The roleplaying informs the setting for the novels

There are sessions where a roleplaying campaign feels like a game.

Then there are sessions where the setting suddenly feels alive.

Tonight was one of those nights.

What began as a relatively straightforward frontier mission in the Ehsaan Void slowly transformed into something much larger — the kind of emergent science fiction storytelling that reminds me exactly why I have spent decades building star systems, political structures, alien ecologies, trade routes, orbital stations, and histories stretching across thousands of years.

The crew of the TSV Venture Reliant finally returned to Chistrae after their deep-field operations beyond the frontier, and for the first time the campaign really began to feel interconnected on a grand scale. Not just isolated adventures, but a functioning region of space with consequences, institutions, rumors, economic pressures, politics, and history layered over each other.

One of the things I have always wanted from science fiction roleplaying is the sense that the universe exists independently of the player characters. Ships are already out there. Trade disputes continue whether the PCs intervene or not. Noble houses rise and fall. Frontier colonies struggle to survive. Listening posts fail silently in forgotten systems while corporations quietly push deeper into the dark.

Tonight that feeling became tangible.

The Venture Reliant arrived at the partially completed Rimward Frontiers Inc. orbital dock over Chistrae — a high-tech TL-12 private station still under construction, capable of servicing ships up to five hundred tons. There is something deeply satisfying about seeing infrastructure emerge organically in a setting. This was not “a generic space station.” It was the direct result of frontier expansion pressure. The dock exists because the Ehsaan Void is beginning to matter economically and strategically.

The returning crew was welcomed by dockworkers, maintenance crews, and other ship personnel in a way that made the setting feel human. These people know each other. They recognize ships. They watch status boards. Some ships return. Others do not.

Three RFI ships remain missing or overdue:

TSV Frostwake

TSV Pale Horizon

TSV Iceward Lantern

That alone creates narrative gravity. Nobody announced they were “lost.” Their names simply remain on the board marked OUTSYSTEM. In a frontier campaign, that silence matters more than dramatic declarations.

The introduction of Marin Sorell, the Rimward Frontiers operations representative, helped solidify the tone I want for this campaign setting. Competent people. Professional people. Individuals trying to build civilization outward into difficult territory while knowing that space does not care whether they succeed.

I particularly enjoyed the subtle corporate realism emerging naturally during play:

chain-of-custody procedures,

scientific intake protocols,

staged logistics rollouts,

pre-planned expansion checklists,

incomplete colonial infrastructure,

quiet political pressure beneath polite conversations.

That level of detail is exactly what makes a setting feel convincing to me.

And then things became stranger.

The mission briefing involving Suviti immediately shifted the tone from frontier logistics into creeping mystery. A quiet listening post in the outer system of a newly established mining colony has gone silent. The last automated burst arrived corrupted. The expected follow-up transmission never came.

No distress call.

No answers.

Just silence.

That is pure Traveller to me.

Not giant galaxy-ending stakes. Not cinematic superweapons. Just the cold anxiety of a remote installation failing somewhere beyond reliable help while forty thousand colonists continue trying to survive on a low-tech, incomplete frontier world.

The details matter:

Suviti’s operations base is unfinished.

The colony is still dependent on imports.

Their infrastructure is fragile.

They do not have the resources to investigate themselves.

Rimward Frontiers quietly sends the Venture Reliant because somebody has to look into it.

This is exactly the sort of grounded space opera tone I love:

small problems that feel enormous because people’s lives genuinely depend on them.

But the real moment where tonight’s session suddenly exploded outward creatively was the discovery inside the gas giant.

The crew emerged into the CoRoT-4599b system, performed fuel operations near Ashera-12, settled into shipboard routine, and then intercepted a damaged alien distress signal from deep within the atmosphere of the gas giant itself.

That changed everything.

Not because “aliens appeared.”

But because the aliens felt old, distant, mysterious, and believable.

The Vaelkrin immediately fascinated me as they developed during play. They are not simply “rubber forehead aliens.” They feel like the remnants of an entirely separate mode of interstellar civilization:

long-range solitary explorers,

anomaly researchers,

deep-environment specialists,

patient observers rather than conquerors.

Their crippled vessel — the Tlaa’keth, “The One That Crosses Silent Distance” — is itself a 300-ton exploration ship conceptually similar to a human deep-range scout cruiser, yet culturally alien in philosophy and engineering.

That parallel became incredibly compelling.

Humanity and the Vaelkrin independently built vessels for surviving the loneliness of deep space.

That tells you something profound about both civilizations.

The imagery surrounding the Vaelkrin also crystallized beautifully:

grey-skinned explorers,

long cranial sensory tendrils,

segmented pressure suits,

harmonic communication structures,

ships designed for decades-long autonomous missions.

And then the deeper mystery emerged:

The Vaelkrin were investigating resonance structures hidden inside the gas giant.

Artificial signal patterns buried beneath stellar noise.

Ancient harmonics.

Possibly precursor structures.

Possibly something older than either civilization.

And suddenly the Ehsaan Void became larger than a frontier trade region. It became a place where forgotten histories overlap beneath normal commerce and exploration.

This is the exact sensation I chase as a referee and worldbuilder.

Not simply creating adventures.

Creating layers.

Civilizations on top of civilizations.

Ruins beneath modern trade lanes.

Old signals buried inside planetary storms.

Corporate logistics intersecting with xenology and deep time.

Even the crew interactions tonight helped reinforce the setting’s texture.

Rika Wrenn in particular emerged as a remarkably vivid character:

practical,

abrasive,

hyper-competent,

carrying an industrial cybernetic eye from a catastrophic engineering accident,

constantly arguing with Nick DeLuca about systems shortcuts and operational risk.

Those little interpersonal dynamics matter enormously. Space opera lives or dies on crew chemistry. Watching these characters settle into poker games during refueling operations while debating engineering philosophy makes the ship feel inhabited rather than scripted.

Likewise, Selrak’s xenological recognition of the Vaelkrin grounded the aliens within existing campaign history instead of making them random encounter material. The fact that he had studied fragmentary references to them in Felis archives immediately implied a much larger galactic context beyond the current map.

That is what excites me most about continuing this setting.

The Ehsaan Void is no longer simply “a subsector.”

It is becoming a living frontier region with:

economic expansion,

political scandal,

incomplete colonies,

corporate ambitions,

lost ships,

deep-space anomalies,

ancient mysteries,

alien civilizations,

and crews trying to survive in the middle of it all.

I think one reason this project continues to energize me so strongly is because it combines several things I have loved since childhood:

hard science fiction,

Traveller-style exploration,

procedural worldbuilding,

political realism,

engineering culture,

mystery,

and the sheer emotional atmosphere of lonely ships moving through enormous dark spaces.

There is also something deeply satisfying about building a setting where technology, economics, geography, sociology, and exploration all reinforce one another logically.

The worlds feel placed for reasons.

The ships exist for reasons.

The politics emerge naturally from logistics and survival.

Even the incomplete orbital dock over Chistrae tells a story about expansion pressure and frontier economics.

I increasingly feel that this setting is approaching the scale and depth I always imagined when I began designing star systems decades ago.

And perhaps most importantly:

it still surprises me.

That is the sign the setting has started to become real.

 

Connecting Across the Stars (and Pages)

Writing is a solitary act. You sit at a desk, stare at a screen or a notebook, and try to make something real out of nothing. Most days, it’s just you and the work.

But no writer really exists in isolation.

Over the years, I’ve found that connecting with other writers—especially those working in fantasy, science fiction, and space opera—has been one of the most grounding and sustaining parts of the process. Not because we’re all chasing the same trends or audiences, but because we’re wrestling with the same questions.

How do you build a world that feels lived in?
How do you keep going when a project stretches longer than expected?
How do you balance imagination with coherence, scope with character?

These are shared problems, even when the answers differ.

Some of my best conversations haven’t been about publishing strategies or algorithms. They’ve been about craft. About why someone chose to make magic rare instead of abundant, or why another writer prefers slower ships and longer journeys between the stars. About the quiet decisions that shape a story long before a reader ever sees it.

Fantasy writers understand myth and weight.
Science fiction writers understand systems and consequences.
Space opera writers live at the intersection—where scale meets intimacy, and where a single choice can ripple across entire civilizations.

When writers from these spaces talk to one another, something interesting happens. You start borrowing lenses rather than ideas. A fantasy writer’s sense of history sharpens a sci-fi setting. A science fiction writer’s rigor grounds a space opera’s spectacle. Everyone walks away with stronger tools, not diluted voices.

At this stage of my life and career, I’m less interested in shouting into the void and more interested in conversation. The kind that happens in comment threads, quiet emails, late-night chats, or around gaming tables where stories are built collaboratively, moment by moment.

If you’re a writer working in these genres—published or not, outlining or revising, confident or uncertain—I believe there’s value in reaching out sideways instead of always looking up or ahead. Not to compare trajectories, but to share the road.

We’re all building worlds. Some of them just happen to have dragons. Or jump drives. Or both.

If you’re reading this and feel that pull toward connection, consider this an open hand. The work is still solitary—but it doesn’t have to be lonely.

More writing soon. More worlds. And, I hope, more conversations.

January, Sixty, and the Long View

 
January 6, 2026

It’s been a long time since I last wrote anything here. A new year has started, and in a few days I’ll turn sixty.

I’ve been working quietly in the background—more than it might look like from the outside. Several books have been moving forward, sometimes slowly, sometimes in bursts. I’m still aiming for the January 30th release of the Kars Vandor series, and I’m also returning to running role-playing games after a longer break than I planned. A month and a half away was good for rest, but I’m ready to be back at the table.

I don’t know what the next few weeks or months will bring. The world feels noisy and unstable in ways that are hard to predict, and I don’t have much wisdom to offer about that. What I do know is that paying too much attention to the chaos doesn’t help me write better stories or run better games.

So I’m choosing to focus on the work.

Writing. Worldbuilding. Characters who still surprise me. Sitting down with players and letting stories emerge that none of us could have planned. Traveller, Bladerunner, Twilight:2000, D&D 5th Edition. These are the things I can control, and they’re the things that have carried me through every uncertain period before.

If you’re still reading this—thank you. More is coming. Quietly, steadily, and with intent.

 A Life Built on Stories: From Worlds on the Page to Virtual Tabletops Around the Globe

It’s been a few months since I last updated the blog. Partly, that’s because life has been full—rich, complicated, tiring, and incredibly fulfilling. Since January 13th, I’ve poured my energy not just into my writing but also into a path that has grown into something deeply meaningful: being a professional gamemaster.

Yes, it started as a side hustle. Something to help with the bills, a way to put my decades of storytelling experience to use. But it’s become more than that. Today, I’m running almost 8 different games for 30 players from all walks of life and corners of the globe.

Bladerunner 2037, D&D 2024, Song of Ice and Fire, a Battletech play-by-post campaign set during the Clan Invasion of 3039, Beyond the Wall, and even a Star Wars Saga RPG set in the Knights of the Old Republic era. One of my most recent games is for a solo player who’s a digital nomad in the United Arab Emirates. The universes vary, but what binds them together is a shared love of story—a desire to dive into new worlds and forge new identities, if only for a few hours each week usually in my morning hours, after I sdrop the kids off at school and take my wife to her motorcycle parking spot, or directly to her office.

Some players drift away as life pulls them in different directions, a few have had work changes, some have been called to active duty or a military deployment. but many stay. I’ve had core players who’ve walked with me for years now. They’ve been more than supportive—through Star Trek Adventures, Twilight:2000, and Bladerunner.  They’ve become a part of the rhythm of my life. In a way, they’re helping me write the next chapters of my personal life story, even when it’s not in a book.

Meanwhile, the writing continues. Slowly, steadily, faithfully. Merchant of Fortune is still unfolding, still finding its shape. I haven’t abandoned the dream—I’m just living it in multiple dimensions now. At the game table. On the page. And in the quiet, behind-the-scenes moments when I sketch new systems and brainstorm alien cultures.

This life I’ve built—part author, part GM—isn’t what I would have imagined for myself years ago. But it’s mine. And it’s built on stories. Stories that connect, that entertain, that heal. Stories that remind me, no matter what’s happening in the world, there’s always another chapter waiting to be written.

Thank you to everyone who has supported me—players, readers, friends. You help make this dream real.

Let’s keep exploring.

The Road to Becoming an Author: Embracing the Imperfections of My Creative Journey

When I first dreamed of becoming an author, the image in my mind was flawless. I imagined myself sitting at a perfectly arranged desk, typing away as inspiration poured from me like water from a spring, creating rich worlds and characters with effortless ease. I pictured polished manuscripts flowing out into the world, readers eagerly devouring my words and critics hailing my brilliance. 

The reality, of course, has been far from perfect. And thank goodness for that.

The road to becoming an author has been anything but smooth. It’s been a winding path full of missteps, setbacks, and detours I never anticipated. In my earliest days, I struggled to find my voice, pouring over drafts that felt lifeless or derivative. I compared myself endlessly to other writers, convinced I would never measure up. For years, I wrestled with self-doubt, wondering if I was fooling myself into thinking I could ever create something worth sharing.

But looking back now, I see that the imperfect parts of my journey—the rewrites, the rejection letters, the moments of doubt—were essential. Each bump in the road taught me something new about my craft and, more importantly, about myself.

The Struggle Shapes the Story

The imperfections in my writing process have always pushed me to grow. I’ve learned to embrace first drafts that are clunky and uninspired because I know the real magic happens in revision. Early on, I wanted every sentence to be perfect on the first try, but now I know that writing is a process. Sometimes, you have to get the bad ideas out of your system to make way for the good ones.

In the early stages of my career, I was terrified of feedback. A critique felt like a personal attack, and I was quick to defend my choices. Over time, I realized that feedback—no matter how hard it was to hear—was one of the greatest tools for growth. Now, I seek it out, grateful for the chance to see my work through someone else’s eyes.

Setbacks Are Just Part of the Journey

There have been plenty of moments when I’ve felt like giving up. Manuscripts that were rejected by every publisher I sent them to. Stories I thought were brilliant, only to have them fall flat with readers. Even now, when I’m deep into writing a series, I sometimes wonder if I’ve bitten off more than I can chew.

But every setback has also been an opportunity to learn. The rejections taught me to approach my work with humility and to always strive to improve. The failed stories taught me to listen more closely to my audience and to pay attention to the elements that make a story resonate.

I’ve also learned that the setbacks don’t erase the progress I’ve made. Each word I’ve written, even the ones I eventually deleted, has been part of the process of becoming a better writer.

Imperfections Give the Work Life

One of the most surprising lessons I’ve learned is that imperfections aren’t just something to overcome—they’re something to embrace. In my writing, it’s often the messy, unexpected elements that bring a story to life. A character who defies my original plan and takes the story in a new direction. A plot hole that forces me to come up with a creative solution. Even a typo can lead to an idea I wouldn’t have considered otherwise.

In my personal life, too, I’ve learned to embrace the imperfections. Writing isn’t a linear process, and neither is life. Some days, the words come easily, and other days, I stare at a blank screen for hours. Some days, I feel like I’m on top of the world, and other days, I wonder if I’m fooling myself into thinking I can do this.

But through it all, I keep going. Because I’ve learned that the imperfections are what make the journey worth it.

A Work in Progress

If there’s one thing I’ve learned on this journey, it’s that becoming an author is never really finished. Just like a story is never truly “done,” we as writers are always growing, always learning, always refining our craft.

I’m still learning to embrace the imperfections in my work and in myself. I’m still figuring out how to balance writing with the other demands of my life. I’m still learning how to share my stories with the world without losing sight of the joy of creating them.

And that’s okay. Because, in the end, the imperfections are what make the journey real.

To anyone out there who’s struggling with their own creative journey, I want to say this: Don’t let the imperfections hold you back. They’re not signs of failure; they’re proof that you’re trying, that you’re growing, that you’re on the path to something extraordinary.

Keep going. Keep writing. And embrace the imperfections—they’re what make your story yours.

How My Parker IM Shapes My Writing Journey

When it comes to writing tools, most people think about keyboards, screens, or even voice-to-text apps. But for me, there’s something grounding—almost magical—about holding a good pen. My Parker IM pen isn’t just a tool; it’s a connection to the creative process, a symbol of the deliberate thought that writing demands.

I bought the Parker IM pen during a time when I felt my writing was spinning out of control—too many ideas, too many stories, and not enough clarity. This pen helped me slow down. With its smooth ink flow and the perfect weight in my hand, it became my go-to for jotting down spontaneous ideas, sketching starship designs, or even mapping entire worlds in a notebook.

A Creative Ritual

There’s something meditative about using a fine pen on quality paper. The act of uncapping it, putting the nib to the page, and seeing words appear in smooth, black ink feels deeply satisfying. When I’m stuck on a plot point or a world-building detail, I pick up the Parker IM and let it guide me. The tactile sensation of writing on paper helps me step out of the chaos of digital life and into the calm focus of the creative moment.

A Pen That’s Seen Worlds

My Parker IM has become a part of my world-building process. Many of my most vivid notes about the Merchant of Vision universe were scribbled in longhand—sector maps, starship designs, and even character motivations. There’s something about holding a pen and writing that makes the ideas feel more real. A pen can’t hit “delete.” You have to cross something out, which gives you the chance to reflect on your thoughts in ways that typing can’t.

Finding Meaning in the Small Things

In a way, this pen has become a metaphor for my writing journey. It’s not about the fastest way to get words down, or the flashiest tool; it’s about consistency, focus, and being present in the moment. Writing with a pen, especially one that feels as good as the Parker IM, reminds me that creativity is as much about the process as it is about the final product.

So if you’re a writer—or even just a thinker—who’s looking to reconnect with the joy of creating, consider picking up a good pen and a blank notebook. You might be surprised by the worlds it helps you bring to life.

What’s your favorite writing tool? Do you prefer digital, analog, or a mix of both? Let’s talk about the tools that help us tell our stories.

The Art of Writing Interstellar Histories

When writing a sprawling Space Opera, one of the biggest challenges lies in managing the intricate web of timelines that form the backbone of your universe. In the Merchant of Vision series, for example, every faction, every character, and every world has its own history—a tapestry of events that must align seamlessly to create a believable and immersive universe. It’s a daunting task, but also one of the most rewarding aspects of world-building.

The Timeline as the Skeleton of the Story

For me, the timeline isn’t just a reference document—it’s the very skeleton of my narrative. Without it, the story would collapse under the weight of its own inconsistencies. Wars fought hundreds of years ago, the rise and fall of empires, the discovery of star drives, and personal milestones for the characters all have to fit together like pieces of a puzzle. A timeline ensures that every action, every consequence, and every ripple effect makes sense within the broader context of the universe.

My Process: From Chaos to Order

Organizing timelines is not a linear process—it’s messy, recursive, and deeply satisfying. Here’s how I approach it:

1. Start Big, Then Narrow Down

I begin with broad strokes. For instance, when did the Terran First Empire rise and fall? What catalyzed the Prophet’s War, which left the galaxy fractured for a thousand years? Once I have those major events plotted, I zoom in to focus on individual factions or characters. This creates layers of history that feel real because they’re grounded in the "big picture."

2. Visual Tools Are Essential

I rely heavily on visual tools to keep everything straight. Timelines in my timeline creation software help me map key dates, while color-coding lets me quickly identify which events belong to which factions. For interstellar histories, I’ve even sketched out maps that evolve over time—showing the ebb and flow of territories, trade routes, and alliances. That was a real chore but it was also extremely helpful in making the whole thing seem more real to me. Mapping sectors that were initially barely explored star systems and then fledgling colonies or scout bases, and then minor interstellar routes which overtime became major trade hubs with Naval installations.

3. Character-Centric Threads

Characters don’t exist in isolation, and their backstories often intersect with galactic events. For example, Kris Herron’s ambition to attend the Naval Academy ties directly to the legacy of her father who died in the Felis Wars. Plotting her personal timeline alongside the broader galactic timeline helps me maintain cohesion.

4. Interweaving Past, Present, and Future

One of the trickiest parts of timeline management is ensuring that past events resonate in the present storylines. A thousand-year-old war may seem like ancient history, but its consequences ripple through every page of Merchant of Vision. I ask myself questions like: How do characters view these events? Are they myths to some or painful realities to others? The same is true for foreshadowing future possibilities—laying the groundwork for what comes next is just as critical.

Maintaining Consistency

Consistency is the hallmark of any well-crafted Space Opera. I frequently revisit my timeline to cross-check dates, ages, and durations. For example:

How old would Duchess Zhōu Yuèguāng have been during pivotal events like the Felis occupation of her homeworld?

If a starship takes three weeks to cross a specific subsector, how does that affect the pacing of the plot?

Whenever I hit a snag, I return to the timeline to ensure the answer aligns with established facts.

Tools of the Trade

Beyond timelines, I use several other methods to keep track of my universe’s intricate history:

1. Historical Summaries

I write "historical essays" for major factions or events, written as though they’re from an in-universe perspective. This not only helps me keep the history consistent but also inspires world-building details that can enrich the narrative.

2. Event Cards

Sometimes, I break events into individual cards—each representing a war, discovery, or political upheaval. These cards can be physically shuffled or digitally rearranged as I work through plot ideas, making it easier to see how different pieces connect.

3. Reference Documents

I maintain detailed character sheets and planetary profiles to ensure that everything—from cultural traditions to technological levels—lines up with the timeline.

The Joy of Exploration

While keeping track of a vast timeline might seem overwhelming, it’s also where I find joy and inspiration. There’s something thrilling about watching the pieces come together, about discovering new connections that I hadn’t planned. Sometimes, an inconsistency forces me to rethink a storyline—and more often than not, the result is stronger for it.

For example, when I realized that the collapse of the Terran First Empire overlapped with the rise of Felis starpower, it opened up new narrative possibilities about how their interactions shaped the current galactic landscape. That small detail, born out of necessity, became a linchpin for the entire series.

Why It Matters

Timelines aren’t just for the writer—they’re for the reader, too. A well-organized timeline lends depth and authenticity to the story. It allows readers to immerse themselves fully, to feel like they’re stepping into a living, breathing universe with its own logic and history.

For me, the timeline is more than a tool—it’s a promise to my readers that the world they’re exploring is as vivid and consistent as the one they live in. And in the end, that’s what makes all the effort worthwhile.

If you’ve ever tackled timelines in your own writing, I’d love to hear your process! How do you navigate the past, present, and future in your stories? Share your thoughts below!