Talented author Gorg David Huff of Austin, Texas has agreed to an interview to tell us about his adventures in writing. This is a road not traveled alone and he reveals to us how others have affected his writing career along the way. Rather than be a man of many trades, he decided to put his all into writing and it has become his life's work.
What is your genre?
Now that's a question that is subject to interpretation. If you mean writing, painting, sculpting, music, then it's mostly writing with a bit of cartography and some painting. As to type of writing, it's science fiction, mostly alternate history, but also magic and space opera. The painting is mostly impressionism to abstract.
What can you tell us about "Ritter" in particular?
A decent respect for the opinions of mankind compels me to define Ritter. A ritter, in this case, is not a German knight, but a writer who can't spell. Not being able to spell, as you might imagine, makes the writing process somewhat more difficult. It makes or made for most of my life, being published not just impossible but unthinkable. Even now with the literally amazing advances in spell checking, I'm still close to unpublishable without my co-author Paula Goodlett, who can spell as well as find the many and varied other errors that creep into anything I write.
How long have you considered yourself a writer?
From the moment someone paid me for a story. In my case that was the publication of "The Sewing Circle" in the first Grantville Gazette electronic version. If I recall correctly, I was paid two and a half cents a word. The paper version of GGI was published in 2004, so the electronic magazine was probably in '02 or '03.
What inspires and motivates you to write?
Money works really well. But that can't be all of it because I have been trying and failing since my twenties at least. See the whole ritter bit above. And no one pays for unpublishable stuff.
How did you start out?
If you mean successfully, it was an argument in the 1632 Tech conference on Baen's Bar. I and someone were discussing the effect that the introduction of sewing machines would have on the tailors of the seventeenth century. If I remember right, I was arguing that it wouldn't hurt them all that much. Oops. Anyway, someone butted in and claimed it didn't matter because it would be at least a decade before anyone in Grantville would have time to even look into the issue.
That upset me greatly, because the tone of the post implied that we shouldn't be taking up bandwidth with our silly arguments. So I sat down and wrote up about a thousand words outline of how some kids and an old woman might do it with very little input from the "important people."
At that point, Virginia DeMarce asked if I could expand it. I explained that I had covered most of the technical issues in the previous post, so really all I could do was expand the characterization.
Virginia said to go ahead and add the characterization. So I did. It was still more a game than a real writing job, but it turned out to be something they wanted. If you look back at the posts on 1632 Tech at the time, much of it deals with the questions that they were talking about then.
What was the publishing process like?
Amazingly gentle, which is truly unusual. Virginia had just made the grid (a listing of all the up-timers that came through the Ring of Fire) and I was told I had to use characters from the grid, which is how Trent and Brent became brothers. That actually caused some problems, because the original plot had Sarah interested in Brent and both the other boys interested in Sarah. In any case, I kept expanding and put up a post of the next bit every day. People on the Bar would comment. Kerryn Offord was editing my posts and fixing the errors as I posted them, expanding, adding characterization and the like till it came in around 34,000 words and then Eric bought it. It was my third story, I think, when things got a bit less gentle. I got an email from Eric Flint telling me my spelling, punctuation, and so on was simply unacceptable. And wanting to know if there was a real problem, or if I was just too much of a lazy bum to do it right. Not in those words, but that was the jist as I remember it.
At that point I figured I was screwed. Because as it happened, when I was in college an English teacher had me tested. She read my stuff and determined that no one could write that well and that badly at the same time if there wasn't a problem. The test came back dysphasic/dyslexic class four. That's the least disabled category that's still considered disabled. Whatever that means. Many years of grim experience have taught me it means that with lots and lots of work I can get closer to the literacy line, but I will remain on the wrong side of it.
Those same years had taught me that there were two basic responses people had to being told someone is dyslexic: "Oh, I have that too." or "Oh, that's just a scam. An excuse for people that aren't willing to put in the work to learn to do it right."
Of the two the first is most irritating, but the second is most common and most damaging to your prospects. Eric didn't have dyslexia. He, in fact, has a reputation for turning in unusually clean manuscripts. So, I was expecting number two to land on me hard. But, with nothing to lose, I wrote Eric back explaining the problem. It turns out there's a third response. "Okay. If there is a real problem, we'll find a way to work around it."
What’s your typical writing session and environment like?
In general what happens is that Paula and I each sit down at our computers. Me in Austin, Paula in Florida, and call up whatever document we are working on in Google docs. Then one of us calls the other on Skype, and we talk about what we are going to write. I write the first draft in confusion, Paula translates it into English. At the same time we are discussing what the various characters are doing and why, what we need to show to bring the reader into the story and make things make sense.
Tell me about influences, if any:
Robert A Heinlein, J.R.R. Tolkien, Ayn Rand (That's right I was a Randite when I was fourteen. A truly misspent youth.) Eric Flint, Anne McCaffrey, David Weber, David Drake. Lots more.
While I have long since outgrown Ayn Rand, I still think she is perhaps the best at selling BS of any writer I have ever read. My favorite example is a flashback scene where the heroine Dagny Taggart, the villain James Taggart, and major supporting character Francisco De Ancona are teens discussing what they will do when they grow up. Francisco says he intends to "Make money." James Taggart scoffs saying "Any scoundrel can do that!" Francisco responds. "You should learn, James, that words have exact meanings."
The neat thing about that little vignette is that it is wrong on three levels at once, but she still manages to sell it.
On the most basic level, words almost never have exact or precise meanings. What they have is a shotgun blast of multiple meanings, sometimes related, sometimes not. That's why we have phrases, sentences and paragraphs to refine and select between the meanings of words. It's also how pejoratives work, by the way, by tying together meanings that aren't actually related.
The meanings she chooses are the wrong ones. "Money," for instance, can mean bills or coins, it can mean bank accounts or bonds, but is generally less inclusive than the broader term "wealth." So, building a house or a car or running a copper mining operation, wouldn't fall within the definition of making money, because it isn't adding to the money supply, but to the wealth in the world.
"Make" can indeed mean "to create," but it can also mean "to acquire" or "to gain." But if he is going to make money in the sense of acquiring money, then James' criticism is spot on.
The phrase make money, by long standing general usage means to acquire funds, not to create them. An exact definition of the words make money, were one possible, would leave Francisco working for the treasury department, or a counterfeiter. The proper words for what the reader was expected to take away as Francisco's meaning would have been "create wealth." However, that wouldn't have elicited the response she wanted from James.
And through all that she manages to leave the reader with the impression that Francisco has a mind like a steel trap and James is the sloppy thinker. It's brilliant in its simplicity. She slips it in while the reader is deep in the reader's trance, leaving us with a set of assumptions that we don't even notice we have. Assumptions that help support the primary assumption of Atlas Shrugged. Which is that there only a few real people, people who matter, and the rest are drones. And if the microscopically few who matter stop doing their thing, the world will collapse. It's a very attractive scenario for a fourteen-year-old who is convinced he's one of the few.
What are your favorite writing tools?
For anyone, but especially for me, line editing your own work is difficult to impossible. But Textaloud by Nextup.com is very useful. Letting you hear what's really there, not read what you thought you wrote.
Google Docs, for the fact that it can be accessed from anywhere, the fact that Paula and I can both access it at once, and for its spell checker, which I am starting to think is an emerging intelligence. It's certainly better than any other spell checker I have ever seen. For general resources the net and Wikipedia. Wikipedia is accurate, but not authoritative. Something that the authorities are uncomfortable with. If you're actually doing something rather than turning in a bibliography for a grade, it works well. I encourage everyone to donate a few bucks to its continuation.
What exposure or recognition have you had?
Just pay. Oh, and 1636: The Kremlin Games made it onto the extended New York Times Bestseller list. But no awards.
What is the most annoying remark made to you about your writing?
Individually, it is probably the Amazon Review of "The Slavery Attractor" where the guy says I say things that I don't. More generally, it's the assumption that stuff won't work. The Air Cushion Landing Gear on the Monster is just one example.
Do you have any regrets pertaining to your writing?
That the opportunities, support and technologies that allow me to work at this didn't happen sooner.
What plans do you have for future work?
When Eric Flint opened up his 1632 universe to new writers, it gave me my shot. So, in the spirit of "pay it forward," I came up with the merge world multiverse. The merge world multiverse is designed with the intent that it have room enough for a lot of authors to play without interfering with each other too much, but with enough structure to provide a commonality of interest for the readers.
In the Merge World, the magic of a fictional fantasy roleplaying game called WarSpell suddenly started working. (We, Paula and I, made up our own RPG rather than use D&D, Runequest or GURPS, because we don't want to be sued, but characters and adventures from other games would work as the basis for stories or books.) It's called the Merge World because not only did WarSpell magic start working but everyone that ever played WarSpell merged with one of the characters that they played. Even if they had only played one game on what turned out to be a really sucky date.
That produces a situation on Earth not that dissimilar to the X-Men, a sudden minority of people who have special powers and abilities. And rather a lot of reason for the rest of the world to fear them.
At the same time, the merges worked both ways. Just as the players got the memories and abilities of the characters they played, the characters got the memories and knowledge of the players who played them. So there are millions of game worlds that now have one or two, or up to a couple of dozen, people who suddenly have memories of technology and what it can do.
At this point we have a book, Ante Up, at Advanced Reader Copy stage about one of those other worlds and several stories about the merged earth and how it is responding to the Merge. What we don't have is a publisher for the series. At some point, and sooner rather than later, I need to set up a website or subscription blog with the basic introductory stories for free and then for those interested new stories as we get them written. And hopefully other stories by other authors in the merge world multiverse. Also other science fiction and fantasy stories by Paula and I.
What advice would you give to aspiring authors?
First, write. Like any other talent it works best combined with skill, which is produced by practice. It's said that you don't know how to write till you've written a million words of crap, and I think it's probably true. Certainly, I'm a lot better at it than I was when I wrote "The Sewing Circle."
Second, try a limiting genre like alternative history or a predefined fantasy world. It's like composing music in a particular style. The limitations can help you control your writing while you build the skills involved. That is another reason that the 1632 universe is so helpful to so many writers, and also why things like Star Trek books are often a good place for writers to hone their skills. Writing, especially, science fiction and fantasy writing is potentially very free form. You can do anything and it's tempting, very tempting. That makes it all too easy to end up writing something that reads like an acid trip. Writing a western or a murder mystery can have the same basic restraining effect.
And when we get the blog online magazine or come play in the merge world multiverse. *wink*
How do you promote your work?
Not nearly as well as I should.
Have you sold any of your books? If so, how?
1636: The Kremlin Games. We started out by writing a continuing serial in the Grantville Gazette. Then Eric told us to expand it into a book. So about half the book was sold as shorts before the book was brought up as a book.
1636: The Viennese Waltz. We had the contract for Waltz before we had the contract for Games, but these are books that fit in a series and Waltz was set in Vienna, the capital of the Austro-Hungarian Empire. Not off in Russia where no one much cared. Actually Paula and I did write it as instructed and Eric put it on the shelf because the rest of the series hadn't caught up. The rest of the series still hasn't caught up with our original version, but a few months ago Eric decided that we could take the first half and expand that into a book.
So we did, and it's turned in and Paula has the page proofs. It will be out in November, last I heard. And you can pre-order it on Amazon.
1636: The Barbie Consortium is a companion piece to 1636: The Viennese Waltz that Baen is putting out strictly as an e-book at the same time they publish 1636: The Viennese Waltz. It's mostly rewrites of stories already published in the Grantville Gazette but with several thousand words of new stuff. The new stuff ties the stories together into a cohesive novel.
1637: The Wild Wild East we have an agreement on but not a contract yet. Paula and I are finishing it up and will send it to Eric this month probably. It won't be coming out till 2016 maybe.
Honestly, the way we got published is by having a patron, Eric Flint. Sorry that's not more helpful.
Which of your books are you wanting to focus on the most right now? And which are you personally most proud of?
Probably Viennese Waltz and the Barbie Consortium and I have added descriptions of the eBooks up on Amazon.com. Paula and I also have several self published eBooks up on Amazon.com:
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| Book #18 in the multiple New York Times best-selling Ring of Fire series |
What is your genre?
Now that's a question that is subject to interpretation. If you mean writing, painting, sculpting, music, then it's mostly writing with a bit of cartography and some painting. As to type of writing, it's science fiction, mostly alternate history, but also magic and space opera. The painting is mostly impressionism to abstract.
What can you tell us about "Ritter" in particular?
A decent respect for the opinions of mankind compels me to define Ritter. A ritter, in this case, is not a German knight, but a writer who can't spell. Not being able to spell, as you might imagine, makes the writing process somewhat more difficult. It makes or made for most of my life, being published not just impossible but unthinkable. Even now with the literally amazing advances in spell checking, I'm still close to unpublishable without my co-author Paula Goodlett, who can spell as well as find the many and varied other errors that creep into anything I write.
How long have you considered yourself a writer?
From the moment someone paid me for a story. In my case that was the publication of "The Sewing Circle" in the first Grantville Gazette electronic version. If I recall correctly, I was paid two and a half cents a word. The paper version of GGI was published in 2004, so the electronic magazine was probably in '02 or '03.
What inspires and motivates you to write?
Money works really well. But that can't be all of it because I have been trying and failing since my twenties at least. See the whole ritter bit above. And no one pays for unpublishable stuff.
How did you start out?
If you mean successfully, it was an argument in the 1632 Tech conference on Baen's Bar. I and someone were discussing the effect that the introduction of sewing machines would have on the tailors of the seventeenth century. If I remember right, I was arguing that it wouldn't hurt them all that much. Oops. Anyway, someone butted in and claimed it didn't matter because it would be at least a decade before anyone in Grantville would have time to even look into the issue.
That upset me greatly, because the tone of the post implied that we shouldn't be taking up bandwidth with our silly arguments. So I sat down and wrote up about a thousand words outline of how some kids and an old woman might do it with very little input from the "important people."
 |
| Original Art by Gorg Huff |
At that point, Virginia DeMarce asked if I could expand it. I explained that I had covered most of the technical issues in the previous post, so really all I could do was expand the characterization.
Virginia said to go ahead and add the characterization. So I did. It was still more a game than a real writing job, but it turned out to be something they wanted. If you look back at the posts on 1632 Tech at the time, much of it deals with the questions that they were talking about then.
What was the publishing process like?
Amazingly gentle, which is truly unusual. Virginia had just made the grid (a listing of all the up-timers that came through the Ring of Fire) and I was told I had to use characters from the grid, which is how Trent and Brent became brothers. That actually caused some problems, because the original plot had Sarah interested in Brent and both the other boys interested in Sarah. In any case, I kept expanding and put up a post of the next bit every day. People on the Bar would comment. Kerryn Offord was editing my posts and fixing the errors as I posted them, expanding, adding characterization and the like till it came in around 34,000 words and then Eric bought it. It was my third story, I think, when things got a bit less gentle. I got an email from Eric Flint telling me my spelling, punctuation, and so on was simply unacceptable. And wanting to know if there was a real problem, or if I was just too much of a lazy bum to do it right. Not in those words, but that was the jist as I remember it.
At that point I figured I was screwed. Because as it happened, when I was in college an English teacher had me tested. She read my stuff and determined that no one could write that well and that badly at the same time if there wasn't a problem. The test came back dysphasic/dyslexic class four. That's the least disabled category that's still considered disabled. Whatever that means. Many years of grim experience have taught me it means that with lots and lots of work I can get closer to the literacy line, but I will remain on the wrong side of it.
Those same years had taught me that there were two basic responses people had to being told someone is dyslexic: "Oh, I have that too." or "Oh, that's just a scam. An excuse for people that aren't willing to put in the work to learn to do it right."
Of the two the first is most irritating, but the second is most common and most damaging to your prospects. Eric didn't have dyslexia. He, in fact, has a reputation for turning in unusually clean manuscripts. So, I was expecting number two to land on me hard. But, with nothing to lose, I wrote Eric back explaining the problem. It turns out there's a third response. "Okay. If there is a real problem, we'll find a way to work around it."
What’s your typical writing session and environment like?
In general what happens is that Paula and I each sit down at our computers. Me in Austin, Paula in Florida, and call up whatever document we are working on in Google docs. Then one of us calls the other on Skype, and we talk about what we are going to write. I write the first draft in confusion, Paula translates it into English. At the same time we are discussing what the various characters are doing and why, what we need to show to bring the reader into the story and make things make sense.
Tell me about influences, if any:
Robert A Heinlein, J.R.R. Tolkien, Ayn Rand (That's right I was a Randite when I was fourteen. A truly misspent youth.) Eric Flint, Anne McCaffrey, David Weber, David Drake. Lots more.
While I have long since outgrown Ayn Rand, I still think she is perhaps the best at selling BS of any writer I have ever read. My favorite example is a flashback scene where the heroine Dagny Taggart, the villain James Taggart, and major supporting character Francisco De Ancona are teens discussing what they will do when they grow up. Francisco says he intends to "Make money." James Taggart scoffs saying "Any scoundrel can do that!" Francisco responds. "You should learn, James, that words have exact meanings."
The neat thing about that little vignette is that it is wrong on three levels at once, but she still manages to sell it.
 |
| Original art, by Gorg Huff |
The meanings she chooses are the wrong ones. "Money," for instance, can mean bills or coins, it can mean bank accounts or bonds, but is generally less inclusive than the broader term "wealth." So, building a house or a car or running a copper mining operation, wouldn't fall within the definition of making money, because it isn't adding to the money supply, but to the wealth in the world.
"Make" can indeed mean "to create," but it can also mean "to acquire" or "to gain." But if he is going to make money in the sense of acquiring money, then James' criticism is spot on.
The phrase make money, by long standing general usage means to acquire funds, not to create them. An exact definition of the words make money, were one possible, would leave Francisco working for the treasury department, or a counterfeiter. The proper words for what the reader was expected to take away as Francisco's meaning would have been "create wealth." However, that wouldn't have elicited the response she wanted from James.
And through all that she manages to leave the reader with the impression that Francisco has a mind like a steel trap and James is the sloppy thinker. It's brilliant in its simplicity. She slips it in while the reader is deep in the reader's trance, leaving us with a set of assumptions that we don't even notice we have. Assumptions that help support the primary assumption of Atlas Shrugged. Which is that there only a few real people, people who matter, and the rest are drones. And if the microscopically few who matter stop doing their thing, the world will collapse. It's a very attractive scenario for a fourteen-year-old who is convinced he's one of the few.
What are your favorite writing tools?
For anyone, but especially for me, line editing your own work is difficult to impossible. But Textaloud by Nextup.com is very useful. Letting you hear what's really there, not read what you thought you wrote.
Google Docs, for the fact that it can be accessed from anywhere, the fact that Paula and I can both access it at once, and for its spell checker, which I am starting to think is an emerging intelligence. It's certainly better than any other spell checker I have ever seen. For general resources the net and Wikipedia. Wikipedia is accurate, but not authoritative. Something that the authorities are uncomfortable with. If you're actually doing something rather than turning in a bibliography for a grade, it works well. I encourage everyone to donate a few bucks to its continuation.
What exposure or recognition have you had?
Just pay. Oh, and 1636: The Kremlin Games made it onto the extended New York Times Bestseller list. But no awards.
What is the most annoying remark made to you about your writing?
Individually, it is probably the Amazon Review of "The Slavery Attractor" where the guy says I say things that I don't. More generally, it's the assumption that stuff won't work. The Air Cushion Landing Gear on the Monster is just one example.
Do you have any regrets pertaining to your writing?
That the opportunities, support and technologies that allow me to work at this didn't happen sooner.
What plans do you have for future work?
When Eric Flint opened up his 1632 universe to new writers, it gave me my shot. So, in the spirit of "pay it forward," I came up with the merge world multiverse. The merge world multiverse is designed with the intent that it have room enough for a lot of authors to play without interfering with each other too much, but with enough structure to provide a commonality of interest for the readers.
In the Merge World, the magic of a fictional fantasy roleplaying game called WarSpell suddenly started working. (We, Paula and I, made up our own RPG rather than use D&D, Runequest or GURPS, because we don't want to be sued, but characters and adventures from other games would work as the basis for stories or books.) It's called the Merge World because not only did WarSpell magic start working but everyone that ever played WarSpell merged with one of the characters that they played. Even if they had only played one game on what turned out to be a really sucky date.
That produces a situation on Earth not that dissimilar to the X-Men, a sudden minority of people who have special powers and abilities. And rather a lot of reason for the rest of the world to fear them.
At the same time, the merges worked both ways. Just as the players got the memories and abilities of the characters they played, the characters got the memories and knowledge of the players who played them. So there are millions of game worlds that now have one or two, or up to a couple of dozen, people who suddenly have memories of technology and what it can do.
At this point we have a book, Ante Up, at Advanced Reader Copy stage about one of those other worlds and several stories about the merged earth and how it is responding to the Merge. What we don't have is a publisher for the series. At some point, and sooner rather than later, I need to set up a website or subscription blog with the basic introductory stories for free and then for those interested new stories as we get them written. And hopefully other stories by other authors in the merge world multiverse. Also other science fiction and fantasy stories by Paula and I.
What advice would you give to aspiring authors?
First, write. Like any other talent it works best combined with skill, which is produced by practice. It's said that you don't know how to write till you've written a million words of crap, and I think it's probably true. Certainly, I'm a lot better at it than I was when I wrote "The Sewing Circle."
Second, try a limiting genre like alternative history or a predefined fantasy world. It's like composing music in a particular style. The limitations can help you control your writing while you build the skills involved. That is another reason that the 1632 universe is so helpful to so many writers, and also why things like Star Trek books are often a good place for writers to hone their skills. Writing, especially, science fiction and fantasy writing is potentially very free form. You can do anything and it's tempting, very tempting. That makes it all too easy to end up writing something that reads like an acid trip. Writing a western or a murder mystery can have the same basic restraining effect.
And when we get the blog online magazine or come play in the merge world multiverse. *wink*
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| Sand art by Gorg Huff |
Not nearly as well as I should.
Have you sold any of your books? If so, how?
1636: The Kremlin Games. We started out by writing a continuing serial in the Grantville Gazette. Then Eric told us to expand it into a book. So about half the book was sold as shorts before the book was brought up as a book.
1636: The Viennese Waltz. We had the contract for Waltz before we had the contract for Games, but these are books that fit in a series and Waltz was set in Vienna, the capital of the Austro-Hungarian Empire. Not off in Russia where no one much cared. Actually Paula and I did write it as instructed and Eric put it on the shelf because the rest of the series hadn't caught up. The rest of the series still hasn't caught up with our original version, but a few months ago Eric decided that we could take the first half and expand that into a book.
So we did, and it's turned in and Paula has the page proofs. It will be out in November, last I heard. And you can pre-order it on Amazon.
1636: The Barbie Consortium is a companion piece to 1636: The Viennese Waltz that Baen is putting out strictly as an e-book at the same time they publish 1636: The Viennese Waltz. It's mostly rewrites of stories already published in the Grantville Gazette but with several thousand words of new stuff. The new stuff ties the stories together into a cohesive novel.
1637: The Wild Wild East we have an agreement on but not a contract yet. Paula and I are finishing it up and will send it to Eric this month probably. It won't be coming out till 2016 maybe.
Honestly, the way we got published is by having a patron, Eric Flint. Sorry that's not more helpful.
 |
| Original art by Gorg Huff |
Which of your books are you wanting to focus on the most right now? And which are you personally most proud of?
Probably Viennese Waltz and the Barbie Consortium and I have added descriptions of the eBooks up on Amazon.com. Paula and I also have several self published eBooks up on Amazon.com:
- Anoria (A Family of Wizards Book 1) is a tween book about a little girl adopted by a wizard. I have more books in mind for Anoria and the world she lives in but unless rather a lot of people start buying Anoria the later books are unlikely.
- Cordelia Cooper: Born in Magic is a prequel about the adventures of the old lady that adopts Anoria when she in turn was a youngster. Cordelia is a bit more grown up then Anoria and a bit darker I would call it a YA young adult book.
- From the Badlands is a short story about Sam Merchantson who rode into the badlands on Porky trying to lose a posse. He should have died, but his luck was in and the sensors were out. Sam lived in a world of riding pigs, cattle-rustling and and muzzle-loading pistols. But it hadn't always been that way. Once it had been a colony world, filled with the fruits of advanced technology... then the enemy had come. They had gotten most of the colonists and almost all the tech. There will be new new things coming into the world when Sam returns From The Badlands.
- Murder For Magic: In the Merged World, magic suddenly started working and everyone who had ever played the role playing game WarSpell was merged in mind body and spirit with one of the characters they had played. All the memories and skills of the fighter, priest, wizard, or criminal they merged with suddenly became a part of them; two lives merged into one. Not all the characters were heroes and neither were all the players that they merged with. Magic can be a quick route to power and there are those who will do anything to get magical items. There are even those who will enjoy doing anything.
In the game you could get magical items by a sacrifice of life force and some of the gods demanded the life of sacrificial victims. Those gods often give magical trinkets in exchange for those tasty treats. It made for exciting games of WarSpell, but after the Merge it made for one heck of a mess as police and investigators had to deal with serial killers backed by evil gods. People who were willing, even eager, to do Murder for Magic.
Jason Alexander was seventeen before the Merge. After the Merge he had the memories of Sir Jason Cartwright of the Scottish Investigatory Magical Corps. It was Sir Cartwright's job to track down and stop those who do Murder for Magic and Jason Alexander was willing enough to pick up the torch of duty. If only he could get the cops to pay attention to a seventeen-year-old kid. - Jildijard, A story about a boy and his car and the girl who rear ended them. Adrian is the girl, Baranth is the boy and Jildijard is the car that travels through universes.
- The Slavery Attractor is a look at economics through the lens of chaos theory, and I have worked rather hard to make it as short and as clear as I could manage. The article is only around eight thousand four hundred words and makes very little reference to hallowed experts. This is not a learned discourse on what the experts have said about economics. It's a simple look at economics and how they work.
Available on Amazon:
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