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I use unified worldbuilding for the majority of my prose, which means that I have taken a long-count (read: 35,000-50,000 years) approach to the stories I write. The stories may differ, and protagonists and their plots may be unique and disconnected, but if a volcanic eruption happens or a political regime is overthrown in 23891 Objective Count on the planet Ameisa, protagonists in 25004 OC and in 34000 OC will still see the same geologic evidence, and their lives may be perceptibly or imperceptibly altered by what happened in the intervening millennia that passed between the political collapse and their births.

Connecting cultures is also useful for conlanging, as it gives me freedom and breathing room to design parent and daughter languages, to reuse specific conlangs, and to change the social roles of specific languages in different historical periods. I write standalone historical far-future specfic stories about planets that aren't Ameisa because I don't have to take geopolitics from The Seven Papers into account beyond the Blackout. (If a story on Ameisa overlaps with a specific 5000-year period, it will always be indirectly impacted by The Seven Papers. The Blackout overlaps with some stories set on other worlds because it's a universal during the time period, but otherwise, there's almost no geopolitical overlap.)

Within that, I can divide my work into categories. I've listed my current projects below.

Completed Projects

  • Epiphany is my first podcast novel project. It's a work set on Ameisa, and it's loosely connected to the Seven Papers. Epiphany explores loss, grief, and identity. It's also an epistolary political thriller about stopping an assassination attempt.
  • The Village of Strong Branches is a 38,000-word standalone novella. It's not connected to The Seven Papers, although it is set on the planet Maðz during the Blackout period. The novella is a domestic speculative fiction story about mountain and death goddesses, ghosts, and the reconciliation of two sisters. I'm currently trying to get this published.
  • Various short stories, which tend to explore folklore and mythology in specific conworld societies. There's one about a group of Tveshi young adults who decide to secede from their families, and that is probably the most fun story I have ever written. I've also written about horrifying Canyon nymph-esque goddesses and the like. None of these is published.

Works in Progress

  • The Seven Papers, a series of primary texts that focuses on a 5000-year period, predominantly on the planet Ameisa during a period called the Blackout. It is a far-future queer retelling of the sacrifice of Iphigeneia divided into 9 books or 1.3M words. I've written about a third of it.
  • Ossia is my second podcast novel project. It's a work set on Ameisa. It's loosely connected to the Seven Papers, but more connected to Epiphany. Ossia is an audio memoir about a girl who pursues fame in music to rescue limself from family politics and a vortex of intrigue that erupts after ler mother's untimely death.
  • The Hall of Oracles is a 34,000-word standalone novella that I currently have some of my library colleagues beta reading. It's not connected to The Seven Papers, although it is indirectly impacted by the Blackout, and it's set on Atara. I am a librarian, and this is an exploration and celebration of the library, information, and archival sciences in a high-tech, fantastical setting involving arcane rituals and politics.
  • As the Water Rose High is an epistolary disaster novel about tsunamis and political suppression. It's set on Ameisa, but has only very weak connections to The Seven Papers. It exists as a text on Ameisa, but a reader would need security clearance and have an avid interest in diasporic Sokauwi history.
  • Something that I am calling Neoplatonic theurgist water naiades. It's a hieropoeic mystery story about a young girl initiated into a secret society and how she takes her destiny into her own hands as an adult. It's also about my love for Upstate New York. Thematically, much of it draws on what it's like for second-gen people raised in non-cult New Religious Movements like Wicca, Neopaganism, and revivalist polytheism and how those of us who are practitioners process (in both good and bad ways) hurtful and biased things that happen to us in America.