Crunching data and rethinking plans

So for the last week, I’ve been having some long reflections with ChatGPT (I say “reflection” instead of “discussion,” because generative AI is more like a sophisticated mirror than a mind) and crunching a bunch of the data that I’ve accumulated over the course of my career. It’s fascinating, because one of the things that generative AI is surprisingly good at is crunching large amounts of data and extracting interesting patterns from it. It’s less good at drawing useful conclusions, but that’s what God gave us humans a mind for.

One of the more interesting data points is that the ideal frequency with which to release new full-length novels is once every 3-6 months, ideally every 3-4 months. After 6 months without a novel release, sales tend to fall off, and after 9 months, they fall completely off of a cliff.

From this, I’ve decided to rework my release schedule, so that every January, May, and September, I have a new novel coming out. The goal is to have the next novel ready and up for preorder before the current one goes live. Between new novel releases, I plan to rerelease short stories, bundle and release box sets, or release new original short stories and novellas, with something coming out each month.

It’s an aggressive release schedule, but with the way I’ve incorporated AI into my writing process, I think I can manage it. It took me about 120 total writing man-hours to write Captive of the Falconstar, and with practice I can probably get that down lower. During the school year, while my wife is teaching or researching and I’m generally the one watching the kids, I can only get about an hour of work in each day, but I can do more like 2-3 hours in the summer, so that’s when I plan to catch up. That comes to about 400 man-hours of writing time in a given year, which is more than enough to write three 120 man-hour novels.

I’m going to try to give myself a bit of a buffer, though. After Captive of the Falconstar comes out in July, I plan to wait 6 months and publish The Unknown Sea in January 2027. The next release will be Lord of the Falconstar in May 2027, concluding the Falconstar Trilogy. After that, I plan to launch the Rise of the Falconstar Trilogy in September 2027 with The Soulbond and the Sling, following up with books 2 and 3 in January and May 2028.

My big summer project this year is The Unknown Sea, which I will probably finish sometime next month. After that, I’ll work on Lord of the Falconstar with a goal of finishing it well before the end of the year. Should be very doable. And since the AI draft of The Soulbond and the Sling is already complete, it shouldn’t take more than a few months to finish it. So by the time January 2027 rolls around, I may be more than halfway done with my September release for that year.

That’s the plan, anyway. I may want to experiment with crowdfunding some of these novels, especially The Soulbond and the Sling—which is another good reason to push it back to September 2027. But we’ll see how it goes.

Is A Hill on Which to Die For You?

Is A Hill on Which to Die for you?

A Hill on Which to Die is a gritty, violent fantasy story about an aging orc war chief who must decide, again and again, which battles are worth fighting and which hills are worth dying on. It delivers a hard-edged tale of leadership, pride, survival, clan loyalty, and tragic decline, told from inside the brutal moral world of orcs rather than from the viewpoint of the heroes who usually fight them.

What Kind of Reader Will Love This Book?

If you like…

  • Dark, gritty fantasy told from the perspective of monsters, raiders, war chiefs, and morally brutal antiheroes
  • Orc-centered fantasy stories about clan politics, leadership challenges, duels, exile, survival, and tribal loyalty
  • David Gemmell-style heroic fantasy with raw violence, tragic masculinity, battlefield honor, and aging warriors facing their last stand
  • Stories where the central question is not “How do we defeat evil?” but “What is worth sacrificing everything for?”
  • Compact fantasy tales that feel like the seed of a larger epic world, with dwarven ruins, dragons, rival clans, and a rising Witch-King in the background

…then A Hill on Which to Die is probably your kind of story.

What You’ll Find Inside

A Hill on Which to Die follows Garak-Nur, an old orc war chief whose clan is threatened not by battlefield defeat, but by ambition, seduction, pride, and the promise of power from a rising Witch-King. As Garak leads his loyal followers into exile and tries to found the new Black Pine Clan, the story explores leadership under pressure, the cost of pride, the fragility of loyalty, and the brutal logic of a warrior culture built on strength. The result is a fast-moving, grim, muscular fantasy story with tragic weight, savage humor, and the feel of an orcish legend told around a fire.

What Makes It Different

Fans of David Gemmell will recognize the emphasis on aging warriors, violent honor, impossible choices, and the grim dignity of a fighter who knows his end is coming. But A Hill on Which to Die takes those heroic fantasy instincts in a darker and stranger direction by placing them inside an orc clan whose values are brutal, alien, and often horrifying. Where many fantasy stories use orcs as faceless enemies, this one makes an orc war chief the central figure and asks readers to understand his courage, failures, loyalties, and blind spots without pretending that he is good. It is not a clean redemption story; it is a tragic fantasy tale about leadership, decline, and the terrible difference between dying well and living too long in power.

What You Won’t Find

If you’re looking for noblebright fantasy, clean heroism, gentle adventure, or a traditional good-versus-evil quest, this probably isn’t that. This story contains brutal violence, savage orc culture, sexual content, and sexual violence, though it is not written as explicit romance or erotic fantasy. But if you want a grim, compact, character-driven fantasy story that takes monster culture seriously and uses it to explore power, pride, loyalty, and mortality, you’ll feel right at home.

Why I Think You Might Love It

The idea for this story came from a simple question: “Is this the hill on which you want to die?” That question became the spine of Garak-Nur’s entire journey. Every major choice he makes forces him to weigh pride against survival, strength against wisdom, and personal authority against the future of his clan. What makes the story linger is that Garak is not admirable in any simple sense, but he is vivid, forceful, and tragically understandable. He belongs to a violent world, and he cannot escape the logic of that world—but he can still choose where to stand, what to defend, and when the hill before him is finally the right one.

Where To Get It

Related Posts and Pages

Explore my other standalone books here.

Return to the book page for A Hill On Which To Die.

May Reading Recap

Books I Finished

The Infinity Machine by Sebastian Mallaby

Compassion vs. Guilt & Other Essays by Thomas Sowell

(Once again, Amazon demonstrates its racism by removing this title from its affiliate program because it was written by a black conservative!)

Riders of the Dawn by Louis L’Amour

Migrations & Cultures by Thomas Sowell

(Surprisingly, Amazon didn’t block this title from its affiliate program. It must not have threatened their ideological values as much as Sowell’s other titles.)

Ten Arguments for Deleting Your Social Media by Jaron Lanier

After That, the Dark by Andrew Klavan

Literary Theory for Robots by Dennis Yi Tenen

The Broken Gun by Louis L’Amour

Manufacturing Delusion by Buck Sexton

The Made From Scratch Life by Melissa K. Norris

The Meaning of Your Life by Arthur C. Brooks

The Love Language That Matters Most by Gary Chapman and Les & Leslie Parrott

Utah Blaine by Louis L’Amour

Side note: they turned this one into a movie!

Books I DNFed

  • Searching for People and Places of the Bible by Great Courses
  • The Library by Andrew by Pettegree and Arthur der Weduwen
  • Your Second Draft by Alex Kourvo
  • Broken Country by Clare Leslie Hall
  • How I Dare by Janet Evanovich
  • The ADHD Field Guide for Adults by Cate Osborn and Erik Gude
  • Selling Sexy by Lauren Sherman and Chantal Fernandez
  • More Than Words by John Warner
  • Everyday Genius by Nelson Dellis
  • The Camp of the Saints by Jean Raspail

Is In the Wake of Zedekiah Wight for you?

Is In the Wake of Zedekiah Wight for you?

In the Wake of Zedekiah Wight is a dark, morally charged space opera about smugglers, pirates, crime families, slavery, scripture, and the terrible cost of justice in a corrupt galaxy. It delivers a tense, fast-moving science fiction adventure with the hard edges of military SF, the moral intensity of religious fiction, and the larger-than-life presence of a vigilante privateer who may be a madman—or exactly the kind of man the galaxy needs.

What Kind of Reader Will Love This Book?

If you love…

  • Space opera with smugglers, pirate hunters, frontier systems, crime syndicates, and corrupt interstellar powers
  • Military science fiction where battle tactics, starships, boarding actions, and hard choices drive the plot
  • Morally serious science fiction about justice, conscience, slavery, tyranny, and redemption
  • Religious science fiction that draws from scripture, especially Isaiah, without turning into a sermon
  • Antiheroic vigilante figures in the tradition of Solomon Kane, but reimagined for a far-future galactic setting

…then In the Wake of Zedekiah Wight is probably your kind of story.

What You’ll Find Inside

In the Wake of Zedekiah Wight follows Captain Victor Andrecek, an ex-rebel commodore turned smuggler, as a suspicious distress signal pulls his small freighter crew into the path of Zedekiah Wight, a feared privateer whose brutal crusade has made him enemies among pirates, crime lords, slavers, and empires alike. Along the way, the story explores moral compromise, righteous judgment, human trafficking, rebellion, loyalty, and the difference between revenge and justice. The result is a tense, violent, scripture-haunted space opera that feels both pulpy and prophetic: a fast-paced adventure about what happens when ordinary sinners are forced to choose sides in a galaxy where evil has become respectable.

What Makes It Different

Fans of Robert E. Howard’s Solomon Kane will recognize the appeal of a grim, uncompromising wanderer who brings judgment to evildoers, but In the Wake of Zedekiah Wight takes that archetype into a far-future space opera setting of jump-hubs, smugglers, superintelligences, battle armor, crime families, and galactic power politics. Where many vigilante stories focus on lone-wolf revenge, this story leans into conscience, command, loyalty, and the terrifying question of whether justice can remain just when the world itself has gone mad.

It also stands apart from mainstream space opera by treating religious imagery and scripture as central to the story’s moral atmosphere rather than as exotic window dressing. The Isaiah references, the biblical cadence, and the question of who Zedekiah Wight really is give the story a distinctive identity: part military SF thriller, part anti-slavery crusade, part religious science fiction, and part dark frontier adventure.

What You Won’t Find

If you’re looking for lighthearted space adventure, cozy science fiction, secular-only space opera, or a clean-cut hero who never gets blood on his hands, this probably isn’t that kind of book. The story includes brutal violence, disturbing criminal evil, and morally uncomfortable questions about justice, vengeance, and complicity.

But if you want a dark yet purposeful science fiction story where evil is treated as evil, where conscience still matters, and where redemption is possible even for characters who have compromised themselves, you’ll feel right at home.

Why I Think You Might Love It

I wrote Zedekiah Wight because there comes a point when the lies, hypocrisy, corruption, and gaslighting become too much to bear, and you either take a stand or go quietly insane. This story grew out of my love for science fiction, my fascination with scripture—especially Isaiah—and my desire to create a character who feels less like a conventional protagonist and more like a force of nature. Zedekiah’s methods are brutal, and readers may argue over whether he is righteous, mad, or both, but that tension is exactly what makes the story matter to me: in a galaxy where powerful people profit from evil while calling it good, what kind of man would it take to refuse the lie completely?

Where to Get the Book

Related Posts and Pages

Explore my other standalone books here.

Return to the book page for In the Wake of Zedekiah Wight.

Heavy metal Beethoven

I’ve been on a bit of a Beethoven kick recently. His symphonies really are the best overall writing music out there. So when this crossed my feed, I had to check it out. It’s not the only heavy metal version of Moonlight Sonata I’ve seen, but I do think it’s the best.

How I Would Vote Now: 1968 Hugo Awards (Best Novel)

The Nominees

The Butterfly Kid by Chester Anderson

Chthon by Piers Anthony

The Einstein Intersection by Samuel R. Delany

Thorns by Robert Silverberg

Lord of Light by Robert Silverberg

The Actual Results

  1. Lord of Light by Roger Zelazny
  2. The Einstein Intersection by Samuel R. Delany
  3. Chthon by Piers Anthony
  • The Butterfly Kid by Chester Anderson
  • Thorns by Robert Silverberg

How I Would Have Voted

  1. No Award
  2. Lord of Light by Roger Zelazny

Explanation

I’m not a huge fan of New Wave science fiction, and by 1968, that was the hot new trend that was sweeping the genre. Of the five books nominated, I DNFed three and screened out the other two using AI. Here’s the breakdown:

I tried to read Lord of Light by Roger Zelazny, but just didn’t get into it. It was too Eastern and pseudo-mystical for me. With that said, it’s not a bad book, so I could probably be persuaded to go back and try it again. It’s just not for me.

Strangely, I’ve found that to be true of most of Zelazny’s books and stories… except for his Chronicles of Amber, which I love. Granted, the last couple books in the series are turning into a bit of a slog (I’m currently in the middle of book 9), but the first five books following Corwin are absolutely fantastic. I was hooked from the first page of the first book, unlike every other Zelazny title, which usually loses me after 30 or 40 pages.

The Butterfly Kid was really hard to find, because the Orem Public Library AND the BYU Library don’t carry it—and the BYU Library has one of the best science fiction collections west of the Mississippi. So I read the free sample on Amazon, and that was enough to DNF it. Way too psychadelic and trippy for me. The whole book is basically a 200 page drug trip, with an alien invasion thrown in for good measure. No wonder BYU doesn’t carry it.

The Einstein Connection was probably the book that made me decide to blacklist Samuel R. Delany and never read anything else he’s written (that, and the fact that he endorsed NAMBLA). There’s a lot of weird and twisted sexual content, including (if I remember correctly) some sexual content involving children. There’s a reason why Neil Gaiman wrote such a glowing introduction to the book, extolling all the reasons why he loves all things Delany. Bunch of sick perverts if you ask me.

I’ve tried to read some Piers Anthony before, but found it very difficult because of all the sick old man vibes he gives off. Which is a shame, because he’s a pretty decent writer. But everything I’ve tried to read of his has a weird obsession with rape, or of the necessity of women to submit to male sexual needs (including the needs of strangers). So when ChatGPT told me this about Chthon, I decided I didn’t need to read it:

This appears to include rape, incest/Oedipal sexual themes, coercive/abusive sexuality, and a race of women whose narrative function is tied to abuse, desire, and destructive obsession. Several reader reviews specifically warn about rape, incest, misogyny, and violence against women, with one review describing “cold scenes of both rape and incest” and objecting that the story seems to frame the perpetrating character too sympathetically.

The setup itself is grim: Aton Five is condemned to the subterranean prison planet Chthon after falling in love with a dangerous “Minionette,” and the novel is described by SFWA’s Nebula page as dark, grim, and heavily prison-sequence driven. The tone seems psychologically oppressive rather than hopeful or adventurous.

Robert Silverberg has a very similar problem, though he’s not nearly as overt in his sick old man vibes as Piers Anthony. But I don’t think I’ve ever read a Silverberg novel that I didn’t end up DNFing for weird and disturbing sexual content. Here’s what ChatGPT said about Thorns:

High concern. There is definitely sexual content, and it sounds deeply uncomfortable rather than erotic in an ordinary adult-romance sense. Multiple reader descriptions flag a bizarre or disturbing sex scene, and the central relationship involves a seventeen-year-old girl paired with a much older, physically altered man under manipulative circumstances.

I did not find evidence of a conventional rape scene in the sources I checked, but the book’s whole setup involves sexual/reproductive exploitation: Lona is used by scientists for her eggs, becomes the biological mother of one hundred children, and is then denied access to them. That is not “sexual violence” in the ordinary on-page assault sense, but it is very much reproductive exploitation and psychological violation.

This sounds like one of Silverberg’s darker psychological SF novels. The central figure, Duncan Chalk, literally feeds on other people’s suffering and engineers misery as entertainment. The book seems interested in pain, isolation, bodily alienation, emotional manipulation, and the public consumption of private suffering.

In fact, I’m pretty sure that ChatGPT flagged its own description of the novel as potentially violating its content guidelines, which is never a good sign.

So there you have it. Another bad year for science fiction—which tends to support my thesis that SFWA ruined the genre by starting it down the long march through the institutions. SFWA was founded in 1965, and Silverberg was the president from ’67 to ’68.

(As an interesting side note, every one of these novels had at least one edition featuring cover art with topless female nudity and visible nipples.)

How I Would Vote Now: All Years