Tag: fiction

Gods and Insects, yes it feels like that.

Gods and Insects, yes it feels like that.

The Day a Leaky Truck Inspired a Novel: The Story Behind Gods and Insects

In the late 1900s, I was spending a significant amount of time on the road, driving nearly 1,000 miles a week. Back then, I lived in Houston, a city notorious for its unpredictable weather and sprawling roadways. One of the most well-known highways in Houston is Loop 610, a giant ring encircling the city. It was (and still is) a requirement that hazardous material trucks use the loop instead of cutting through the downtown area. This rule made sense, given the risks involved in transporting dangerous substances through such a densely populated area. But one particular day on the loop changed the trajectory of my life in the most unexpected way.


A Rainstorm, a Leaky Truck, and a Spark of Curiosity

Houston weather is nothing if not unpredictable. You can be driving under sunny skies one minute and find yourself in the middle of a torrential downpour the next, and that’s exactly what happened on this day. As I made my way around Loop 610, following a chemical transport truck, the skies opened up. The rain poured down, and visibility became challenging. Yet, something about that truck caught my attention.There was an unusual amount of water draining from the back of the vehicle…far more than seemed normal, even during a rainstorm this heavy. My curiosity got the better of me. Why was there so much water spilling from this truck? Was it just rain runoff, or was there something else going on?Instead of continuing on my usual route through town via Highway 59, I decided to follow the truck, keeping a safe distance. I watched as the rain let up and the sun came out again. But here’s the strange part: the water draining from the truck didn’t stop. It kept flowing as if the storm had never ended.


A Suspicious Pattern and a Moment of Realization

The truck didn’t return to Highway 59 after completing its loop around the city. Instead, it kept circling. I followed it for a while, trying to make sense of what I was seeing. Was something leaking? Was the truck dispersing something intentionally? After completing more than one full loop around the city, I realized I’d wasted enough time, and likely exposed myself to who-knows-what. I decided to let it go and head home.But the experience stuck with me. Long after I stopped following that truck, I couldn’t shake the questions from my mind. What could have been leaking from that vehicle? Was it an accident, or something more sinister? The idea kept nagging at me, and before I knew it, a story began to form in my imagination. That day, the seed for my novel Gods and Insects was planted.


From a Leaky Truck to a Novel 30 Years Later

It took over three decades for the story to fully come to life. Gods and Insects, like my previous novel The Corrected City, sat in the proverbial file cabinet for years, stored away on an old hard drive while life moved on. But writing has always been my craft, my passion. With over 100,000,000 words written (yes, that’s with an M!), my skills have sharpened over time, and I finally felt ready to breathe new life into this story.The result? A novel born from a real-life moment of curiosity, suspense, and a little bit of danger. Gods and Insects is now available, and for the next 90 days, it’s free to read on Kindle Direct Publishing (KDP).


Why You Should Give Gods and Insects a Read

Sometimes, inspiration strikes in the most unexpected ways. For me, it was a mysterious chemical truck, a rainstorm, and a moment of curiosity that I couldn’t ignore. The resulting novel dives into themes of mystery, danger, and the unknown…born from a real-life experience that could have ended very differently.If you’re a fan of suspenseful, thought-provoking stories, I think you’ll find Gods and Insects well worth your time. Plus, it’s free on KDP right now, so there’s no excuse not to dive in and experience the tale for yourself.Enjoy the read, and remember, inspiration can strike when you least expect it. Sometimes, all it takes is a leaky truck on a rainy day to spark a story worth telling.

Your Turn: Join the Conversation and Dive Into Gods and Insects

Now that you’ve heard the story behind the story, I’d love to hear from you!

💬 Drop a Comment Below

Have you ever had a moment of curiosity that stuck with you for years? Maybe an unusual encounter, a strange sight, or a “what if” question that wouldn’t leave your mind? Share your story in the comments. I read every single one, and who knows, your experience might just inspire my next novel! I’d also love to hear your thoughts on this piece. Did the mystery of that leaky chemical truck grab your attention? What do you think was really going on?

📖 Grab Your Free Copy of Gods and Insects

Ready to see where that rainy day in Houston led? For the next 90 days, Gods and Insects is completely FREE on Kindle Direct Publishing (KDP). That’s right: zero cost, all suspense. Whether you’re a longtime sci-fi fan, a lover of mystery and intrigue, or someone who enjoys a story with real-world roots, this novel has something for you.👉 [Click here to download your free copy today!] (Insert your KDP link)Don’t wait. This free offer won’t last forever. Once the 90 days are up, the opportunity is gone.

⭐ Loved It? Leave a Review!

Here’s the thing about being an indie author: reviews are our lifeblood. They help other readers discover the book, they boost visibility on Amazon, and honestly? They mean the world to writers like me who’ve poured decades into their craft.So if you read Gods and Insects and enjoy it (or even if you have constructive thoughts to share), please take just two minutes to leave an honest review on Amazon. It doesn’t have to be long. Even a sentence or two makes a huge difference. Your words could be the reason another reader picks up this book and gets pulled into the mystery.


To recap:

  1. 💬 Comment below with your thoughts or your own “curious moment” story.
  2. 📖 Download Gods and Insects for FREE on KDP (limited time!).
  3. ⭐ Leave an honest review after you read it.

Thank you for being part of this journey. Every reader, every comment, and every review helps keep the stories coming. Now go grab that book, and happy reading! 🚚💧📚

How to Write Characters Who Do Stupid Things Without Making Your Story Stupid

How to Write Characters Who Do Stupid Things Without Making Your Story Stupid

Don’t Make Them Dumb. Make Them Desperate.

There’s a moment every writer dreads. You’re reading a review of your own work, or a beta reader’s notes, or a comment from a critique partner, and you see the sentence that stops your heart:

“This only happens because the character is an idiot.”

That’s the ghost that haunts fiction. The dreaded Idiot Plot: a story that only functions because its characters refuse to behave like thinking humans. Doors get opened. Warnings get ignored. Secrets get kept for no reason. And the reader closes the book feeling insulted.So writers overcorrect. We start scrubbing our characters clean of bad decisions. We make them cautious, competent, and reasonable. And then something worse happens.They become boring.Because here’s the truth nobody wants to say out loud: real people do stupid things all the time. They sabotage relationships. They chase desire over reason. They lie when the truth would be easier. They text the ex at 2 a.m. They touch the obviously cursed object. They open the basement door.The trick isn’t avoiding stupidity.The trick is making the stupidity psychologically believable.

Readers Don’t Hate Bad Decisions. They Hate Artificial Ones.

This is the distinction that changes everything.A reader will forgive almost any reckless action, whether infidelity, betrayal, self-destruction, or murder, if they understand the emotional logic driving it. What they won’t forgive is a decision that exists only because the plot needed it to exist.The difference isn’t in the action. It’s in the engine behind the action.An “idiot plot” character doesn’t check the security footage because the writer needs them not to. A believable character doesn’t check the security footage because they’re terrified of what they’ll see, or because they’ve spent thirty years learning not to look at things that hurt, or because their pride won’t let them admit they were wrong about the person on the other end of that camera.Same action. Completely different story.

Humans Are Not Rational Machines

Here’s where fiction has to catch up with psychology.We like to imagine ourselves as reasoning creatures who occasionally slip into emotion. The research says the opposite. We are emotional creatures who occasionally slip into reason. Fear, memory, shame, lust, anger, grief, and hope are running the show. Logic is mostly the press secretary trying to explain the disaster after it’s already happened.Or to put it more bluntly:

Humanity is not a rational species. We are emotional animals with car keys, Wi-Fi, and access to explosives.

If your characters make decisions the way a spreadsheet would, they’ll feel like spreadsheets. If they make decisions the way people actually do, through the fog of feeling, memory, and want, they’ll feel alive.

Give Every Bad Decision an Emotional Cause

This is the working rule. Every stupid choice in your fiction should be traceable to something underneath it. Not an excuse. A cause.Consider the difference:

  • A character ignores a clear danger because they need approval more than they need safety.
  • A detective withholds evidence because his pride was wounded by the person he’d have to admit was right.
  • A lover returns to a toxic relationship because desire feels like destiny, and destiny is hard to argue with at midnight.
  • A scientist activates the machine because being right matters more to him than being safe, and it always has.
  • A soldier disobeys a direct order because the past is louder than the command structure.

None of these characters are stupid. They’re human. And the reader, recognizing something of themselves in the wreckage, leans in instead of pulling away.

Pressure Makes Stupidity Plausible

Here’s a craft principle worth tattooing somewhere visible:The worse the pressure, the more believable the mistake.A character who makes a catastrophic decision while relaxed, well-rested, and fully informed just looks foolish. A character who makes the same decision while exhausted, aroused, terrified, ashamed, grieving, or cornered looks like a person.So before you let your character do something reckless, ask what’s pressing on them. Sleep deprivation. A dying parent. A secret they’ve been carrying for a decade. An old wound reopening. The threat of exposure. The nearness of someone they were supposed to have gotten over.Pressure is the writer’s best friend. It’s the atmosphere in which bad decisions become inevitable, and inevitability is the twin sister of believability.

Consequences Are What Make It Literature

Here’s where a lot of writers flinch.They set up a beautiful, psychologically rich bad decision, and then they protect the character from the fallout. The affair gets forgiven too easily. The lie gets buried too neatly. The reckless choice turns out fine.The reader feels cheated. Because they came for the crash, and you gave them a fender bender.If a character does stupid shit and nothing happens, the story deflates. But if the decision creates real fallout, whether guilt, danger, betrayal, revelation, or transformation, then the stupidity becomes story fuel. It generates the next scene, the next conflict, the next choice.Bad decisions aren’t a problem in fiction. Unearned consequences are.

The Rule: Don’t Protect the Character

This is the hardest part of the craft, and it’s where most writers, especially newer ones, get stuck.You will love your characters. You will want to shield them. You will feel the impulse to soften the blow, to let them off the hook, to write the version where everyone forgives them and moves on.Resist it.Let bad decisions cost something. Let the character lose the friend, the job, the marriage, the version of themselves they thought they were. That’s where tension lives. That’s where tragedy lives. That’s where comedy lives, too, because there’s nothing funnier than a person insisting they had no choice while the wreckage of their choices piles up behind them.Your job isn’t to keep your characters safe.Your job is to make their choices matter.

Stop trying to write smart characters. Start writing desperate ones.Desperate for love. Desperate to be right. Desperate to be seen. Desperate to escape a version of themselves they can’t stand anymore. Give them wants so loud they drown out reason, and then let those wants drive them into decisions that any outside observer would call stupid.Because that’s what people are. That’s what we do. We are magnificent, ridiculous creatures who know better and do worse, and fiction that pretends otherwise is fiction that isn’t paying attention.Don’t make them dumb.Make them desperate.And then let the reader watch, breath held, as your character reaches for the doorknob of the basement they were told never to enter and understands, with terrible clarity, exactly why they had to.

Yes, I need to plug one of my books that is close to this… The Girl Who Broke Everything

Ellie Morrow has spent six years in the foster care system learning one lesson above all others: she breaks things.

Televisions implode when she’s angry. Pipes rupture when she dreams. Crows gather wherever she goes, silent and watchful, as though waiting for a signal only they can hear. And deep behind her sternum, something that is not quite a heartbeat pulses with a power she never asked for: a residual fire left over from the night a mysterious golden light filled her parents’ car on Route 9, killed everyone inside except her, and left a seven-year-old child without a scratch or an explanation.“You are not broken, Ellie. You are not dangerous. And you are not disposable.”But the foster care system disagrees. And so, when an estranged grandmother named Agatha Morrow arrives to claim her, a woman who chose thirty years of silence over the burden of explanation, Ellie is pulled from the only world she has ever known into something older and stranger: the breathing, sentient world of the Morrow women.

A bloodline of immense power stretching back centuries. A house on a nameless mountain, built above a nexus of forces older than language. A legacy of magic and grief, of doors that should not be opened and things that sleep beneath foundations, of wards that answer to family and a home that has been waiting for the right Morrow to return.But Ellie is not merely inheriting power. She is awakening something. The blood moon is coming, and whatever has been dreaming in the deep places beneath the Morrow house, vast, impossibly old, and stirring for the first time in generations, has begun to rise, drawn upward by a girl whose emotions can crack buildings and whose light can fill a room with the color of old gold.

Part coming-of-age story, part Gothic supernatural mystery, and part meditation on grief, survival, and the terrible weight of belonging to something larger than yourself, the Girl Who . . . series asks one question and dares its heroine to answer it:

What are you becoming—and what will it cost?

A Story to Start or End with Wheels

A Story to Start or End with Wheels

A story from a prompt:

Imagine this: a room filled with the hum of creativity, the scratching of pens against paper, and the occasional burst of laughter as ideas collide.

That’s where you’ll find me, well by zoom since I moved to the country, a proud director of our small but fiercely passionate Writing Group in my old hometown.

This week? Oh, this week is special. The challenge is simple yet brimming with possibility: craft a story that begins or ends with a bicycle.

A single object, two wheels, infinite potential. Will it be a tale of freedom, of mystery, or perhaps of heartbreak?

The group is ready to dig deep, to wrestle with their imaginations and see where the humble bicycle takes them.And you?

You’re about to get a front-row seat to the magic that unfolds. Buckle up (or should I say, hop on?). The journey is just about to begin.

The following is my story from a somewhat childhood memory, and an imagination, as a girl with freckles and red hair is a part of the story.

The Bicycle and the Bay Mare

The summer Thomas turned twelve, the world smelled of hot asphalt and cut grass, and his blue Schwinn bicycle was the finest thing he owned.

His father had rescued it from a yard sale for eight dollars, sanded off the rust, and painted it the color of a robin’s egg.

Thomas rode it everywhere: to the creek, to the library, to the little store on Miller Road where Mrs. Halvorsen sold penny candy that hadn’t cost a penny in thirty years.

That Tuesday afternoon in July, he was flying down Ridgewood Lane with a paper bag of licorice ropes bouncing in his front basket.

The wind pulled at his hair. His legs pumped in perfect rhythm. He was, he decided, the fastest boy in the county, possibly the state, possibly the world.

He was thinking exactly this when a horse came around the bend.

It was enormous, a mountain of muscle and gleaming chestnut hide, hooves hammering the pavement like a blacksmith’s anvil.

Thomas had just enough time to see the flash of a red-gold mane, both the horse’s and the rider’s, before he yanked his handlebars sideways and sailed straight into Mr. Peterson’s hedge.

The Schwinn went one way. Thomas went another. The licorice went everywhere.

“Oh my gosh, are you alive?”

A face appeared above him, upside down through the tangle of privet leaves. Freckles. Green eyes. Hair the color of a maple tree in October, spilling down in wild waves that seemed to catch every scrap of sunlight and hold it hostage.

“I think so,” Thomas managed. A leaf was in his mouth. He spit it out with what he hoped was dignity.

“I am so sorry. Dolly spooked at a plastic bag. She’s a total drama queen about plastic bags, and I couldn’t get her to …”

The girl paused, tilting her head. “You’re bleeding.”

Thomas touched his elbow. He was, indeed, bleeding. It seemed a small price to pay for continuing to be looked at by this person.

“I’m Ellen,” she said, offering a hand streaked with horse sweat and dust.

“Ellen Brennan. We just moved into the yellow house on Fox Hollow.”

“Thomas,” he said. His voice came out slightly strangled.

“Thomas Kepler.”

She helped him up, retrieved his bicycle (which had a new and interesting bend in the front fender), and gathered up as many licorice ropes as could be salvaged.

The horse, Dolly, watched all of this with the mild, unimpressed expression of a creature who had caused chaos and considered her work done.

“Come by the stable sometime,” Ellen said, swinging back into the saddle with an ease that struck Thomas as miraculous.

She clicked her tongue, and Dolly wheeled around and cantered off, and Thomas stood in the middle of Ridgewood Lane holding a bent bicycle and a bag of dirty licorice, and knew with absolute certainty that his life had changed.

He waited three days. Three days felt appropriately casual.

Three days felt like a boy who had many important things to do and only happened, in passing, to remember there was a stable on Fox Hollow.

In truth, he thought about it every waking minute.

The Brennan place was set back from the road behind a row of oaks, with a weathered red barn and a paddock ringed by white fencing that had gone gray at the posts.

Thomas leaned his Schwinn against a fence rail and walked toward the barn, and there, in the shadowed doorway, was Ellen, not in the jodhpurs and boots he’d half-expected, but in cutoff jeans and a t-shirt with a hole in the shoulder, mucking a stall with a pitchfork nearly as tall as she was.

“You came!” she said, and her whole face lit up in a way that made Thomas’s ears go hot.

“Come meet everybody.”

Everybody, it turned out, was not just Dolly.

There was Dolly, yes, the chestnut mare from the road, but also a stocky black gelding named Pepper, a spotted pony called Bandit who had, according to Ellen, “opinions,” and an ancient white horse named Mr. Biscuit who was thirty-one years old and, Ellen said solemnly, the finest gentleman she’d ever known.

Thomas offered his palm the way Ellen showed him, flat and steady, and Mr. Biscuit breathed onto it with a warm, hay-scented sigh.

Something inside Thomas’s chest turned over.

“You should ride,” Ellen said.

“I don’t know how.”

“That,” she said, “is exactly why you should learn.”

He came back the next day. And the day after.

Ellen was a patient teacher and a merciless one.

She made him groom Mr. Biscuit for a full week before she’d let him sit on the old horse’s back, and even then, only at a walk, in circles, in the corral, while she called out corrections from the fence.

“Heels down, Thomas!”

“They are down!”

“Down like you mean it. Like gravity is your personal friend.”

He fell off twice. The first time he landed in soft dirt and Ellen laughed so hard she had to sit down. The second time he landed in something considerably less soft, and Ellen laughed so hard she cried, and Thomas found that he didn’t mind at all, because when she laughed her whole face crinkled up and her freckles danced.

By August he could trot without bouncing.

By September he could post.

By the time the leaves turned, Ellen let him ride Pepper, and the two of them went out along the trails behind the Brennan property, ducking under low branches, Dolly and Pepper’s hooves whispering through the fallen leaves.

The Schwinn stayed in the yard, propped against the fence.

Years unfolded the way years do: quickly, when you look back at them; slowly, when you’re inside them.

Thomas grew tall and lean, with a rider’s hands and a rider’s seat.

Ellen grew into her freckles.

They rode through four autumns and three summers together, through a hundred sunsets over the ridge, through a season when Mr. Biscuit lay down in his stall and did not get up, and Thomas held Ellen while she cried into his shoulder for the finest gentleman she’d ever known.

There was the winter Ellen’s father lost his job and she came to school with red-rimmed eyes, and Thomas learned that sometimes the most useful thing a person could do was simply be present, and quiet, and steady, the way Mr. Biscuit had once been for both of them.

There was the spring Thomas’s mother got sick, and Ellen rode over on Dolly every single afternoon, and sat with him on the porch, and didn’t try to fix anything, because some things can’t be fixed, only witnessed.

There was the first kiss, under the oak tree by the corral, when Thomas was seventeen and Ellen was seventeen and a half and had never let him forget the half.

There was the college years, and the long-distance letters, and the summer they both came home and knew, without saying it, that they were done pretending to be uncertain.

There was a small wedding in the Brennan’s front pasture, with folding chairs borrowed from the church and Dolly, gone gray around the muzzle now, watching over the fence like a chaperone.

The blue Schwinn stayed leaned against the fence rail where Thomas had first left it.

At first, someone would move it. Ellen’s father, when he mowed; Thomas himself, when he remembered. But the years wore on, and the bicycle wore down. The tires went flat. The chain went orange with rust. Ivy found the wheels first, then the frame. A morning glory climbed the handlebars one summer and never really left.

A robin nested in the basket the year Ellen turned twenty-four, and the year after that, and the year after that.

Nobody moved it anymore. It had become part of the fence, part of the yard, part of the place. A blue-green ghost of the boy who had once been the fastest in the county, possibly the state, possibly the world.

It is a Saturday afternoon in late June, and Thomas is thirty-four years old.

He and Ellen are down by the lake behind what used to be her parents’ farm and is now, deed and mortgage and all, theirs.

A red plaid blanket is spread on the grass beneath the willow. The picnic basket, her grandmother’s, the wicker frayed at the corners, one hinge held together with baling wire, sits open and mostly empty.

There are the last crusts of a sandwich. A jar with two swallows of lemonade. A peach with two bites taken out of it, one small (hers) and one large (his).

Not far off, in the shallow slope of the pasture, two horses graze in the slow, unhurried way of horses who know they are home.

One is a bay mare with a white star. The other is a chestnut gelding whose sire, if you traced the papers back far enough, was a mare named Dolly.

Ellen is lying on her back with her head in Thomas’s lap. Her red hair, still absurd, still catching every scrap of sunlight it can find, is spread across his knee. He is twirling a piece of it around his finger, the way he has been doing for fifteen years, the way he suspects he will still be doing when they are eighty.

“Do you remember,” she says, eyes closed, “the licorice?”

“I remember the licorice.”

“It was disgusting. The licorice.”

“It was covered in gravel.”

“And you ate it anyway.”

“I did not.”

“You did. I saw you. You ate a piece with a leaf stuck to it because you were trying to seem casual.”

Thomas laughs. Somewhere up by the house, on the other side of the pasture, leaning against a fence rail nobody has repainted in twenty years, a blue Schwinn bicycle is quietly dissolving into the landscape. Weeds have grown up through its spokes. A morning glory is in bloom on its handlebars. If you didn’t know it had once been a bicycle, you might not guess.

If you did know, you might think it looked less like a ruin and more like a small, patient monument. To a boy who rode too fast around a corner. To a girl on a horse who couldn’t stop. To the exact and unrepeatable accident of two lives colliding on a summer afternoon and choosing, ever after, not to come apart.

Ellen opens her eyes and looks up at him. The freckles are still there. The green eyes are still there. Everything, somehow, is still there.

“Thomas,” she says.

“Yes.”

“I’m really glad you didn’t die in that hedge.”

He bends down and kisses her forehead. The horses graze. The lake laps at the shore. The picnic basket holds its small ruins with dignity.

“Me too,” he says. “Me too.”

A Whisper from the Past, a Chance at Redemption

If that little taste of my writing intrigued you, then you won’t want to miss my novel, Nothing But Time.It begins with a letter…a letter that arrives three weeks after Jack Harper stopped mattering.Jack gave everything to his career.

His marriage slipped through his fingers. His daughter grew up without him. Forty-one years of sunsets went unwatched, and the roses? Never smelled.

Now retired, redundant, and utterly adrift, Jack is left wondering if it was all worth it.

Then, out of nowhere, he inherits an old farmhouse from Ed, the friend who once tried to warn him.

Ed, who escaped to Vermont years ago, died alone, and left Jack with one simple instruction:

“Tend the roses. Stop and smell them. Live.”

But the farmhouse isn’t what it seems. The radio crackles with broadcasts from 1943. The roses bloom when Jack kneels in the soil. And at the edge of the orchard, Ed keeps appearing—smiling, waiting, calling Jack to finally understand what he refused to see all those years.Some second chances come with instructions. Some come with ghosts.

Are you ready to discover which one Jack will choose?

Nothing But Time

Your Voice Matters

If this story resonated with you, don’t hold back, leave a comment! 

Your thoughts, your reactions, and your support are what keep this journey alive. I know you’re out there, and your presence means everything to me.

Go ahead, share your voice, and let’s keep this connection alive.
Have a blessed day…you’re the reason I do this.

-Scott

“From 9/11 to Flock Cameras: The Dystopian Novel I Started 15 Years Ago”

“From 9/11 to Flock Cameras: The Dystopian Novel I Started 15 Years Ago”

September 9, 2011, started like any other day. While stuck at a traffic light, I was on the phone with our New York office. Something happened; they put me on hold, and as I drove to the Dallas office, I listened to the world change. We can argue about the rumors that still surround Building 7, but suffice it to say, the world changed.

My normal way of dealing with grief is not to drone on about it with friends or family. My way is to write about it. If you follow me at all, you have no doubt read my blog post about writing letters or emails to people who are, let’s say, less than congenial. I use expletives and what have you to get the anger out of me and into the digital ethos, and of course, as much as I want to, I never send it. Burning bridges and being known as a hothead will get you nowhere.

Fast-forward six weeks after 9/11 and at least 3,000 deaths by “some people who did some things.” Bush and his administration enacted the Patriot Act, which is still alive and well today. The things those people did allowed our government to strip away some of our rights, trading them for safety. “Do you feel safe?”

Fast-forward to the Flock cameras, data centers, Alexa devices, smartphones, and, of course, drones. Do you feel safe?

Those Flock cameras, I learned, have microphones.

So, while spending these summer months of 100-plus-degree days clearing out old computer hardware, I found that file from 2011. I had started a book about a fictional city where a horrible event occurred, and much like the Patriot Act, what we see today closely resembles what I put into my book. Being a fan of Orwell, I wrote a dystopian near-future novel that is all but ready for one last edit.

Stay tuned for more updates and for when the book drops.

I am thinking about putting it on KDP Unlimited for those of you who can read it for free. Follow, hit that like button, and comment below if you have ideas you would like to share.Best,

Here is a link to my current books on Amazon.

What Are the Odds?

What Are the Odds?

A Writer’s Honest Take on Contests, Scams, and Chasing the Dream

What are the odds?As a writer and author, I occasionally post a story from a prompt and feed the machine $5 for a “chance” to win a contest. I also play the lottery from time to time. Not that I have an ice cube’s chance in hell of winning, but I do it when I travel. Long car trips on flat, nothing roads are a great way to ask the proverbial “what if?”

What would I do with X millions if I won? It could happen, right? Fortunately, I know what statistics are, so I don’t get too carried away with the fantasy. The same is true for casting my story onto the Reedsy website. Often, I look at the winning story and ask, how the hell did that one win?! I think I know.

The Predators in My Inbox

Putting my own vanity aside, the same skepticism applies to the predators who comment on my books through email, asking me if I would consider allowing them to be my agent. Truthfully, I could use their pitch about my book as a cover blurb. Of course, AI wrote it, and of course, it’s a scam designed to prey on my ego.

So I ask once again: what are the odds?

I have at least five people with the first name “Lauren” as new followers on my Reedsy story site.

All of the Laurens have different last names, and each of them is tempting my ego to override my God-given good sense. They want me to hand over money so they can “take my writing to the next level.”

The Engagement Game

IMHO, if I really wanted my story to win, I’d get everyone on this blog to go over there and “like” my story. That would tweak the algorithm, and maybe then a judge might actually read it and think, “Wow, that’s pretty good.”

Again IMHO, I seriously doubt someone sits down and reads 300-plus stories, each week and carefully weigh the pros and cons of each before crowning a winner. Much like monetized social media with its clicks, likes, and comments, contest platforms probably use engagement as a tool. (If I’m wrong, feel free to comment.)

So Why Do I Keep Paying the $5?

Ever since I ran across a young woman on YouTube (I think her name was Laura) who was going through school at the time parroting what she learned in vlogs, I wanted her company to succeed. They’re a bona fide business now and offer many services. I write, and I pay the money for feedback from other writers that range from “Wow, that’s a great story!” to “You need to make your character feel more like a living person instead of a zombie.”

A Modest Proposal for Reedsy

I propose the following adjustments to the current contest model:

  1. Introduce Written Feedback for All Entries Provide each contestant, regardless of outcome, with a brief written critique from a qualified reader or editor. Even two to three sentences of constructive commentary would deliver meaningful value.
  2. Adjust the Entry Fee to $10 Increasing the fee from $5 to $10 offsets the cost of providing individualized feedback and positions the contest as a premium, value-added service rather than a low-stakes lottery.
  3. Expand the Prize Pool A larger prize, funded in part by the adjusted fee structure, would attract a greater number of participants and elevate the prestige of the competition.

Anticipated Benefits

  • Increased Participant Retention: Writers will feel they are receiving tangible value for their investment, win or lose.
  • Enhanced Platform Credibility: Offering expert feedback reinforces the platform’s role as a professional development resource, not merely a contest host.
  • Higher Entry Volume: A larger prize purse combined with guaranteed feedback is likely to draw new entrants and reengage lapsed ones.
  • Stronger Competitive Positioning: Few writing contests currently offer feedback as part of the standard entry package. Adopting this model would differentiate the platform in a crowded market.

Feasibility Considerations

Assuming contest judging is conducted by human evaluators rather than automated tools, the additional effort required to generate short-form feedback should be minimal relative to the review process already underway. In practical terms, if judges are already reading entries to determine winners, capturing a few lines of impressions per submission is a modest incremental task with significant participant-facing value.

The proposed changes represent a low-risk, high-reward adjustment to the existing contest structure. By transforming the entry fee into an investment in personal development rather than a speculative gamble, the platform can strengthen participant loyalty, grow contest participation, and reinforce its standing as a trusted partner to the writing community.

A Note to My Fellow Writers

To every writer out there navigating this strange landscape with me, this one’s for you.

If you’re like me, your inbox is probably overflowing with “We love your book!” messages from “xyz Publishers” @gmail.com.

Go ahead, borrow that AI-generated blurb if it flatters you, have a laugh, and move on.

We’ve all seen them. We all know the game.

And if you, like me, still enter contests with your eyes wide open, take heart. The genuine followers you gain along the way, the ones who take the time to read your story and leave a thoughtful comment, are the real prize.

They aren’t trying to scam you. They’re walking the same road you are.There are too many of us to name, but we share something powerful in common: the desire to be the best writers we can be.

We keep showing up. We keep submitting. We keep writing, even when the odds feel long and the noise feels loud.

That shared drive is what makes this community worth being part of.

I’ve shared several tips on this blog to help fellow writers sharpen their craft, and I’ll keep adding more.

If any of this resonates with you, follow along for future posts, drop a comment below and tell me about your own experiences, and let’s keep lifting each other up.We’re in this together.

Have a blessed day!

MY Current Books

Why The Hook?

Why The Hook?

One of the things I notice most often in young or new writers is that they’ll come up with an idea that has real promise, but they never bait the hook. What exactly do I mean by that? They introduce a concept, a character, or a world that could genuinely captivate a reader, yet they fail to give the audience a compelling reason to turn to page two. The idea sits on the page like an empty fishing line dropped into the water, waiting for a bite that will never come.That’s where the literary hook enters the picture.

What Is a Literary Hook?

A literary hook is the opening element of a piece of writing, typically the first sentence, paragraph, or scene, designed to immediately capture the reader’s attention and compel them to keep reading. Think of it as bait on a fishing line: its sole job is to catch the reader before they can drift away to something else.Hooks work by creating one or more of the following effects:

  • Curiosity: a question the reader needs answered
  • Tension: a sense that something is wrong or about to go wrong
  • Emotional resonance: an immediate feeling the reader relates to
  • Disorientation: a strange or surprising image that demands explanation
  • Voice: a narrator so distinctive you have to hear more

Why Hooks Matter (Especially Across Genres)

For a psychological thriller, the hook does double duty. It must unsettle while intriguing. Readers of the genre expect to feel a shiver by the end of page one. For science fiction, the hook often carries the added burden of world building. You need to introduce something strange without confusing your reader out of the story.And for satire? The hook needs to make readers laugh or nod knowingly before they’ve finished their coffee.

Types of Literary Hooks with Examples

1. The Startling StatementA bold claim that stops the reader cold.

“It was a bright cold day in April, and the clocks were striking thirteen.” (George Orwell, 1984)

That extra hour on the clock signals immediately that this world is not ours. It’s a perfect example for science fiction writers.2. The Provocative QuestionPoses a puzzle the reader must resolve.

“Where’s Papa going with that ax?” (E. B. White, Charlotte’s Web)

Nine words, and you cannot stop reading. This technique translates beautifully to thrillers.3. The Character in CrisisDrops readers into the middle of trouble.

“The man in black fled across the desert, and the gunslinger followed.” (Stephen King, The Dark Tower)

Instant conflict, instant momentum.4. The Confession or Intimate VoiceCreates immediate intimacy with the narrator.

“I am an invisible man.” (Ralph Ellison, Invisible Man)

A first-person hook that promises psychological depth. It’s ideal inspiration for thriller writers.5. The Setting as MoodEstablishes atmosphere so strongly it becomes a character.

“124 was spiteful. Full of a baby’s venom.” (Toni Morrison, Beloved)

A house is spiteful? A baby has venom? You need answers.6. The Philosophical OpenerA universal truth, or a subversion of one, that makes readers think.

“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” (Jane Austen, Pride and Prejudice)

A well-crafted philosophical hook can carry irony and edge. George Carlin himself opened many bits with a mock-serious “truism” before dismantling it entirely.7. The In Medias ResBeginning in the middle of the action.

“They shoot the white girl first.” (Toni Morrison, Paradise)

Six words. Full stop. You’re already committed.

Crafting Your Own Hook: A Quick Checklist

When writing your opening line, ask yourself these questions:

  • Does it raise a question the reader must answer?
  • Does it establish voice, tone, or genre expectations?
  • Is every word doing work? (Cut anything that isn’t.)
  • Would you keep reading?

Every promising idea deserves a properly baited hook. Don’t let your best concept sit unread because the opening failed to invite anyone in. Give your reader a reason, right there in that first line, to commit to the journey you’ve built for them.As Carlin might put it: don’t just start your story. Ambush your reader.

In my book “Are You a Witch?” the hook is in the title. And also the first line on the first page… The last person brave enough to sit beside Sarah Beaumont on the bus was in third grade, right before Maisie Fontenot’s friendship bracelet turned black and crumbled to ash in her hand.

What Doesn’t Trend 

What Doesn’t Trend 

4:51 a.m.

The Butterfly effect in real life…


Maya scrolled through her feed at 4:51 a.m., unable to sleep. The blue light painted her face as video after video played automatically, each one louder than the last.A woman screaming at a barista over a mislabeled cup. 2.3 million views.A man filming himself berating an elderly cashier for moving too slowly. Trending.Two teenagers laughing as they knocked groceries out of a stranger’s hands. Shared 400,000 times.The comments section was a colosseum. People cheering. People imitating. People filming their own versions, hungrier and crueler, each one trying to outdo the last. A girl in Ohio recreated the grocery prank. A boy in Manchester filmed himself yelling at a waiter. In Seoul, a man livestreamed himself humiliating a delivery driver.One wingbeat. Then a thousand. Then a hurricane.Maya set her phone down. Her chest felt hollow, like she’d been breathing in smoke all night without realizing it.


The next morning, she walked into the corner café near her apartment. The barista, a young woman with tired eyes and a name tag that read Priya, braced herself when Maya approached the counter, shoulders drawn up like she was expecting a blow.Maya noticed.”Your earrings are beautiful,” Maya said quietly. “And thank you. For being here this early. I don’t know how you do it.”Priya blinked. Her shoulders lowered by a fraction of an inch, but it was a fraction that mattered.”That’s . . . that’s really kind of you to say.”Maya paid for her coffee. Then she paused. “And whoever’s next in line, I’ve got theirs too.”


Behind Maya stood a man named David, who hadn’t slept in three days. His mother was in the hospital. He’d been running on fumes and bitter thoughts, and he’d been rehearsing, all morning, the sharp things he wanted to say to the world.When Priya told him his coffee was already paid for, something in his chest cracked open. Not broken, but opened. Like a window in a stuffy room.He tipped twenty dollars he couldn’t really afford. Priya cried a little in the back room during her break.David drove to the hospital. In the elevator, he held the door for a nurse carrying too many files. She smiled at him, a real smile, and later that day, she was gentler with a patient who had been difficult all week. That patient, feeling seen for the first time in days, called his estranged daughter that evening.They talked for two hours.


None of this trended. None of this was filmed. There was no hashtag for the daughter who heard her father say I’m sorry for the first time in her life. No viral clip of Priya humming while she wiped down the counter. No algorithm boosted the moment David sat beside his mother’s bed and whispered, “Someone was kind to me today, Mom. A stranger. Can you believe that?”The butterfly’s wings beat silently.But they beat.


Somewhere, a storm of cruelty was building: loud, fast, addictive, easy. It would rage across screens and inboxes and comment sections. It would feel, to anyone watching, like the whole world.And somewhere else, quieter, slower, harder to see, another current was moving. A woman complimenting a stranger’s earrings at dawn. A tip left in a jar. A door held open. A father saying I’m sorry. A daughter saying I forgive you.Both were spreading. Both were real.The only question, the only question that has ever mattered, is which set of wings you will be.


The world you scroll through tomorrow is being built by what you do in the next five minutes.Choose your wings carefully. They’re bigger than you think. 🦋

Have a Wonderful Monday!

And here is the shameless plug for a book with a twist, a vampire and magic...

“The painting hung like a secret in the museum’s quiet corridors. It wasn’t supposed to matter. Until it did.”

Peter Thomas didn’t sign up for this. A young art student working nights as a museum guard, he only wanted to get closer to the masterpieces he loved. But when he stumbles upon a haunting portrait of a woman trapped in a gilded frame, his life begins to unravel. The painting isn’t just art—it’s alive. And it’s hungry. As Peter is drawn deeper into the museum’s shadowy mysteries, he uncovers the story of Vanessa, the king’s daughter cursed to an eternity behind the canvas, and the vampire who’s spent centuries trying to save her. But breaking the spell comes with a cost: someone has to take her place. And under the glow of a blood moon on Halloween night, Peter realizes that someone might be him. Trapped between a love story centuries in the making and the monstrous truth of Vanessa’s curse, Peter must choose: his life, or hers. Perfect for fans of Crimson PeakThe Picture of Dorian Gray, and gothic tales of love, sacrifice, and haunting beauty, The Girl in the Gilded Frame will pull you into a story you’ll never forget. How far would you go to save someone who’s already stolen your heart?

Fireflies and Front Porches

Fireflies and Front Porches

Old Tom eased himself down onto the weathered porch swing, the same one his grandmother used to sit on back when the world was smaller and Sundays lasted forever. The chains creaked out that familiar song, the one that had rocked him to sleep more times than he could count. He set his coffee down on the arm of the swing, just the way Granny used to, and let his eyes drift out over the yard.

Lord, how that yard used to sing.

He could still see himself, no bigger than a bushel basket, running barefoot through Granny’s sprinkler on a July afternoon so hot the crickets forgot to sing. His cousins would be hollerin’, and Granny would be shellin’ peas on this very porch, laughing that laugh of hers that sounded like wind chimes in a summer storm. There was a tire swing hangin’ from the old oak back then, the one Papaw hung the summer before he passed, and Tom reckoned he’d spent half his childhood spinnin’ round on that thing till the whole world went dizzy.

And then there was Ginger.

Ginger Mae Halloway, with her freckles like somebody’d taken a pepper shaker to her cheeks, and hair the color of a copper penny left out in the sun. She lived three houses down, and from the time they were both knee-high to a grasshopper, wherever you found one, the other wasn’t far behind. He remembered the first time he ever thought maybe girls weren’t so bad after all. It was a June evening, the kind where the sky turns purple like a bruise, and the fireflies came out by the thousands down in the woods behind Granny’s place.

“Catch me one, Tommy!” she’d hollered, and off they went, tearin’ through the honeysuckle and the tall grass, cupping those little glowin’ bugs in their hands like they were catchin’ stars. He caught her hand instead of a firefly that night, and she didn’t pull away. He was nine years old, and he knew, knew the way a boy knows things before he has words for ’em, that Ginger was his girl.

They grew up tangled together like the wild roses on Granny’s fence. Homework at her kitchen table. Church on Sundays, sittin’ three pews apart tryin’ not to giggle. High school dances where he stepped on her toes and she pretended not to notice. By the time they were eighteen, everybody in town just figured, well, that’s Tom and Ginger. Been Tom and Ginger since they were shorter than the corn.

He gave her his grandmother’s ring on the porch, right where he sat now, the fireflies just startin’ to blink awake in the woods. She cried. He cried. Granny cried loudest of all.

Then life happened, the way life does.

There was a job in the city, a good one, they said. Just for a few years, he told Ginger. Just till we get on our feet. She smiled that copper-penny smile and packed his lunches and kissed him goodbye at 5:30 every mornin’. The apartment was small, and the city was loud, and there were no fireflies, just streetlights that hummed and never blinked.

The job turned into a career. The career turned into a title. The title turned into a corner office with a view of somebody else’s corner office. And every year, Tom would say, Just till the next promotion, honey. Then things’ll slow down.But things never slow down.

Not for a man chasin’ something he can’t quite name.Ginger became what folks call a work widow, sittin’ at supper tables set for two with only one plate touched. She’d call him at the office and get his secretary. She’d wait up till 10, then 11, then she’d stop waitin’ up. She never complained. That was Ginger. She’d just say, I’ll be here, Tommy. You do what you gotta do.

The promotion came. And with it, more hours. More trips. More dinners with clients whose names he couldn’t remember the next morning. His boss clapped him on the back and called him a rising star. His secretary sent flowers to Ginger on their anniversary because Tom forgot. Again.

He didn’t make it home when Granny passed. Big meeting in Chicago. He sent lilies.

And now here he was, all these years later, back on that porch. The swing still creaked. The oak still stood, though the tire was long gone. The woods still whispered at the edge of the yard.

And Ginger, Lord bless her, Ginger was inside, humming to herself while she washed the supper dishes, her copper hair gone silver now, but that smile still the same when he’d walked through the door last week and said, Honey, I retired. I’m home. I’m really home this time.

The first firefly of the evening blinked on down by the tree line. Then another. Then a hundred more, till the whole woods lit up like Christmas.

The screen door creaked open behind him. “Tommy?” she said. “You comin’ in?”

He reached back and caught her hand, just like he did when he was nine.”In a minute, Ginger Mae,” he said, his voice soft as porch light. “Come sit with me a spell. The fireflies are out.”


The Moral

A man can spend his whole life chasin’ after somethin’: a bigger paycheck, a fancier title, a pat on the back from a boss who’ll forget his name the day he retires. He can trade his mornings and his evenings and his Sundays for a corner office and call it success.

But at the end of it all, when the swing stops creakin’ and the porch light goes dim, ain’t nobody ever laid on their deathbed wishin’ they’d spent one more hour at the office.

The job will replace you before your desk is cold. The money spends and it’s gone. The accolades fade quicker than perfume on a Sunday dress.

But the girl with the copper hair? The porch swing? The fireflies in the woods?

Those are the things worth keepin’ your eyes on. Because those are the things that keep their eyes on you.

***

I hope you all have a wonderful weekend. If you have fireflies where you are…Well…you know what to do. =Scott

Back in My Young Man’s Days: Have We Really Learned Anything?

Back in My Young Man’s Days: Have We Really Learned Anything?

There’s an old Max Bygraves song called “Back in My Young Man’s Days” that most of you have probably never heard of. Unless, of course, you happen to be an aficionado of Turner Classic Movies or music from that era. I am both, proudly, and perhaps a little wistfully. As I go about doing the things that men my age tend to do, my mind wanders. It wanders to the news of the day, to memories of the past, and sometimes, more often than I’d like, to the sting of death. And then I put on a song like “Back in My Young Man’s Days,” and I can’t help but ask myself a hard question:Have we learned nothing?

The Same Old Story, Just Louder Now

If the leaders, the megalomaniacs, the dullards, the people who don’t seem to mind putting your life on the line, had to face the same risks as the soldiers who die by the tens of thousands every time someone rattles a saber, one has to wonder how differently the world might look. Then I open up X or scroll through some other social media platform, and what do I see? You’ve seen it too. People behaving badly. Or as one influencer bluntly puts it, “chimping out.”

It makes me wonder: is there something in the water? Something in the food? Some invisible force driving us back to the basic animal instincts of lions and tigers and bears …Go ahead. Say it. Oh my.

Seriously though, if you’ve ever watched one of those nature documentaries where the narrator calmly describes the lions stalking their prey on the savannah, you know exactly what I’m talking about.

The Camera in Every Pocket

Then it dawns on me. Back in my young man’s days, nobody had a video camera in their pocket. Back in my young man’s days, we barely had a Kodak, and heaven forbid, a Polaroid was a luxury. So I have to ask: What if we had? Would we have seen the same carnage back then that we see today? Would Andy Griffith and “Leave It to Beaver” have been the anomaly, or would they have been the standard?

I suspect the truth is uncomfortable.

The Mob Was Always There

Back in my young man’s days, I saw the mob mentality firsthand. I saw boys trying to prove they were men by picking on the timid, the frail, and the girls. Nobody was immune to the red-headed bully who was feeling his oats, or, as I now suspect, feeling his hormones running amok as curly hairs sprouted in places they had never been before.The cruelty was there. The mob was there. We just didn’t have the receipts.

25,000 Mothers a Week

But some things do feel bigger now. Heavier. More absurd. Do you ever think about simpler times? Do you ever wonder how leaders like Putin and Zelensky can be okay with 25,000 young men being killed each week?

Twenty-five thousand.That means 25,000 young mothers each week who have to live with the reality that their baby is never coming home. That’s not a statistic. That’s an ocean of grief we can’t seem to stop refilling.

Food for Thought

Were your parents like the Beav’s?

Mine weren’t. But they were both there, and looking back, that mattered more than I understood at the time. Maybe we didn’t live in a simpler time. Maybe we just lived in a time with fewer cameras, fewer platforms, and fewer megaphones for our worst instincts. But the questions remain the same ones humanity has always wrestled with: Why do we hurt each other? Why do we send our sons to die? And why, with all our progress, do we keep circling back to the same sorrow?Food for thought.


What do you think? Do you find yourself longing for simpler times, or just quieter ones? Share your thoughts in the comments.

Echoes of Tomorrow

Get your copy here…