Since the age of eleven, writing changed alongside me—becoming not only how I create, but how I understand life, relationships, grief, and my own capacity to continue.
While caring for my father through a persistent vegetative state and confronting the loss of one of the central pillars of my life, I wrote Escape from the Gods. The story follows a young person into another realm in search of her father’s soul.
Writing it taught me that death was never one simple act. It could be physical ending, relational absence, spiritual passage, preserved memory, and an unanswered question about what—if anything—continues. The story helped me remain present inside a reality I could not change.
It also expanded the dimensions of my work. I began moving beyond vampire mythology and social classification within a single world toward realms shaped by consciousness, soul, consequence, and competing orders of existence.
That evolution began taking form inside Echelon, the vampire saga I wrote from 2011 to 2022.
Its conflicts between upper and lower classes examined how systems preserve privilege, assign value, and force one life to sustain another. Those questions eventually exceeded the architecture of one world and became part of the foundation of Velantyr.
I am drawn to dangerous, contradictory characters whose identities may be concealed from others, from readers, or even from themselves. I place them before choices capable of dismantling their convictions, testing their resolve, and demanding genuine transformation. No character—heroic or antagonistic—exists only to fulfill a role.
My stories offer escape without asking readers to abandon their own lives. I want them to return with something: courage, clarity, emotional recognition, renewed fortitude, or a deeper curiosity about what they may still become.
I am building a body of work designed to reward rereading, deepen over time, and grow through enduring creative partnerships with readers, artists, agents, and publishers.
The Character Is Never The Only One The Story Transforms
about sharez
2001
estd
Since the age of eleven, writing changed alongside me—becoming not only how I create, but how I understand life, relationships, grief, and my own capacity to continue.
While caring for my father through a persistent vegetative state and confronting the loss of one of the central pillars of my life, I wrote Escape from the Gods. The story follows a young person into another realm in search of her father’s soul.
Writing it taught me that death was never one simple act. It could be physical ending, relational absence, spiritual passage, preserved memory, and an unanswered question about what—if anything—continues. The story helped me remain present inside a reality I could not change.
It also expanded the dimensions of my work. I began moving beyond vampire mythology and social classification within a single world toward realms shaped by consciousness, soul, consequence, and competing orders of existence.
That evolution began taking form inside Echelon, the vampire saga I wrote from 2011 to 2022.
Its conflicts between upper and lower classes examined how systems preserve privilege, assign value, and force one life to sustain another. Those questions eventually exceeded the architecture of one world and became part of the foundation of Velantyr.
I am drawn to dangerous, contradictory characters whose identities may be concealed from others, from readers, or even from themselves. I place them before choices capable of dismantling their convictions, testing their resolve, and demanding genuine transformation. No character—heroic or antagonistic—exists only to fulfill a role.
My stories offer escape without asking readers to abandon their own lives. I want them to return with something: courage, clarity, emotional recognition, renewed fortitude, or a deeper curiosity about what they may still become.
I am building a body of work designed to reward rereading, deepen over time, and grow through enduring creative partnerships with readers, artists, agents, and publishers.
Honest challenge sharpens the vision, mutual trust strengthen the work, and shared conviction carries it farther together than alone.
I value clear expectations, agreed timelines, consistent follow-through, and honest communication.
I approach feedback with curiosity and I listen, ask questions, and revise with intention. I can remain committed to the essential identity of a story while staying flexible about the structure, pacing, language, or execution required to strengthen it.
I also understand that publication asks more of an author than the manuscript. It requires patience, reliability, adaptability, and the willingness to support the book beyond the page. I am prepared to contribute to interviews, events, reader engagement, promotional content, platform development, and the sustained work of building an author career across multiple books.
There will be parts of that process I have yet to encounter. I do not expect to arrive knowing everything. I expect to learn, communicate, honor the expertise of the people around me, and become more capable through the partnership.
I am interested in working with agents, editors, publishers, and creative professionals who recognize the ambition of the work, value candid conversation, and want to build toward a thoughtful, long-term publishing career.
Collaboration
literary represenation and partnership
World-building is consequence made visible.
Before I write the first sentence, I know the ending.
I may not yet know every alliance, betrayal, sacrifice, or revelation that will lead there, but I understand the final transformation the story must earn. The ending becomes a point of gravity: it gives the narrative direction without removing the characters’ freedom to resist it, alter themselves, or arrive as someone I could not have predicted at the beginning.
From there, I build the architecture backward.
Every saga begins with a governing question. Every realm, supernatural law, political system, relationship, and form of power must place that question under greater pressure. Nothing belongs merely because it is beautiful, elaborate, or mythologically impressive. If removing an element does not weaken the character, conflict, transformation, emotion, or eventual payoff, it has not yet earned its place.
In Velantyr, world-building is a system of literary consequence.
The realms are not interchangeable locations. Each embodies a different function of existence—physical life, consciousness, memory, celestial responsibility, soul development, or what may remain after death. Each also reveals what happens when its intended purpose is distorted, exploited, or prevented from reaching completion.
Blood is therefore more than atmosphere; it carries body, family, inheritance, economy, and power. Tears do not merely signify grief; they preserve memory and make passage possible. Dreams, timelines, and portals are not conveniences of magic; they govern which possibilities can reach fruition. When a celestial being is wounded, the injury does not remain personal—the architecture entrusted to that being begins to fail.
The metaphysical must always become material. A broken law should alter a body, a family, a season, a government, a relationship, or a realm. Otherwise, it remains an idea rather than a story.
This allows me to dress recognizable human conflicts in mythic form without reducing the work to direct allegory. Exploitation becomes immortality sustained by renewable bodies. Class becomes a hierarchy of blood. Grief becomes geography. Memory becomes inheritance. Worship becomes extraction. The refusal to allow anything to end becomes a civilization incapable of renewal.
My characters are created inside these systems, but they are not confined to the identities those systems assign them. I am drawn to dangerous, concealed, and contradictory beings because transformation becomes most meaningful when it is neither easy nor inevitable. Their choices must carry enough consequence to alter not only themselves, but the worlds structured around them.
At the sentence level, I pursue the same discipline. My prose draws from folklore, mythology, sensory imagery, and poetry, but lyricism must reveal character or deepen meaning. I revise toward precision—removing explanation where an image, gesture, silence, or absence can carry greater emotional weight.
The Architecture Reveals What Will Cost To Arrive There
the ending of sagas
"A story carries the memory of what we survived, desired, and could not speak without disguise."
"I build worlds so reality can remove its mask."
"My characters get what they're willing to become when it costs them who they are."
"Not to portray beauty - prose should enter quietly, alter breathing, and leave behind an image the reader can't forget."
"Stories should return the reader to life with something awakened inside them."
02. characters and bloodlines
World of Velantyr
03. language, lore and artifacts
01. Realms and architecture
Before Velantyr, there was Echelon, Escape from the Gods, King and Consort, Painted Veil, and a wider collection of dramatic, mystical, and vampire-centered fiction written across more than twenty years.
Those stories trace the evolution of my work—from intimate conflicts of love, hierarchy, identity, and survival to the multidimensional realms and metaphysical architecture of Velantyr.
Their prose belongs to different periods of my life, but the questions beneath them remain connected: what power makes of us, what grief leaves behind, and whether a life can become greater than the conditions that formed it.
Earlier Works
currently writing
Poetic Prose, Structural Precision
Vampire Folklore, Mysticism & Myth
Multi-Book World Architecture
Emotionally Complex Characters
Adult Epic Mythic Fantasy
at a Glance
Began Echelon, a vampire saga exploring hierarchy, identity and systems that determine whose life is more valuable.
2011
Painted Veil became widely read online, showing how deeply readers attached themselves to imagined lives.
2010
Encouraged and inspired by a teacher who read an essay in Lit class to continue honing fiction skills.
2005
Began writing—creating characters and worlds before I understood what authorship might eventually become.
2001
Released Adrift, a work on complex time systems and legacy connections within vampire hierarchy.
2022
Completed Echelon. Its unanswered questions about exploitation, death, power and transformation honed the physics of Velantyr.
2021
Wrote Escape From The Gods, explored cosmology that expanded into the foundations of Velantyr.
2021
Released King and Consort, another widely popular series with fans worldwide.
2014
Started Velantyr saga.
2026
Completed Adrift, a place in time.
2025
Rough drafted sequel to Echelon: Eternity.
2024
Conceptualized Velantyr's cosmology.
2023
over the years
Receive a curated selection of excerpts from Echelon, Escape from the Gods, King and Consort, Painted Veil, and other works written across the two decades preceding Velantyr.
Each selection includes a brief note about where the story began, what it explored, and how it influenced me. New excerpts, restored pieces, and occasional author annotations will be added as the collection grows.