Hello again, welcome back to the Author’s Corner—where I shed a little light on the Reason-verse.

Today’s question—what real-world research goes into the tactical side of the series?

I’ve got a buddy who advises me—combat vet, infantry, the real deal.

Beyond that, I use everything I can get my hands on—field manuals, training videos, instructors online. I’ve also put some of it into practice through airsoft—force-on-force type scenarios.

Now—none of that makes me an expert. Not even close. I don’t claim to be.

But I’ve seen where things overlap. Training is training. Movement is movement. Whether it’s airsoft or real steel, you’re building habits, reactions, awareness.

At the end of the day, it’s all just tools.

What matters is dirt time—getting out there and doing it.

And I’m a big believer that everyday people should have access to training and places to practice. Because when things go bad, you’re not rising to the occasion—you’re falling back on what you’ve done before.

So whatever your thing is—get out there and work at it.

It doesn’t have to be perfect.

Just do the work.

That’s it for today’s Author’s Corner.

Stand T.R.U.E.
Tribe and Family.

Hello again and welcome to another Author’s Corner where I shed some light on different subjects pertaining to the Reason-verse.

Today’s question is—what inspiration was behind the militia structures and alliances.

I knew from the beginning there were going to be militias. There are militias around as I speak. Not all militias share the same ideals. Like people, they have their own beliefs and their own ways of doing things. Human nature.

I wanted to show there was friction before the secession and the invasion. But by the time the invasion happens, they are a unified force—for good, and for all Americans who support a constitutional republic.

I also needed a way to bring them together under one leader, under one banner. So now I’ve got four different groups. They all want the same thing, but they don’t see it yet. That’s where Leonidas comes in. He shows them something simple—that the love of freedom, the bedrock of America, is what they have in common. That, and the hope for the survival of the Republic.

I pulled inspiration from history—William Wallace, George Washington, and Leonidas and his Spartans. Different cultures, different times, but the same fight. Standing in the gap against overwhelming odds to win freedom. So I created a leader who doesn’t stand above his people—he stands with them, because he is one of them.

Led by Leonidas, the militias’ main concern is to make sure all Americans have access to their rights under the Constitution and the Bill of Rights.

Community is the foundation. Building that relationship before anything ever happens. This comes from prepper philosophy and from Special Forces thinking. It’s about being ready. If something happens in your town, wouldn’t it be nice to know who to call and who’s standing with you?

That work gets done before disaster hits, natural or man-made. You build a support system—a community. Bob raises chickens and has a steady source of food and eggs. Ruth is great at gardening. Jason is a master carpenter. You want them on your team if the world goes sideways.

The Green Berets call it Human Terrain—understanding that the people are the most important part of the battlefield. Leonidas understands that. He focuses on Bob and Ruth before he focuses on rifles.

The militias protect the communities, because at the end of the day, you need a reason to fight. And most of those communities have ties to the militia—family, friends, neighbors. That’s what makes it hold.

Each of the four militias controls a region of Free America, broken down into smaller areas, and it all rolls up under one command. Each militia has its own leadership, and each community does too. Most importantly, there’s oversight to keep things in check and prevent power from going sideways.

Lastly, Leonidas creates a fifth militia—a Super-Unit. It’s inspired by the MIKE Force from Vietnam, a rapid-response force that jumps in when things are about to collapse. In the Reason-verse, this becomes the Mobile Militia Force—the best of the best. Rangers, SEALs, Delta, Marine Raiders. A hammer, ready to move wherever it’s needed most.

All of this takes time. It takes effort, and it takes people willing to put their differences aside to focus on what matters—the collective freedom of America, and keeping the people front and center.

Because in the end, no one person is more important than another. We’re all Americans, and we are strongest united.

I think that wraps up today’s Author’s Corner. If you have any questions, send them in. I’ll take a look.

It truly takes a community to be successful.

Thanks for taking the time to watch another episode.

Tribe and Family.

Hardest emotional scene you’ve written?

This one is difficult because the one that is the hardest emotionally is a pivotal major scene, in book one and I can’t get into it other than saying that the two characters rely on each other for companionship and friendship. The one ultimately gives their life for the other character. When I first decided to add this scene and started writing it I was emotional about it and it kind of surprised me. When you read it you’ll understand why it hit me so strongly but I can’t say anything about it or it’ll spoil the moment.  

There’s Another scene in book 4 actually so it’s kind of in the future. Remember I have 5 books written already and they just need polished and published but there’s a scene involving Bret and Jen and their relationship. It gets pretty emotional and that was a little hard to write because a lot of these scenes you have to put yourself into and sometimes it could be emotionally taxing. Bret and Jen have been through so much. They’ve been married I think at this point 32 years or something like that. Together for 37.

Another scene but in book 4 is between Marie and Jen. I’m a guy so I don’t necessarily know how women talk to each other because men and women communicate absolutely differently and I think most of us understand this. So my wife helped me with it. I would write it and let her read it and she’d be like nope, do it again.  I do believe it took me 3 to 4 times writing and rewriting it until she said this is the one. Then I refined it to her liking. It was hard because I’m a guy and getting just the right tone for the conversation.

So, that’s pretty much it for the authors corner today. I appreciate all of you and the attention that you’re giving to the reason and the website’s traffic continues to grow every month. Thank you for all those viewing the different social media platforms. I try to keep up with it, sometimes it is tough because I’m doing everything myself. So I thank you.

Always remember tribe and family, and stand T.R.U.E..

When Characters Surprise You

This is such an interesting concept that you don’t really think about when you start writing. Normally—at least in my thinking, and I should know better with my artistic experience—you think that you are the writer, you are the author, you’re the creator of this little universe that you’re making up, and you’re in charge.

But what you soon find out, if you’re allowing it to grow organically, is that the characters and the story can write themselves at times.

It’s like when my Tai Chi instructor used to tell me that sometimes you do Tai Chi, and other times Tai Chi does you. It sounds funny, but there it is. It’s a state of receiving.

Ideas that you came up with for a scene or for certain characters in a scene—when you’re writing it, something happens. It’s like, wait a second. Because this character is made this way, he or she is going to react in this way, so I have to write it this way.

A lot of times it changes the dynamic. It can make the scene, the chapter—sometimes even the whole book—something special that wouldn’t have been there if you had just stuck to your guns and said, “No, I’m going to do it this way.”

Sometimes that’s good. But I’m the type of artist who believes you need to stay open to different ideas and directions.

I’m trying to recall a good time when a character surprised me. Oh—I do have one, but I can’t talk about it because it’s a pivotal scene. Someone in this first book ended up encouraging another character in a way that wasn’t expected, and because of that he’s going to keep coming back. Maybe not in every book, but he’s definitely not finished.

Another character who makes his premiere in Book Two was originally just going to be in charge of a certain group of enemy individuals. Basically he was going to be a bad guy, so to speak.

But he has grown into such a character with depth that I really enjoy writing him. I actually look forward to coming up with things for him to do.

He’s in Book Two. Book Three, I don’t think so, because Book Three is already written and I can’t think of a place to put him. But he’ll definitely be back in Book Four, possibly Book Five, definitely Book Six, and probably Seven.

They grow on you.

It’s interesting because it’s not like you set out thinking you’re going to do this with a character. You’re writing the scenario, the scene, and then all of a sudden—bam—an idea hits you because of how the character has developed, or because of the way the scene is moving along.

Something just pops out and you have to get it on paper—or on the computer—before it flees your brain.

And that goes back to my story, The Reason.

I do my best to try to make these people real, the situations real—situations that you feel. They’re rich in content. It’s not just about war. War is the backdrop, but the real focus is the characters and their development.

And there’s some really good development there.

Thank God for the help from friends, family, and my editor, whispering in my ear about something or other. I might not necessarily like their entire idea, but I might take a piece of it. Or it might spark another thought.

Sometimes it’s like, No… this would actually be better. And that’s what I’ll do with the character.

Anyway, I’m starting to ramble. I answered the question.

I just want to say thank you to you guys for making the Author’s Corner what it is—for visiting the website, checking out the reels. Some are good, some are bad, but it’s all good in the long run.

Book Two is coming out soon. I’m hoping next week—or the week after. If not, it’s not a big deal. Like everybody else, I’ve got a lot going on.

As always: Tribe and Family. Stand TRUE.

One of these days somebody will ask me what that means.

Balancing Realism vs Storytelling

For this genre and the kind of story I’m telling, realism matters. Readers expect it, and many of them have lived parts of it. A great many have been there, done that, and carry the scars to prove it. I respect that deeply, so getting the details right isn’t just good writing—it’s a matter of respect.

I grew up in an Army family. Over the years I’ve read a lot of field manuals, learned wilderness and survival skills, trained on different weapon platforms, and spent more than twelve years studying martial arts. Those experiences shape the way I approach scenes in the book.

When I write something like clearing a house or moving through an area tactically, I want the reader to feel like they’re there.

At the same time, I don’t try to make every moment sound perfectly polished. These are militias, not active-duty units. An ex-military character on the radio will sound very different from a civilian who just picked up a radio and got a crash course five minutes ago.

That kind of imperfection actually makes the story feel more real.

Much of my writing is grounded in real life and my own experiences. Some characters are loosely based on people I know. Bret is essentially a reflection of me. Jen reflects my wife in many ways. Their situation in Book One was inspired by our own circumstances when I first began developing the story.

And Ash and Skye? Those are my real blue heelers.

But storytelling still has to weave realism with moments that stretch belief just enough to make the story compelling. Sometimes that shows up in the spiritual threads woven throughout the books—those moments where a reader might pause and ask:

“Did that really just happen?”

Or was it a coping mechanism… or even a hallucination?

That tension between the real and the mysterious is intentional.

Realism is a big deal to me and to the Reason-verse. I work hard to get the details right—because the genre demands it, the readers deserve it, and the people who’ve lived parts of these experiences deserve that respect.

Thanks for spending a few minutes with me today.
You’re the ones helping bring the Reason-verse to life.

Tribe and Family
Stand TRUE

What truth about humanity keeps appearing in your writing?

We’re different — not better — just different. And that’s okay.

Humans are capable of terrible things. We fail. We fracture. We betray. We let fear drive us. But we’re also capable of loyalty, sacrifice, compassion, and belonging. We’re wired for connection.

In The Reason, the United States is invaded and collapsing from within and without. Trust becomes scarce. Institutions fail. Narratives fracture. So who do you trust?

You start with tribe and family.

Then that tribe vouches for you. You’re introduced into their network. Some are rough around the edges. Some are hard to read. But when someone stakes their name on you, you become an extension of their tribe.

Leonidas and the militia leadership understand something simple but powerful: the glue of any cause isn’t bullets — it’s community.

The fighters matter, yes. But so do the farmers. The mechanics. The teachers. The cooks. The medics. The mothers. The men running security. The ones repairing boots, tending livestock, watching children, teaching adults. That’s what sustains resistance.

War is the vehicle in my books.

But it isn’t the point.

The story moves because of conflict. It breathes because of relationships.

The valleys. The crests. The betrayals. The reconciliations. The quiet moments before and after violence. That’s where meaning lives.

The Reason isn’t ultimately about invasion.

It’s about belonging.

Why does Bret do what he does?

Because a man who knows who he is will fight for the people he belongs to.