The Sentinels: Metalgod (2012) and Legion I: Lords of Fire (The Shattering) (2013) – Written by Van Allen Plexico – Published by White Rocket Books.
Welcome to the seventh Atomic Interview. My guest this go-round is Van Allen Plexico, author, publisher, podcaster, and historian. Click here to view the complete list of Atomic Interviews, and click here for Van’s Amazon Author’s page. This is a massive interview, so let’s not waste time with the preliminaries. Go get yourself a tall drink, kick back, and enjoy!
Mark Bousquet (MB): In the past 13 months, you’ve published four novels (LEGION I: LORDS OF FIRE, SENTINELS: METALGOD, HAWK: HAND OF THE MACHINE, LUCIAN: DARK GOD’S HOMECOMING, and contributed five short stories for various collections (NEW ADVENTURES OF THE GRIFFON, MONSTER ACES, LANCE STAR: SKY RANGER VOLUME 2, and two issues of PRO SE PRESENTS). You’re the owner/publisher of White Rocket Books, and produce the weekly White Rocket Podcast. We’ll get to all of these projects in turn, but first, how do you prioritize your time between novels, short stories, podcasts, and duties as a publisher? Do you line up projects and hit them in turn, or is it a matter of working on whatever project you’re most inclined to work on at a given moment? Do you look to balance longer and shorter projects?
Van Allen Plexico (VAP): Good heavens. I did all that?
I’m sure there’s a very good, efficient system for prioritizing such things. I have no idea what that might be, and I probably couldn’t make such a thing work for me if I did.
One of my goals is to keep everything as fun and stress-free as possible, which means keeping it all as loose and un-business-like as I can get away with. I keep a list of the various things that need doing, so that I don’t get too far behind on any of them, but I approach each one as the mood strikes and time allows. The exception to that, of course, is the podcast, which has to be scheduled in advance with my various guests.
My first love is writing novels and I’m always battling to carve out a few extra minutes just to do that every week. I try to fit the other things in as best I can. It helps to be in a profession (college teaching) where I get a good number of days off and have fairly flexible hours.
My goal has been to complete at least two novels (a Sentinels novel and one other) each year, and I then try to fit in as many short stories, anthologies, editing jobs, etc as I can in the remaining time. Some years it looks like I’m doing more, because something might have been in the pipeline a long time before it finally comes out. An example would be my Mars McCoy novella for Airship 27, which I wrote about five years ago and is finally coming out later this spring.
MB: LEGION I: LORDS OF FIRE is your latest novel. Here’s the official book description from White Rocket Books:
Legion I: Lords of Fire
Stripped of his authority by the Emperor of Mankind and assigned to duty in deepest space for failing to prevent the greatest robbery in history, Ezekial Tamerlane believes his career as a soldier is over.
But strange forces are at work, urging the Emperor to set out on a journey fraught with dangers into a nightmare realm a universe away from our own; and Tamerlane, like it or not, is going along for the ride.
What he and his high-tech super-soldiers find along the way will shake the Empire to its very foundations, and unleash a crisis of galactic proportions that not all the armies in creation can hold back…
Beginning a new Military SF/New Pulp Space Opera adventure from Van Allen Plexico: THE SHATTERING! The galactic crisis that led to the shattering of the galaxy and the rise of the Hands of the Machine is revealed at last!
MB: Talk to us about this book. How does it connect to HAWK: HAND OF THE MACHINE?
VAP: LORDS OF FIRE is set within the same broad universe as my other SF novels. It is my first really “Military SF” novel as well as a Space Opera saga, but it also includes supernatural elements to create the sort of mixture you’d expect to find in Warhammer 40,000-style stories. So you will encounter vast armies of futuristic soldiers, hordes of aliens, interdimensional expeditions, mutant powers, starships, ancient alien technology, and even demonic possession!
When I was writing HAWK, I made the tactical decision to tie it directly into the universe I had created in my earlier novel, LUCIAN: DARK GOD’S HOMECOMING. That gave HAWK a ready-made universe to operate within, and some interesting sort of “supernatural” elements to touch on, too. The LUCIAN book had focused mainly on the “godlike” beings of that universe; HAWK jumped ahead a few millennia to a time when that galaxy has been “shattered” by a horrific invasion of extra-galactic alien hordes, and all that were left were a few sort of “lone lawmen” patrolling the ruins.
One of the questions raised by HAWK was, “Who were those invading aliens? Where did they come from? Where did Hawk and the other Hands of the Machine—and the Machine itself, the great artificial intelligence charged with defending the remains of the galaxy afterward—come from? How and why exactly was the galaxy shattered?” And most importantly, “Who was the mastermind behind it?”
LEGION I: LORDS OF FIRE is the first volume in the SHATTERING trilogy, and it answers those questions over the course of telling a very big, bold, colorful Space Opera/Military SF action adventure.
Where LUCIAN focused tightly on the gods and on Lucian’s personal viewpoint, and HAWK concerned itself mainly with the mysteries of Hawk’s own past, LORDS OF FIRE opens the saga up to look at the fates of vast legions of futuristic soldiers going into combat against wave upon wave of alien attackers—and demonic invasions as well, since there is that sort of supernatural connection operating in this universe.
MB: What kind of man is Ezekial Tamerlane? How does he compare and relate to Hawk?
VAP: Tamerlane is a soldier, part of a vast army. He was orphaned at a very early age and was essentially raised by General Hideo Nakamura and brought up within the ranks of Legion I, the primary military force of the Empire. He is very close to Nakamura and will fight to the death to defend the old man. At the start of LORDS OF FIRE, he’s been given a sort of promotion: He’s left the I Legion to become the head of Imperial Security. And then the Emperor starts to hear voices in his head, and things start to go very bad for Tamerlane and for everyone else…
Hawk is more of a loner, and he’s sort of mystery—and more so to himself than to anyone else. At the very start of his book, well… here’s the first line of his book:
“Hawk awoke naked and screaming in the heart of a shattered galaxy.”
And then, a little later:
“Where was he? For that matter, who was he?”
So a whole lot of his book is a voyage of self-discovery, as the situation around him begins to fray around the edges. He discovers he is a sort of “lone ranger” galactic lawman with his own sentient ship and a lot of firepower and fighting skills. But he has no idea what’s going on, or why everyone seems utterly shocked to see him alive again. He’s not exactly welcomed back to the land of the living. This is more than a thousand years after the time of Tamerlane and the Legions.
And finally, how does Tamerlane compare and relate to Hawk? Um … well … HEY, LOOK OVER THERE! (whistles idly)
MB: LEGION and HAWK are Military SF novels, while SENTINELS, your longest running and most well-known work, is a Superhero series, yet all of these works contain cosmic elements. We’ve known each other for more than a minute now, and I know you have an affinity for 1970s Marvel comics, especially the Avengers and Jim Starlin. What influence did that era of Marvel have on you? Is that where your love of space-based stories comes from?
VAP: Starlin was definitely a huge influence in that way; he sort of bridges that gap between superhero stories and big, cosmic, galaxy-shattering epics. Kirby did it too, of course, but Starlin brought almost a poetry to it that struck a deep chord within me. Those themes of immortality, identity, and sacrifice that he dwelt upon tend to show up again and again in my work.
Marvel when I was a kid was constantly cranking out big, mind-blowing cosmic epics and I was totally into that. The comics stories of that era really had no limits or boundaries; they could include just about anything you could think of. So you’d see “space gods,” starships, alien empires, superheroes, sentient robots and androids, Asgardian gods, time travel, and just on and on and on. And I loved the idea of being able to mix those things all together and create something sort of all-inclusive.
With the Sentinels, my approach is like in a Claremont X-MEN or Shooter AVENGERS book: the superheroes (from Earth) come first, with their personal stories, but lord knows who and what mind-blowing entities and conflicts they will encounter on Earth and all over the rest of the universe! From the Red Skull to Ultron to Galactus and the Celestials and beyond, I’ve tried to create characters and entities in the Sentinels books that contain echoes of those archetypes, but done in my own unique way.
With my more SF-oriented novels like HAWK and LORDS OF FIRE, the emphasis is on creating a true “SF universe” where mankind is already out among the stars and mixing it up with lots of other powerful races and entities.
MB: The SENTINELS series is your longest running project. Here’s the description for VOLUME 7: METALGOD:
In the wake of the Worldmind/Stellarax Crisis, the Sentinels have scattered to the four winds. But there’s little time to relax and recover, as the dangers facing Earth have never been greater. Esro and Mondrian cross the depths of space in a desperate attempt to stave off galactic civil war, while Pulsar and her sister work to assemble an entirely new team of heroes back on Earth. Now time is short, and the supply of heroes shorter, and enemies old and new lurk at every turn; foremost among them the deadly mechanoid from space–the being known only as METALGOD! Presenting the first volume in the new SENTINELS story arc, “Order Above All”–where action and adventure await at every turn, and nothing is quite what it seems! Interior illustrations by Chris Kohler; cover art by Chris Kohler and Sarah White.
MB: Talk to us about the Sentinels, if you would. Who are they?
VAP: There is actually no team or group in the novels that goes by the name “The Sentinels.” There are various characters (humans, aliens, mutants, gods, androids, etc) who circulate in and out of the mansion of inventor Esro Brachis and who nominally operate under the authority of Ultraa, the one official “superhero” of this world. There was some brief talk, early on, of taking that name, but nobody liked the suggestion very much. It’s kind of a running joke through the series.
The story gets going, in Volume 1: WHEN STRIKES THE WARLORD, when young college student Lyn Li discovers her amazing electromagnetic-based powers and nearly gets kidnapped by agents from the US Defense Department. From there, Lyn (now “Pulsar”) falls in with Ultraa and Brachis, and the rest of the team slowly forms around that trio. During the first six novels, the lineup changes quite a bit, and for more than one reason.
The one thing they have in common is the goal of protecting the Earth from the myriad dangers that have begun to appear, and over the course of the series they have already faced trans-dimensional megalomaniacs, alternate-reality Germans, cosmic space-gods, self-replicating robots, and a corrupted interstellar peacekeeping force.
I need to point out that there is a very fine line in this sort of material between serious adventure drama and campy silliness. I do include a bit of humor here and there, but the series never crosses over into the realm of the goofy and it does all grow more serious as it goes along and as the stakes are raised and as the situations facing the characters grow more and more deadly.
MB: Where does METALGOD take this series?
VAP: It takes half the characters off into space to get involved in a gigantic civil war, and the other half back to Earth—just as a new menace is appearing at home.
METALGOD is the first volume in the third trilogy; I write the series as sets of three books per storyline. With the end of the second trilogy in volume six: STELLARAX, the team was pretty much broken. It has fallen to Pulsar to pull something workable together in the way of a new lineup, and she is not happy about that. The first half of METALGOD largely consists of her efforts, along with her little sister, to recruit new members who actually have powers and might be of some use in a fight. That’s not nearly as easy as it sounds!
The second half sees Esro Brachis and the alien warrior-woman he loves, Mondrian, encountering a strange new set of menaces on the far side of the galaxy. They have stepped right into the midst of a civil war between factions of Mondrian’s people, the mighty Kur-Bai– the most powerful alien race in the Sentinels universe.
At the end both groups—Pulsar’s on Earth, and Esro’s in space—get caught up in pretty intense battle scenes that shake up the status quo in dramatic fashion. And Pulsar begins to realize that everything is not what it appears to be…!
MB: Who’s Lucian and why is the Dark God having a Homecoming?
VAP: Lucian is essentially Loki or Satan; he’s the “devil” character of my SF universe (the same one seen in HAWK and LORDS OF FIRE). It is a futuristic, science fictional universe, first and foremost, but it also features “gods” and an “Above” where they can be found, and a “Below” populated by demons and other horrible creatures. I have essentially combined the ideas of “Heaven” or “Olympus” with “hyperspace,” so humans occasionally end up in the Above or the Below—and nothing good ever comes of that. (Except, y’know, a good story.)
Lucian’s “homecoming” happens when he returns to the city of the gods from his long exile on the human worlds. Upon his arrival, he is accused of the mass murder of dozens of the other gods. He’s the logical suspect, being the devil and all, but you have to think there might be more going on beneath the surface. So he goes on the run, across the planes of creation, one step ahead of pursuit, attempting to prove his innocence—this one time. A trio of humans gets pulled along with him, and he learns a lot about himself while (very reluctantly) helping them. This is LUCIAN: DARK GOD’S HOMECOMING.
MB: I have hundreds of potential stories tucked away on computer files and rattling around my head. How long were projects like SENTINELS, LUCIAN, and the SHATTERED GALAXY universe percolating before they were committed to paper?
VAP: I hear ya. I have lots more that I haven’t had the time to get around to, so far. Sequels to HAWK, LUCIAN, LORDS OF FIRE, and more Sentinels books are all just over the horizon.
The answer to your question is “it varies tremendously.”
Bobby Politte and I created the Sentinels as part of a joint project way back in 1996, and some of the characters had been around (in our heads) even before that. Nine years later, I wrote WHEN STRIKES THE WARLORD. So I’ve been living with the Sentinels in one form or another for at least seventeen years and counting! And I lifted a couple of story elements that appeared in Volume 6: STELLARAX from comics stories I first made up back in middle school! Writing the Sentinels is so fun and almost cathartic because I get to liberate ideas from my mind I’ve been carrying around for decades.
Lucian himself began as a supporting character in a book I wrote in college. When it was done, however, I decided we needed to know Lucian’s story before we could really appreciate that story. So I set the first one aside and wrote LUCIAN, working in my spare time over two or three years. In the next year or two I’ll either write the next book after it, or rewrite that old one.
HAWK and the Shattered Galaxy books are total opposites in this way. I came up with the ideas for HAWK at the same time I was writing the first Sentinels book, in 2005. But it took a lot longer to percolate and form into something workable. I had a lot of false starts with that book. It never could decide exactly what it wanted to be—and every time I would read some new and inventive story, I’d try to see if I could shoehorn HAWK into that format. It never worked. Finally, in 2011, feeling pretty frustrated about it, I decided to set all that artificial stuff aside and just write HAWK straight from the heart, and that’s when it clicked.
The Shattered Galaxy series, on the other hand, came together amazingly fast. I’d been reading a lot of Warhammer 40,000 novels and the “Horus Heresy” series they’re doing, and loved the idea of these big, vast armies of super-soldiers with fleets of spaceships and superhuman commanders at the forefront of them. About a year ago I sat down over nachos with my local writing pal, Wayne Reinagel (Pulp Heroes; Modern Marvels), and just sort of bounced ideas off him for a couple of hours until things coalesced.
What I wanted was something evocative of 40K in flavor but still totally my own. When I thought of tying such a thing into my existing LUCIAN/HAWK universe and using it to explain the “Shattered Galaxy” concept I’d introduced in HAWK, it all clicked together perfectly. The “Above” and “Below” give the super-soldier legions a supernatural element to face—demons and hostile gods as well as enemy human and alien armies. I’m pouring everything I love about Military SF into this series and readers really seem to be responding to that so far.
So LORDS OF FIRE is essentially the first volume in a trilogy that will explain how the galaxy came to be “shattered” when Hawk wakes up naked and screaming a thousand years later!
MB: In addition to your writing, you also head White Rocket Books. What’s life as a publisher like? What are your goals for WRB? You published my first novel, which had been languishing after Frontier closed its online doors. Are your doors open to submissions? What are you looking for in terms of content to release?
VAP: It was always my dream to be a publisher—to do my part in getting cool material out to readers. But it is very hard work. Challenging, time-consuming, and hard. There’s so much that goes into it, from editing to graphics to layouts to marketing to tracking and paying royalties, on and on. Plus you have to stay on top of the newest developments in areas such as e-books and print-on-demand. There’s just so much to it.
White Rocket has evolved over the last few years, and I’m actually in the process now of pushing it in new directions. It has primarily been a vehicle lately for my own works, but that was never the only thing it was supposed to be. I do value the creative control it allows me over some of my properties, but I also want it to be on the cutting edge, bringing new and exciting works from other authors to the public.
I don’t envision any time where White Rocket will be totally open to submissions; I simply don’t have the time to sift through all the manuscripts and proposals that would very likely come in, though I’m sure many would be excellent. There are bigger houses out there that can manage that kind of thing, but (with only a small staff surrounding me) I would never get anything else accomplished. So we will continue on an invitational basis; if I decide independently that something might be right for White Rocket, I’ll approach the owner about some sort of deal. And maybe one day I’ll be able to hire a bigger staff to help me, and we can expand even more.
Big things are happening right now with White Rocket, and I’d suggest anyone interested in such things keep an eye on us at Facebook and on Twitter, or at All Pulp or Pulp Cosmic blogs.
For the record, as you already know, I loved your novel, was thrilled to help get it to the public, and am glad to see it is still in print.
MB: You’ve also started the White Rocket Podcast. Why did you decide to get into podcasting?
VAP: I had been serving as a regular guest on shows like the RevolutionSF Revcast and Earth Station One, and absolutely loved doing it and appreciated being able to contribute in some small way. (And I hope I can continue doing so.) But, as with anything, once you get a little experience at something under your belt, you start seeing ways that you might do things differently—ways that you would enjoy it more, if you were the listener. Of course, everyone’s different and I don’t mean this as any sort of knock against the shows I’ve been on in the past. They do their thing and do it very, very well.
For my part, I wanted to do a show where I had only one other person on with me, and we could have a very basic, easy-to-follow conversation– almost an interview—about one given topic. No preliminaries, no crowd of voices, just one guest, one topic, that’s it. Simple, basic, easy to grasp. One hour (or thereabouts) in length. And that’s what we do. It seems to be working; the show has been very successful thus far, with thousands of channel visits in just a few months on the air.
(It’s also nice to be in charge, and therefore to get to choose the topic each episode!)
I had hoped that the show would also serve to bring in a new audience that perhaps wasn’t familiar with White Rocket or with my books. Any new/additional exposure is good.
MB: I’ve been a guest for two episodes of your podcast and while I like lots of different podcasts for lots of different reasons, what I like about White Rocket (both as a guest and as a listener) is that you have a very focused approach as a host. You stay on topic, which allows you and your guest to dig deep into a subject. What’s your approach to podcasting?
VAP: That’s it exactly. I was thinking of programs like “Inside the Actors’ Studio” and “Charlie Rose” and the various talk shows, where the host just chats one-on-one with the guest. It seems like, invariably, when you have lots of guests on at once, it’s hard to figure out who’s talking some of the time, and the audio quality can be very uneven across the whole panel, and at least one person is not up on the topic or not taking it seriously. I’ve listened to a lot of podcasts across the spectrum of topics over the last few years, and few things grate on me like a podcaster who just wants to laugh and be goofy through an episode—often, it seems, because they’re nervous or not in command of the topic. My feeling is, if I’m expecting people to want to listen to a show, I should conduct things in a manner that is professional and conducive to the listener getting something out of it.
MB: What’s your non-writing life like?
Fortunately, it’s fun, since I get paid to talk about history and politics and religion all day, and give an occasional test. I would say I’m lucky in that way, except it took many, many years of plugging away at thirteen-hour workdays to earn the opportunity to do that for a living.
I do try to do stuff with my family from time to time. I also like to watch sports (I have a college football podcast and web column I do with fellow Auburn grad John Ringer, the “Wishbone,” as well as the White Rocket show). I’m not a terrible cook when it comes to Chinese food. And I do a half-dozen or so conventions around the country every year, serving as a panelist and host for wacky trivia battles and “smackdowns.” Otherwise, I’m pretty boring, I guess.
MB: Shifting back to writing, what role do short stories play in your career? Do you look for non-WRB projects to help keep the juices flowing? Do you actively seek out other projects, or is it simply a matter of jumping on whatever project seems interesting? What drew you to GRIFFON, MONSTER ACES, LANCE STAR, and PRO SE PRESENTS as venues for shorter stories? How do these stories compare to your novels in terms of content and style?
VAP: The two factors that tend to motivate me to do a short piece are “to gain exposure to a potentially new audience of readers” and “it looks really fun.”
Every story requires a different style. My “Sentinels” style is very different from my LUCIAN style, and my HAWK and LORDS OF FIRE style is different from those. I do have sort of a standard “pulp action” style I can slip into when doing something like the Lance Star story, which mainly consists of refraining from any “too fancy” tricks and trying to stick to straight-ahead narrative and dialogue. For MONSTER ACES, I felt that I could be a little bit “artsy,” so I wove a few things into that story that I normally wouldn’t, such as song lyrics and moral ambiguity.
I’ve found that when a new idea comes along, I can pretty quickly figure out where it should be “slotted in,” in terms of the stuff I write. For example, grotesque psychic mutants in chains? That’s Mars McCoy territory—over-the-top retro-space-pulp. Wouldn’t work nearly as well in, say, the Sentinels—their foes need to be more classic-super-villain-ish—and way too cartoony for Hawk or the Shattering books. An alien army that uses dangerous gemstones to grant them cosmic powers, a la the Green Lantern Corps? That’s the Sentinels, obviously. But—an alien army of giant insect-creatures that was genetically engineered to be super-deadly? Now we’re talking The Shattering. I’m not certain I can get across in words here exactly how the distinction works, but each idea has a sort of nature or texture or flavor, and it doesn’t take long at all to figure out which universe it belongs in.
MB: What’s next for White Rocket Books?
VAP: All kinds of things! Announcements will be coming fast and furious in the coming days.
We are planning on making the podcast even more focused on New Pulp, so it can serve as an important element for getting the word about the great stuff happening in that field out to the reading public.
The Pulp Cosmic site will be kicked back into gear to serve as another important source of information on what White Rocket and others are doing, with regard to cosmic-oriented pulp adventure.
White Rocket will be launching several new lines of books, each line having its own special imprint. Jeff Deischer’s GOLDEN AGE, for example, has been very successful for us and you can expect that universe to be heavily involved in one of the lines.
And we will roll out a special new line of books that will be presented in a different format and pricing structure than what we have been doing. I’m very interested to see how the public reacts to that.
Lots of details coming very soon!
MB: What’s next for you?
VAP: I’m currently editing a new edition of SENTINELS: WHEN STRIKES THE WARLORD, so that we can get that book back into print in paperback as a stand-alone volume. Currently the first three books in that series are out of print, other than stocks that are still available in stores or online. It’s important to me to have that book available particularly at conventions, where people might want to just sample the first book and decide whether they want to continue the series or not. We’re confident they will! (All seven volumes are available individually on Kindle, and the first three are collected as a single omnibus paperback, THE GRAND DESIGN. See www.whiterocketbooks.com/sentinels for details.)
In the next few months, two already-completed projects should see the light of day: MARS McCOY AND THE CHAOS HORDE, an almost-novel-length story (45,000 words) I wrote for Airship 27, and DECADES OF DOMINANCE, a new nonfiction book John Ringer and I compiled about the modern history of Auburn Football. We are launching that book at a series of events scheduled for the Alabama Phoenix Festival in Birmingham in late May, which might even include a signing at their local Books-a-Million. Crossing my fingers!
The next two writing projects coming up are SENTINELS Vol. 8: THE DARK CRUSADE, continuing the new storyline from METALGOD, and LEGION II: SONS OF TERRA, continuing the Shattering trilogy.
White Rocket has a pair of new anthologies in the works, both of which should be along by the end of the year. One’s set in the past, the other in the future.
There are a number of older works we have in-house that I’d like to see updated for paperback and ebook, including GIDEON CAIN and BLACKTHORN. Those are awaiting the time and opportunity to do them right.
And finally I’m pushing the changes happening at White Rocket, trying to get the company up to the next level. I felt it was either “go big” or “go home,” so we are going big! Well, slightly bigger. We shall see what comes of it. I believe readers out there have enjoyed what we’ve published in the past and will continue to support the company in the months and years to come. I’ll do everything in my power to make it worth their while.
MB: And finally, where can people go to learn more about you, your writing, and White Rocket Books?
The White Rocket site is www.whiterocketbooks.com and it has links there to everything we’ve done so far, from the podcast to artwork to book details to links to order paperbacks or e-books. White Rocket can also be found on Twitter (@whiterocketbook) and the podcast lives at http://whiterocket.podbean.com.
Thanks a bunch for doing this, Mark! Looking forward to having you back on the podcast very soon!
A tremendous thanks to Van for the interview! It takes much less time for me to ask the questions than the authors to answer them, so I always appreciate when an author carves some time out of their schedule to chat. All authors appreciate feedback and, if you have the time, a short review at your bookseller of choice, so if you’ve read and like Van’s works, go ahead and leave a review to help spread the word.
Until next time, be good. And creative.
When he’s not talking to other writers, Mark Bousquet is doing some writing himself. He is the author of multiple novels and collections, including the recently released The Haunting of Kraken Moor, Gunfighter Gothic, Stuffed Animals for Hire, Dreamer’s Syndrome, Harpsichord and the Wormhole Witches, and Adventures of the Five. He has also published a review collection entitled Marvel Comics on Film, which covers every cinematic and TV movie based on a superhero from the House of Ideas. A complete listing of all his work can be found at his Amazon author page.