Category: Gunslinger to the Stars

Moral Courage in Gunslinger to the Stars

What does it mean to do the right thing when the galaxy around you is chaotic, corrupt, or outright absurd? Gunslinger to the Stars takes that question and drops it squarely in the lap of Sam Kletchka—a mercenary gunslinger navigating a dangerous galactic frontier who keeps choosing responsibility even when no one is watching, rewarding, or deserving. At its heart, this space-western adventure is about moral courage: the stubborn, unfashionable insistence on doing the right thing in a universe that rarely makes it easy.

Where the Idea Came From

This theme grew out of a mashup of influences—long conversations with writer friends, a subplot from Schlock Mercenary, and the realization that a “rogue Immortal” character needed a counterweight with a strong personal code. Around the same time, I was watching Breaking Bad, fascinated by characters like Mike Ehrmantraut—tough, pragmatic men who do terrible things for complicated reasons. To push back against such a villainous force, I imagined Sam Kletchka: a gunslinger in a messy, morally gray universe who lives by a code and keeps choosing the harder path simply because it’s right, even when the galaxy doesn’t care.

How Moral Courage Shapes the Story

At every major turning point in Gunslinger to the Stars, Sam Kletchka’s choices are defined by moral courage—the instinct to protect others even when it’s dangerous, inconvenient, or unwinnable. He charges after kidnapped empaths when walking away would be safer; he shields Jane’s diplomatic idealism with his hard-won pragmatism; he survives abandonment in the desert through sheer stubborn responsibility; and he repeatedly throws himself into battles around war rigs, jumpgates, and alien war parties because no one else can or will. His personal code drives the story’s conflicts, shapes the character dynamics, and pushes this space-opera adventure toward a climax where courage isn’t about glory but about doing the right thing in a lawless, unpredictable, morally gray galaxy.

What Moral Courage Says About Us

Sam’s story reflects something deeply human: we don’t get to choose the worlds we’re born into, but we do get to choose what kind of people we become. In a galaxy run by Immortals, riddled with slavers, warlords, and manipulative telepaths, Sam’s personal code becomes his anchor—the thing that keeps him from becoming the very wolf he warns Jane about. His courage isn’t flashy heroism; it’s the uncomfortable, everyday kind that demands sacrifice, loyalty, and integrity when it would be easier to look away. In that sense, the book becomes a mirror for readers who love character-driven science fiction that asks what we stand for when the world pushes back.

Why This Theme Matters to Me

I wrote this book at a very different time in my life—years after Genesis Earth, when my own view of the world had shifted. I still believed in cultural understanding and bridging divides, but I’d also seen enough to know that evil doesn’t always yield to good intentions. Like Sam, I firmly believe in the right to defend oneself and others, and I’ve had long debates about the responsibilities that come with that. I wanted to write a character who lives at the intersection of those values—someone who understands violence, hates it, but won’t walk away when others depend on him. That tension, that conviction, is why moral courage felt like the beating heart of Gunslinger to the Stars.

Where to Get the Book

Related Posts and Pages

Explore the series index for the Gunslinger Trilogy.

Return to the book page for Gunslinger to the Stars.

Discover if Gunslinger to the Stars is for you.

See all of my books in series order.

Is Gunslinger to the Stars for You?

Gunslinger to the Stars is a character-driven space opera novel that blends Western adventure, first-contact science fiction, and pulpy action. It’s fast-paced, voice-driven, and built around a loyal, reluctant hero navigating a dangerous galactic frontier. It’s told in the unmistakable voice of Sam Kletchka—half gunslinger, half star-hopping troubleshooter, and 100% fun.

What Kind of Reader Will Love This Book?

If you like…

  • Classic space adventure with modern voice and humor, where the hero solves problems with grit, guts, and an outrageous arsenal of lovingly described guns
  • Found-family dynamics between a rough-around-the-edges gunslinger, a principled xenolinguist, a telepathic outcast, and a trio of shapeshifting empaths
  • Galaxy-spanning mysteries, alien politics, and first-contact stakes that push characters to their limits
  • The feel of a Western gunslinger dropped straight into a richly imagined galactic frontier

…then Gunslinger to the Stars is absolutely your kind of story.

What You’ll Find Inside

Gunslinger to the Stars (Book 1 of the Gunslinger Trilogy) follows Sam Kletchka, a New Texas gunslinger stranded in the Gorinal Cluster just as the local jumpgate—the only way out—mysteriously goes dark. What starts as a simple job escalates into a battle for survival involving hidden alien races, shape-shifting empaths, worldships, and a rising threat the Immortals never wanted anyone to discover. The tone blends wry humor with escalating danger, and the style is fast-paced, voice-driven, and cinematic—equal parts action romp and big-idea sci-fi. The result is a story that feels both classic and fresh: a pulpy, heartfelt adventure that’s as much about loyalty and moral clarity as it is about space battles and exotic technology.

What Makes It Different

Fans of Firefly and Schlock Mercenary will recognize the snappy banter, the found-crew dynamic, and the blend of humor with high-stakes action. But Gunslinger to the Stars pushes those familiar ingredients in new directions: the gunslinger-as-space-ranger angle gives the book a distinctive American-frontier voice, while the empath culture, the Immortals’ centuries-deep manipulations, and the emergence of the Draxxians create a myth-arc that feels simultaneously expansive and personal. Where many space operas lean on military hierarchy or techno-fetishism, this one leans into character, moral philosophy, and the uneasy tensions between peacekeeping and necessary force—all told through Sam’s dry, self-aware perspective.

This story blends classic space western tropes — the reluctant hero, the ragtag crew, and the dangerous frontier — with a deeper mystery about ancient alien powers. If you enjoy space western stories with a strong first-contact throughline, you’re going to enjoy this book.

What You Won’t Find

If you’re looking for grimdark bleakness, heavy technobabble, or a cynical antihero who never grows, this isn’t that. And if you want romance-heavy sci-fi or endless political intrigue, this book doesn’t go down those roads either. But if you want hopeful, character-focused adventure with humor, heart, and a hero who takes responsibility for his choices—sometimes reluctantly—you’ll feel right at home.

Why I Think You Might Love It

I wrote this story at a time when I needed to shake things up creatively, by writing something fun, energetic, and different from what I had been writing at the time. I was also going through a time when my worldview was changing, and I was questioning a lot of my old assumptions. This book grew out of a number of things: from my conversations with close friends, my love of classic pulp sci-fi, and from the idea of a lone wanderer who tries—however imperfectly—to do the right thing. The result, I believe, was a book with a lot of heart that captures that spark of wonder that made me first fall in love with science fiction. If that’s what you’re looking for, I think you’re going to love it!

Where to Get the Book

Related Posts and Pages

Explore the series index for the Gunslinger Trilogy.

Visit the book page for Gunslinger to the Stars for more details.

Read about moral courage in Gunslinger to the Stars.

See all of my books in series order.

Thinking about switching Gunslinger books to J.M. Wight

Right now, I’m a science fiction writer who occasionally writes fantasy. I want to transition to being a fantasy writer who occasionally writes science fiction. But I also have a pen name (J.M. Wight) for more religious-themed books, since there are a lot of science fiction readers who have a serious ick with that.

As I set things up for this transition, I’ve been looking at the books I’ve already published and trying to decide what to do with them. The Gunslinger Trilogy is one series I’ve been looking at particularly hard. It’s kind of an edge case, because the religious themes become more pronounced as the series progresses. One of the more consistent themes in one-star reviews is that people don’t like the “Mormon” stuff in the later books, such as the part where the main character meets with the missionaries (and ultimately gets baptized), or the alien twist in the last book that’s pulled right out of the Books of Enoch/Jasher/Moses.

If I’d planned out the whole series before I wrote the first book, I probably would have published them under my J.M. Wight pen name for that reason. But the first book was a straight-up space opera, with minimal religious themes. It was only after I’d published the first book (under my main Joe Vasicek name) that I wrote the next two books and decided to throw in the more religious stuff. And while I was careful to write it in such a way that the books never come out and say whether all that religious stuff is actually true, the fact that it’s in there at all has turned off some readers who weren’t expecting it.

The trouble is that the first book has a lot of profanity in it, and religious readers tend to be just as icky about profanity as sci-fi readers are about the religious stuff. Even more so, in fact. So before I make the switch, I will probably have to make an extensive rewrite to tone down the swearing and make it more palatable for that audience.

It’s a fairly common mistake, especially among inexperience writers: you write the first book for a certain audience, but as the series progresses, the later books appeal to a different audience, betraying some of the expectations of the first audience. When taken to extremes, it’s the sort of thing that torpedoes careers and forces writers to reinvent themselves. So given that fact, I’m kind of surprised that these books have done as well as they have.

What do you think? Should I switch them to my J.M. Wight pen name, editing them to remove the profanity and lean into the audience that isn’t turned off by religious themes in their science fiction? Or should I keep them as they are?

P is for Parenthood

I’m currently in the process of writing the second edition of my newsletter exclusive, Science Fiction from A to Z, adding a bunch of new chapters and rewriting all of the old ones. For a blog post this week, I thought I’d share one of the new chapters. Let me know what you think!

I was going to make this section “P is for Pulp,” rounding out “G is for Golden Age,” “N is for New Wave,” “D is for Dark Age,” and “I is for Indie.” But I have to admit, I’m not as familiar with the pulp era of science fiction as I would like to be. I’ve read all of Robert E. Howard’s Conan and Solomon Kane stories, and Edgar Rice Burroughs’s A Princess of Mars (though not the rest of the Barsoom series, unfortunately. It’s on my TBR!) but that’s pretty much it. From what I understand, Jules Verne, H.G. Wells, and (of course) Mary Shelley all preceded this era, and I’m a little more familiar with them, but all I know about the pulp era is what I’ve heard from other sources, and I’d rather not regurgitate that without first exploring it myself.

Instead, I want to write about a major influence on every writer that gets almost no play whatsoever in public treatment of their work, but is arguably the single most important aspect of their lives: parenthood.

Becoming a parent really changes you. When I held my first child in my arms for the first time, a distinct thought came into my mind, almost like a voice: “this is her story now.” They say that we’re all the hero of our own story, and to a certain extent that’s true, but anyone who has brought a child into the world (or adopted a child as their own) has a much more complex and nuanced understanding and perspective. Even a terrible, abusive parent has still experienced what it’s like to become a link between the generations. That experience reshapes everything you do and are in ways that are impossible to appreciate until you’ve had it for yourself.

There is a subtle but distinct difference between books written by authors who have experienced parenthood vs. authors who are childless. I wasn’t as conscious of it until I became a parent myself, but even back in my days as a bachelor, I think I could still sense it, even though I didn’t know what it was. I suspect it’s why I’m a huge fan of David Gemmell, but not of George R.R. Martin, even though on the surface, they write the same kind of book. Both of them write dark and gritty fantasy, both of them are known for killing off major characters and doing horrible things to the ones who survive, and both of them are written quite well—in fact, on an artistic level, Martin is probably superior. But where Martin tends to obsess over themes of victimhood and victimization, Gemmell focuses more on heroism and what makes a hero. Gemmell had two children; Martin (so far as I can tell) has none.

In 2022, I made a new year’s resolution to read or DNF every novel that has won either a Hugo or a Nebula award. To prep for this resolution, I made a spreadsheet of all the novels, along with other pertinent information that interested me, such as each author’s gender, their approximate age when they won the award, and whether or not they have any children. I found some very interesting patterns. There were 110 novels in all, and fifty of them were written by authors who were childless (or at least did not have any mention of children in their author bios and/or Wikipedia entries). After 2015 and 2016 respectively, every Hugo and Nebula award-winning novelist (not counting the Retro-Hugos) has been childless—more specifically, childless women in their 40s and 50s, with one exception who is transgender (Charlie Jane Anders), one exception who is in her thirties (Arkady Martine), and one whose age I cannot determine (Sarah Pinsker). But all three of them are still childless, at least according to the internet.

Now, this is not to say that not having children makes you a terrible writer. In fact, it may actually make you a better writer, since you have more time and energy to devote to learning and improving the craft. But whether for good or ill, I do think that it gives you a handicap in terms of life experience. That handicap is going to influence both the subjects you choose to write about, and how you choose to write about them. I say this not just from my experience as a reader, but as a writer.

My wife and I married a little late, and by the time we had our first child, I’d already been writing professionally for about ten years. Up until that point, the reader I’d had in my mind was basically a younger version of myself. Bringing Stella Home is not a YA book, but a lot of my Amazon reviews assume that it is, probably because I was in college when I wrote it and was writing the sort of book that I wish I’d discovered back when I was in high school and reading things like Ender’s Game and Dune. After I’d experienced the real world and become sufficiently red-pilled, I wrote books like Gunslinger to the Stars for my naive college self. But since becoming a parent, my perspective has begun to change, and I find myself writing less for myself and more for my daughter—or rather, the kind of person I expect my daughter to grow up to be. I’m a lot more conscious of certain kinds of content, and while that doesn’t mean that I shy away from it, I do find myself asking: “What am I really trying to say here? What purpose does this really serve?”

The Genesis Earth Trilogy is a good example of this evolution in my own work. The first book, Genesis Earth, was my first published novel, and really was written for a young adult version of myself, which is why I chose to categorize it as YA science fiction. The whole story revolves around two young scientists on a mission to an alien planet, and how they come to discover just as much about each other as the planet they’ve been sent to explore. It took me ten years to write the next book, Edenfall, not because I didn’t know what would happen next, but because I didn’t feel like I was ready to write it. Then I got married, and that was the experience I needed to break through the block and finish the book—and it went in a much different direction than it would have, if I had written it while I was still single. But the conclusion to the trilogy, The Stars of Redemption, was the book that I wrote after my daughter was born, and that experience had a very profound impact not just on the story itself, but on the characters, the thematic elements, and the way the last book brought everything together from the first book to a meaningful conclusion. I know for a fact that I would not have been capable of writing such a book without the experience of becoming a father.

Gunslinger to the Stars is 99¢ all month!

To celebrate the release of the second book in the Gunslingers Trilogy, Gunslinger to the Stars is going to be 99¢ all month! Now is a great time to check out these books, if you haven’t already. The third book in the trilogy should be coming out early next year!

Not long from now, in our own Milky Way…

Sam Kletchka here, freelance gunslinger and interstellar privateer. This, my friends, is how I went from being stranded in the armpit of the galaxy to the luckiest human in the galaxy.

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Trope Tuesday: The Chessmaster

The Chessmaster is a fun trope, especially when done well. A good villain is always at least one step ahead of the good guys, so when it turns out that he’s three or four or ten steps ahead of them, it can make for some interesting plot twists.

Of course, the chessmaster isn’t always the bad guy. Sometimes, it turns out that the mysterious figure behind the scenes pulling all the strings is actually working for good, even though he may sacrifice a few pawns along the way. Or is he? There’s always that tension, simply because of the chessmaster’s manipulative nature.

I’ve played it both ways. The last time I wrote a chessmaster was Gunslinger to the Stars, but the Patrician in Heart of the Nebula definitely also qualifies. In both cases, the character was introduced as a mysterious employer. I won’t tell you which one was the bad guy, and which one was the good guy.

I’ve never written a story from the perspective of the chessmaster. I imagine it would be quite difficult, since all of the plot twists would have to be telegraphed and/or th reader would have to be kept in the dark about the main character’s plans. Dune is an excellent example of the former, but I can’t think of any good examples of the latter. The Davinci Code comes to mind, but the way it kept the viewer in the dark (seen the movie, haven’t read the book) didn’t work for me.

Even as a non-viewpoint character, the chessmaster can be difficult to write. Careful plotting is key, of course, but so is the iceberg principle. For everything the reader can see, there has to be a bunch of stuff beneath the surface that they can’t see. It doesn’t require the same level of detail as the surface level stuff, of course, but you have to at least have an idea of what the chessmaster would do if the story went in a very different direction. Even if the chessmaster never reveals those plans, you can bet that he still has them figured out.

In part, this is what made Heart of the Nebula so difficult to write. The final draft bears little resemblance to the first draft, with characters and subplots cut out or combined with others. Still, I’m satisfied with how it turned out, and it seems that the readers are as well.

In Sons of the Starfarers, Gulchina isn’t a chessmaster so much as a magnificent bastard with delusions of grandeur. She has plans and does tend to be three or four steps ahead of everyone else, but she’s less interested in manipulating events than she is in manipulating people. Her ultimate goal, as revealed in Captives in Obscurity, is to establish a proud warrior race that will one day wipe out and take over both the Empire and the Outworlds. She doesn’t know how that’s going to happen, but she knows what needs to be done to lay the foundation for that work.

The chessmaster is a challenging trope to write well, but I’m sure I’ll use it many more times in the future. The storytelling potential is just too great to leave it out.

Trope Tuesday: Chekhov’s Armory

The famous Russian writer Anton Chekhov had a rule:

Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.

This is, of course, where we get the trope called Chekhov’s Gun. If a gun shows up at the beginning of a story, you can almost always be sure that it will be fired at some point before the end.

Chekhov’s armory is where the story starts out in a place like this:

Or this:

Or this:

What the hell, I might as well just give you the link to the blog where I got all these photos. There’s plenty more gun porn where that came from.

My first time playing with this trope was Gunslinger to the Stars, and I have to say, it made for a really fun story. My outline literally consisted of listing a different gun for every chapter, and figuring out how to work it in. Chapter two was where all most of the guns were listed, but after that, it was pretty much “open fire” and “reload” right up to the grand finale at the end (with a little bit of kissing thrown in for good measure).

Seriously, though, it’s not a bad way to write a book: list all the things that need to go boom and figure out which order to put them in.

The biggest criticism I’ve received for Gunslinger to the Stars is that I should have described the guns in a more personalized detail. To be honest, my life experience is sadly lacking in this regard. I own a couple of guns, most notably an old Mosin 91/30, but most of my shooting experience comes from the Boy Scouts (though to be fair, I did impress the shotgun shooting instructor with a 40+ shot streak). This is a shortcoming that I am eagerly working to rectify.

So yeah, Chekhov’s Armory. It’s a really fun trope to write. When I’m finished with Sons of the Starfarers, I look forward to doing it all again with the next two books in the trilogy: Gunslinger to the Galaxy and Gunslinger to Earth. Expect book two before the end of 2018!

Gunslinger to the Stars

Gunslinger to the Stars

$15.99eBook: free sale!Audiobook: $2.99 sale!
Author: J.M. Wight
Series: Gunslinger Trilogy, Book 1
Genres: Action & Adventure, Science Fiction, Space Opera
Tag: 2017 Release

Sam Kletchka here, freelance gunslinger and interstellar privateer. This, my friends, is how I went from being stranded in the armpit of the galaxy to becoming the luckiest human being in the universe.

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Late November Update

Is it time for another update? Why yes, I suppose it is.

Sons of the Starfarers is coming along quite well. Book 6, Patriots in Retreat, is up for preorder right now with a release date of January 19th. My editor just got back with the edits for book 7, A Queen in Hiding. Haven’t had a chance to look through those yet, but I will in the near future. Come January, that book will be up for preorder as well, with a release date of March 16th.

Right now, I’m writing book 8, An Empire in Disarray, with a hard deadline of 22 December (just before Christmas). Normally, I’d be panicking right now, but I’m trying out a new outlining method that seems to be working quite well. If everything works out the way I hope, I’ll finish up book 9 sometime in February and move on to other projects.

Looking back, it was a mistake to set out to write a nine-book series before knowing how the first one would do. If I could go back to 2009 and do it all over again, I’d stick to trilogies, where the first book stands well enough alone that I can abandon the other two books if it doesn’t gain much traction. That’s going to be my modus operandi from here on out.

So here are the trilogies I need to finish:

Genesis Earth Trilogy

This one has been outstanding for a long time. The first book did much better than I was expecting, and while its popularity has fallen off in recent years, it still gets very good reviews. For a first novel, I’m honestly surprised that this book has done as well as it has.

The second book, Edenfall, is still on the back burner for now. Partially written, partially outlined, it shouldn’t take more than a couple of months to get it done when I finally sit down to finish it.

As for book three, The Stars of Redemption, I have no idea because I haven’t even outlined it yet. Perhaps that’s what I need to get the ball rolling: outline the last book, so I know what has to happen in the second book. In any case.

Gunslingers Trilogy

Gunslinger to the Stars hasn’t done as well as I would have liked, but I enjoy this universe so much that I’m going to finish the trilogy if for no other reason than the fun of it. I’ve already written the first four or five chapters of Gunslinger to the Galaxy, and it’s coming along swimmingly. In fact, I’ll probably go right back to it after finishing up Sons of the Starfarers and call it a vacation. Expect to see more Jane Carter soon!

The Twelfth Sword Trilogy

I am super super excited to finish this trilogy—which is good, because the way the first book ends, it’s definitely not a standalone. Definitely not. Haven’t formally outlined it yet, but there’s a ton of stuff I’m going to throw into the second book, The Sword Bearer. Mercenaries, sorcerors, death mages, winged cataphracts, desert ruins, and mountain strongholds—it’s going to be great fun!

The Outworlds Trilogy

For a while now, I’ve been playing around with the idea of condensing all of Star Wanderers into a novel and then turning it into a trilogy. The first book will basically be made up of bits and pieces from all of the Star Wanderers novellas, spliced together to make a coherent novel. In particular, I’d like to expand on Noemi’s viewpoint and trim out some (or a lot) of the extraneous stuff that made the series drag on. Basically, turn it into less of a sci-fi romance and more of a classic space opera.

I’ve already started the sequel, Children of the Starry Sea, though I haven’t gotten past the first chapter. Where Star Wanderers is a series of novellas, though, Children of the Starry Sea is definitely a proper novel, and it would probably work a lot better to frame it as a trilogy than anything else.

I suppose it’s a bit like how Orson Scott Card turned a bunch of his early short stories into The Worthing Saga, which in my opinion is his very best book. I won’t unpublish any of the old Star Wanderers stuff, but I may just let it fade into obscurity as I push the other stuff.

These are the books that are on my mind. I’ve got to be honest: Sons of the Starfarers feels a bit like a ball and chain, but I’ve committed to finishing it and I’ll do my best to finish it well.

On the publishing front, there’s so much stuff I want to do that I’m having trouble keeping up with it all. My main goal is to get to 10k subscribers on my email list. Currently, I’m just shy of 4k. InstaFreebie has been hugely useful for that, but I’ve got to try other strategies as well. One of those strategies involves a new signup incentive, so if you’re already signed up for my email list, I’ve got a surprise for you soon.

So much stuff going on. I swear, this is the best depiction of what it’s like to be an indie author:

Late October update

I’m running at about 70% to 80% right now, but should be back up to 100% next week. However, since the blog is usually the last thing I get up to speed after a major life event, it will probably be another week or two before the blog is running like I want it.

Right now, I’m finishing up A Queen in Hiding and getting ready to send that to my editor. I’m still shooting for a November 3rd deadline. After that, I’ll take a week to go over the edits for Patriots in Retreat and put that up for pre-order.

I’m also working on a short story for an anthology with a deadline of November 1st, so that might throw a wrench into things. Fortunately, I’ve got a lot more time to write now, so that shouldn’t be as much of a problem.

Lots and lots of stuff going on behind the scenes. Right now, I’m getting my tasks all lined up so that I can hit them all in quick succession. One of the things I want to do is put out a print version of everything I’ve published electronically. KDP Paperback has advanced to the point where I can finally do that, so be sure to look out for that in the near future. Right now, I’m typesetting Gunslinger to the Stars.

I’m really looking forward to getting all the Sons of the Starfarers books written. Should happen within the next three to four months, if all goes well. There are so many other projects that I’m excited about, but I’ve committed to this series and I’m going to finish it. I don’t know if it will be my best work, but without sacrificing any more time I’ll strive to make it as good as I possibly can.

You may have noticed some changes in my prices. I’ll blog about that in the next few days. Also, I need to catch up on book reviews. I’ve found that I can dramatically increase my writing when I make a conscious effort to read more books, even if my writing time goes down. So that’s another goal.

Point is, things are happening even if it doesn’t seem like it. Ideally, I want to be up at the point where I always have something on preorder, and a short story publication coming out every month or so, most of them reprints, some of them new. So far, I’m at two short story publications this year—better get out and submit to more markets!

Now, back to writing!