit to do it, but it got nixed for safety concerns about for the suit. Going in, it was an awful lot of fun to watch a ball of cake go floating into the oven on its own. He looked back at Robbie.

“And now we wait.”
Thirty-three minutes. It was their best guess on baking a cake suspended in air without a pan. They pulled it out on time and took out the metal rods, then let it cool and frosted it, a camera floating on its own to watch them as they broke off pieces and passed them around, crumbs floating in the air around them.

It was overcooked, and Gorges thought it had probably needed a little more oil or water – maybe he hadn’t gotten all of the oil out of the packet – but there was wide agreement:

It was the best chocolate cake in space ever.

Gypsies After Dark!

Gypsies_After_Dark flat

It has been a long time coming.

Late last year, in the August or September timeframe, I signed on to a box set that was planning on releasing in June.  It had a theme I hadn’t written a thing in before, but I could see how and where it would fit into the Anadidd’na universe, and so I went for it.

I’ve been leaving breadcrumbs to this series in my work ever since, and it makes me so excited for it to finally be ready for preorder.

Gypsies After Dark went live late last month, and we’ve been doing great.  We’re going to try to hit the USA Today bestseller list (okay, truth is that every one of us wants to go for NYTimes, but that’s a lot of luck and a lot of things working out – USA Today is something to work toward – NYTimes is something you close your eyes and hope for, when the work’s done), and there are a lot of things going on to get the word out.

First, a little about the box.

It’s Gypsy themed.  That much is kind obvious, I get it, but it was one I hadn’t thought about before.  I don’t know a lot about Romani gypsies – Esmerelda and Quasimodo are about it, really, and I scarce believe that they represent anything about gypsy culture outside of the flashy, media-distilled headlines – so I looked at ‘gypsy’ as more of a generic term for nomadic wanderers of a kindred type of culture.  In Gypsy Becca, Makkai gypsies are descended from an angel and gifted with crystal magic.  They don’t read palms and they rarely tell fortunes, and their opinion on Tarot cards is one I’m actually going to touch on at some point in a later book.  What they do is they hunt supernatural threats, living in a tight-knit group called a tribe and using their marvelous crystal magic.

They tell stories.  They play instruments.  They dance.

Of all of the work I’ve done in the Sam & Sam Anadidd’na universe, the Gypsy Queen series has the most life and color to it.  Sam and Samantha deal with some pretty dark stuff, and that leads to a grim outlook, even if it is spirited and determined.  The gypsies are more family oriented, more optimistic, and overwhelmingly more colorful in the literal sense, and it makes for a very different tone of book, even as the feel of the monster hunts remains true to the universe they live in.  I’ve *loved* these books, and I will have the sequel to Gypsy Becca – Gypsy Dawn – available on preorder right around the day the set goes live in June.

The rest of the books range across time and continents, and the authors have been so much fun to work alongside.  The covers are gorgeous and the plot concepts seem really intriguing.  I’m really excited to see what we can pull off.

Ordering is easy.  I’ve got a landing page for you to pick which version you’re interested in (and if it’s all the same to you, Apple, B&N, and Kobo increase our chances of listing much more than an Amazon order does, for drab technical reasons that I can explain in the comments if you’re interested).  There’s a free gift to preorders that you can claim here, and while you’re there, check out the giveaways.  This set has serious giveaways.  No kidding.  Think your friends might like to know about it?  Share in exchange for entries to the big giveaway.  That easy.

Want something to read before the set goes live in June?  Make sure you’re signed up to my newsletter for exclusive samples to all of the books in the set, plus prequels, deleted scenes, and tie-in short work in the same worlds.  Mine is a deleted scene from the middle of Gypsy Becca.

In all, the set has 23 brand new, exclusive novels, and it costs $0.99 for the preorder and the week of launch.  After that, the price is going to go up.

Grab it now, and wish us luck!

Post launch edit to note that the giveaway is closed and that we have increased the price to $2.99.  The set is now exclusively available through KU if you prefer to read it that way.  Thanks so much for checking it out!

Genre survey – the results!

If you never ask, you’ll never know.
That’s where this started.
Sales of Rangers and the rest of the Sam & Sam collection have not been what I hoped they would be. I’ve been putting them in the right places, recently, though some of the higher-tier advertisers won’t accept my ads yet, and I have been selling, but it didn’t feel like I was meeting my benchmarks. I have a number of author groups I hang out in, and we spend a lot of time talking about the big three for packaging:

1) Cover
2) Blurb
3) Sample

Your cover brings in readers, your blurb entices them to try the story, and your sample proves that you can tell a story they want to read. The first, biggest, and potentially most important gate is that cover.
I’ve posted the Rangers cover a few places before and had people ask for the name of the designer. I love the cover, and how well it captures the feel of the series and the peculiar person that Samantha is. She’s not flashy and pretty with thick flowy hair and a warrior stance. She’s a chick in jeans with a chainsaw.
(No, she’s never handled a chainsaw in the books, *actually*, but I’m looking for my first, earliest opportunity to fix that.)
The problem is that, even if the cover fits the book, it needs to fit the genre, too.
If the cover doesn’t communicate genre, it’s not going to attract readers who are interested in it – it’s going to attract readers who are looking for something else entirely. The same problem goes with where a book is shelved – if I don’t tell my readers what it is, accurately, the right readers and I are going to miss each other.
And I was pretty sure Sam & Sam were Urban Fantasy.
So I asked.
I posted the covers for the first four books and a brief description in one of my favorite writers’ groups, and an interesting conversation ensued about whether or not a book with that cover belongs in urban fantasy. Whether or not I even was urban fantasy. What those books said they were.
And, sitting and watching these well-informed, intellectual conversations, I realized that they weren’t going to help me at all.
Authors know that Urban Fantasy is a book set in the real, modern world, usually an urban (city) setting, with a paranormal twist, usually involving magic.
But what do readers think it is? That’s what actually matters.
So I asked.
And I got answers.
Answers that have clarified a lot of things, and made me very confused about some other things. I promised to talk about the results for my newsletter, and I did, but I want to use graphs. And talk a lot more. So I also promised that they could check here for the real download on my survey results. And my immense gratitude that they took the time to answer my questions.
I’ll go through them by question, from here, and talk about what I think I learned. Feel free to straighten me out in the comments if you think I’ve missed something important.

Question 1: You’re reading a book with a scene where a demon’s still-beating heart is tacked to the door with a knife, a pair of eyes are duct-taped to the window, a swordfight is going on as the two people involved use copious amounts of magic and all of this takes place in an abandoned warehouse in a large city. Is this:
A) Urban Fantasy
B) Horror
C) Dark Fantasy
D) Fantasy
E) Ew.
F) Other

I allowed them the freedom to choose all that applied. This is the compiled response:

First, for the person who said “ew”. I totally get that. I do. Please don’t read Sam & Sam. It kinda gets worse from there. Portal Jumpers is potentially still a really great fit for you.
So. I thought the answer here would be urban fantasy, shoo-in, with a perfectly reasonable case for dark fantasy, maybe fantasy, and perhaps ‘other’. I thought I would get a certain number of ‘horror’ responses, because it’s kind of graphic, but I’ve thought from the beginning with this series that it isn’t horror because it lacks dread anticipation – the style of suspense is just *wrong*. So, hooray, I actually agree with these results. Completely. The number of Urban Fantasy + Dark Fantasy responses was really encouraging. Others included Paranormal (totally agree) and this, which won the whole survey for me (I know I promised no wrong answers, but that doesn’t mean some can’t be more right than others): “That depends on what city. If it’s a city in this world, it’s Urban Fantasy. If it’s an imaginary world it’s fantasy.”
So, so far, so good. I agree that I’ve got my book on the right shelf calling it dark fantasy or urban fantasy. Yay!
Question 2: What genre is this cover?rangers-ebook-cover-kindle

A) Horror
B) Urban Fantasy
C) Dystopian
E) Zombie Apocalypse
F) Is this a trick question?
G) Other

Again, pick as many as you like.


The results here were… troubling. Horror. YA. Zombies. Dystopian.
I’m really not anywhere near any of these.
The rate of people picking UF was low enough that I have concluded that I’m going to have to put re-covering the series on my list of things to do, because I’m not selling to the right people. I’m just not.
Loud and clear, I think, and I’ll try to learn from it.
I think that the woman on the cover is probably too young, the color scheme is wrong, and… I might have to give up the chainsaw.
Le sigh.
I can work with that.
Once more, thank you.

Question 3: Which of the following TV shows would you consider ‘Urban Fantasy’?

A) Charmed
B) Grimm
C) Supernatural
D) Buffy the Vampire Slayer
E) True Blood
F) Arrow
G) Medium
Here, I knew there would be some gaps, because not everyone has watched every show, or even heard of them, but I used TV instead of books because it gives me a better shot at finding stuff people know well enough to have an opinion.
First, let me walk through why I picked these.
The ringer is Buffy the Vampire Slayer. It has literally every core element of popular Urban Fantasy, including featured but not central romance plotlines, a kick-butt heroine, the elder mentor, the grimoires, magic, vampires, angst, and a dark cityscape setting. And almost everyone has heard of it. I can’t come up with any reason to argue against Buffy being UF.
The next one on the list is Supernatural. There’s a case to be made that Supernatural is horror. I don’t agree with it, but I could see why you would ‘shelve’ it there, rather than UF. It’s also often quite rural. Other than that, this is my second-strongest case for UF. Magic, paranormal, adventuring, hero’s quests… On and on. Also very popular and well-recognized.
Grimm. I don’t watch Grimm. I started and it never hooked me. I consider it a little-brother to Supernatural, with a lot of the same mythological elements, the hero’s quest discovering the mythology of the world… Again, rural, and this time the world is a bit further away from ‘real’. Just a little, but it’s there. If you wanted to call it ‘mythological fiction’ rather than ‘urban’, I could see my way to agreeing that you have a valid perspective.
Charmed. The big sister of grimoire witches. Just about every mythology ever showed up at some point, the same kick-butt feminine leads. I figured that the only big miss on this one was that it’s been off the air for… kind of a long time, now. And the cityscape wasn’t quite so ‘urban’ as consistently as Buffy.
True Blood. This is the first one on the list that I might not have picked, because I think the romantic plotlines dominate the story more than a classic UF. I will admit, though, that I’ve never watched an episode – I’m going off of press and raves. I don’t know who the hero is – human or vampire. I just know that if you asked me, cold, what type of story it is, I’d call it paranormal romance.
Arrow. Another very-close-to-the-line pick. I was hoping to find that my core group of shows popped up everywhere, and that True Blood, Arrow, and Medium would show up in smaller subsets. I would say, ‘aha!’ and explain that they do have UF elements, but they’re missing core pieces. True Blood would be the central plotline outside of a romance, and Arrow is magic. I only made it about a season, but Arrow is, at its roots, a superhero plot. Can Superhero be UF? Fascinating question. Absolutely fascinating. My results didn’t help answer that question at all, I’m afraid.
Medium. This was my biggest stretch. Partially because Medium doesn’t look like an Urban Fantasy. The cinematography is well-lit, open and airy, even if it is urban. (Going solely on ads, here. Mea culpa.) It’s also a procedural, rather than an adventure. That matters. It’s also the weakest match to my core audience. I figured, of all of the shows I referenced, this would be the one that was least-often recognized, and you can’t categorize a show you don’t know. Here, at least, I think I was right. For what reason? Dunno.



The part of the results that were most mind-boggling to me weren’t the final distribution. It actually looks about right. The core 4 are best represented with Buffy winning, and the other three tail off in exactly the distribution I’d have expected. What was unexpected was how they came in.
I had three people pick six of seven. A bunch at five. I had a few pick three or four. Almost everyone else picked two or one, and the twos didn’t come in patterns. They were random. (Except Medium.)
Grimm, Supernatural, and True Blood.
Grimm and Buffy.
Supernatural, Buffy, and Arrow.
Just Arrow.
Just Charmed.
Just Grimm.
Just Supernatural
Supernatural, Buffy, and Medium.
And it goes on.
Going through it all once more, I think that I do find the trend I expected – that the young lead discovering and adventuring through a mysterious magical world full of supernatural conflict is the core of what readers see is UF – but there were a lot of combinations I didn’t understand.
Was it because I watch more TV than is good for me? That could be. It’s hard to know, given that I didn’t ask which ones they’d *seen* before I asked which ones they’d categorize, but I thought that that was overly-complex. Still think I was right, there.
That’s what I got.
Really sitting with the data in front of me and pulling it apart to write this, I think I’m reassured more than I’m troubled.
Rangers needs a new cover. Darn.
But the genre is what I thought it was. The tropes of adventuring and discovery of the paranormal resonate. And readers care enough to show up and tell me about it, when I ask.
Thank you.
So much.