I make no promises and offer very few warnings for my stories. I write adventures and character studies, and though I like happy endings I certainly don’t guarantee them. It’s no fun if you’re absolutely certain that a story will end well. On the other hand, I will do my best to do away with any villains both dramatically and satisfactorily. In the words of CS Lewis: “Let there be wicked kings and beheadings, battles and dungeons, giants and dragons, and let villains be soundly killed at the end of the book.”

(< 10,000 words)

The Art of the Catapult – Give a catapult enough weight, swing, and gravity, and it’ll knock down walls. Just cross your fingers, Johanna: she’d like to change the course of at least one battle today.

For You, Game Changer – In which the black man dies first. Only he’s got better things to do with his time.

The Hard Way to Say I Love You – An old woman discovers that dying is not the hardest thing she will face in the end.

Helen Fields Goes First – University workshop exercise, and all that implies; a story with the interesting bits missing.

Smell Ya Later, Goobs! – About a dog and his boy. Smells like a downer.

Ten Seconds to Now – Pay no attention to the mirror behind the curtain, unraveling the fabric of reality. Mind you, Friday has no qualms about using this to her and her brother’s mutual advantage. Fair warning: children dealing with issues no child should have to deal with.

We Are Amazing – The things a dog knows are exactly what they are.

(20-30,000 words)

On the Corner of Pine and Meyer – Broken family, meet broken house. Oh, and anthropomorphic schizophrenia. At least Dad has a sense of humor about it.

Small Town Super Nobody – Jeremiah Dunn is tall and handsome, an eighteen-year-old going places. His fourteen-year-old brother is…not. It’s just too bad that Teddy’s the one with the super powers.

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