Welcome to Author’s Corner (Blog), where I share my thoughts on writing, mysteries, and the inspiration behind my books. It’s a place for readers who want to peek behind the scenes of my stories.
19 Mar 2026 05:35
There’s nothing quite like a great plot twist.
It’s that moment when the ground shifts beneath your feet—when everything you thought you understood suddenly changes. Done right, a twist doesn’t just surprise the reader… it redefines the entire story.
But here’s the truth: most plot twists don’t work.
They either feel forced, predictable, or worse—completely disconnected from the story itself. Over time, both as a reader and a writer, I’ve come to realize that a great twist isn’t about cleverness—it’s about discipline.
And I try to hold myself to that same standard in my own work.
The best twists don’t come out of nowhere. They’re built into the DNA of the story from the very beginning.
Readers shouldn’t see it coming—but when they look back, they should realize the clues were there all along.
That’s the balance:
When I’m writing, I make a conscious effort to plant small details early—patterns, dialogue, even background elements—that don’t seem important at first. In Operation Cornered, for example, the structure of the crime scene itself is already hinting at a larger system at play. The clues are there… just not fully understood yet.
One of the biggest mistakes writers make is chasing the “gotcha” moment.
A twist for the sake of surprise might get a reaction—but it won’t leave a lasting impact.
A meaningful twist should:
When I’m working through a story, I try to make sure every twist actually moves the story forward. In Operation Whiskey Tango Foxtrot, the mystery isn’t just about who’s behind the operation—it’s about uncovering what the operation really is. That kind of twist changes the entire direction of the investigation.
Readers don’t connect to cleverness—they connect to people.
The strongest twists often come from character, not just plot mechanics.
Ask yourself:
When I write Neil Hammer, I’m always aware that his instincts, his beliefs, even his relationship with patterns and numbers, can become part of the twist itself. If a reveal doesn’t connect back to him in some way, it usually doesn’t belong.
You don’t need to hide everything from the reader—you just need to guide their attention elsewhere.
Good misdirection:
In my stories, I tend to layer information so that what looks like the answer is often just one piece of a larger pattern. The goal isn’t to trick the reader—it’s to let them believe they’ve solved it… just before the story shifts.
Even a brilliant twist can fall flat if it lands at the wrong moment.
Too early → it kills tension
Too late → it feels rushed or unnecessary
I try to think of twists as turning points rather than endings. In my current work, I often build toward a moment where the reader feels confident in what they know—only to introduce a new piece of information that forces them to reassess everything.
That shift is where the story really begins to accelerate.
A twist isn’t the end—it’s a catalyst.
What happens after the twist determines how powerful it really is.
Does it:
When I revise, this is one of the first things I look at. If the story doesn’t change after the twist, then the twist probably isn’t strong enough yet.
A great plot twist isn’t about tricking the reader—it’s about earning their surprise.
It’s built through structure, character, and careful setup. And while I don’t always get it perfect, I try to follow these same principles every time I sit down to write.
Because the best twists don’t just shock us.
They make us realize the story has been telling us the truth all along—we just didn’t see it yet.
11 Mar 2026 14:00
In a world full of distractions, authors have only a few seconds to capture attention. Understanding visual noise may be the key.
Visual noise refers to images designed to instantly grab attention. Often bold, unusual, or striking, these visuals make people stop and look—even when they had no intention of doing so. In marketing, advertising, and publishing, visual noise is a powerful way to capture interest in a crowded world where audiences are constantly exposed to competing messages.
For authors, visual noise often appears through book covers, promotional graphics, and social media imagery—anything that encourages a potential reader to pause long enough to discover a story.
And we certainly live in a world full of it.
Visual noise is that in-your-face image that demands attention whether you planned to give it or not. Unlike radio or television commercials, where you can lower the volume when advertising becomes too loud, visuals don’t offer that option. They can’t be turned down. At best, they can only be ignored.
The more outrageous, bold, or unusual an image is, the more likely it is to draw your eye. Even if only for a brief moment, you pause, form an opinion, and move on. In that instant, the image has already accomplished its goal.
Visual art—whether film, photography, video, or illustration—often tells a story just as effectively as pages of written words, sometimes even better.
And that raises an interesting challenge for writers. Because writers don’t work with flashing images or bold graphics. They work with words.
Over the years, many theories have tried to answer that question. Some writers follow the **KISS principle—Keep It Simple, Stupid—**arguing that clear, straightforward writing is easiest for readers to absorb. Others emphasize the hook, believing a powerful headline or opening sentence is the key to capturing attention. There is even something known as the page-number theory, which suggests that if a reader flips to a random page and enjoys what they read, they will assume the rest of the book will be just as good.
Each of these ideas has merit. But in my view, authors really have only three meaningful chances to capture a reader’s attention.
The first is the book cover. Before a reader ever sees a single line of text, the cover is already telling a story. A well-designed cover functions much like visual noise—it stops someone from scrolling online or walking past a shelf in a bookstore. It sparks curiosity and invites a closer look. In today’s crowded publishing marketplace, a strong cover is not optional; it is the first opportunity to make a connection.
If the cover succeeds, the second chance comes through the book blurb. This is where curiosity must turn into genuine interest. A good blurb does not reveal the entire story. Instead, it hints at conflict, raises questions, and encourages the reader to want more. In many ways, it serves the same purpose as a movie trailer—offering just enough to make the audience eager for the full experience.
The final opportunity is the author biography. Readers often want to know something about the person behind the story. A short, engaging biography helps establish credibility while allowing readers to connect with the writer as a person. It answers a simple but important question: Why should I spend my time reading this author?
A strong author bio can transform curiosity into trust.
Even with the perfect book cover, a compelling blurb, and a polished biography, there is still no guarantee that someone will buy your book. That is simply the reality of publishing in a world filled with visual noise and constant distractions.
But if your work made someone stop, if it made them look, and if it made them think—even for a moment—then you have already achieved something meaningful.
You can say, quite truthfully: “I made you look.”
And in today’s attention economy, that is already a victory.
What is visual noise in marketing?
Visual noise refers to images or graphics designed to immediately capture attention. In marketing and publishing, these visuals stand out from surrounding content and encourage people to stop, look, and engage with a message.
Why is visual noise important for authors?
Authors compete for attention in a crowded marketplace. Visual noise helps a book stand out through elements like striking book covers, promotional graphics, and social media imagery that encourage readers to pause and learn more about the story.
What is the most important visual element of a book?
The book cover is usually the most important visual element because it is the first thing potential readers see. A strong cover can instantly attract attention and encourage readers to read the book description.
How does a book blurb help sell a book?
A good book blurb creates curiosity rather than summarizing the entire story. It hints at conflict, raises questions, and invites readers to discover what happens next.
Can writing compete with visual content?
Yes. While visuals attract attention first, compelling storytelling, engaging blurbs, and a strong author voice are what keep readers interested and encourage them to keep reading.
If you enjoy thoughtful perspectives on writing, storytelling, and the world around us, explore more articles here on my blog.
And if you would like to see how these ideas come to life in fiction, take a look at my books.
You might just find a story that makes you stop, look… and keep reading.
28 Feb 2026 08:10
Writers talk a great deal about inspiration.
But the work of building anything — a book, a career, a small business — is far less romantic. It is built on decisions.
Some of those decisions are creative.
Many are not.
If you’ve ever started a small business, you quickly discover how much time disappears into questions like:
None of these are particularly thrilling.
Yet they stall progress.
Search for “best payroll software for small business” and you’ll find pages of comparison tables. The same happens with accounting software or business banking. The volume of information is immense. The clarity is not.
At some point, I realized the problem wasn’t a lack of information.
It was a lack of defaults.
Most founders don’t need the perfect payroll platform.
They need a sensible starting point.
They don’t need to become experts in accounting software.
They need something reliable that works.
So, I built a small collection of decision memos — concise guides that outline practical defaults for common small business infrastructure choices: payroll, accounting software, business bank accounts, business credit cards, and a few essential tools.
They’re short by design.
The goal isn’t exhaustive research.
It’s momentum.
If you’re curious, you can explore the Small Business Software Decision Toolkit here:
https://iltmsm1-art.github.io/default-payroll/
It’s a quiet project, separate from my writing work. But it grows from the same impulse: reduce noise, clarify decisions, and move forward.
And whether you’re writing a novel or building a company, progress rarely comes from endless comparison.
It comes from choosing.
17 Feb 2026 05:05
When readers pick up a crime novel, they expect momentum.
A mystery.
A question that demands answers.
A reason to keep turning pages.
When that momentum disappears, readers don’t complain — they simply stop reading.
So why do readers abandon crime novels before finishing them? Here are the most common reasons — and how writers can avoid them.
Crime fiction depends on tension from the beginning. Readers want direction and urgency from page one.
Too much backstory, setup, or wandering introduction signals that nothing important is happening yet. If readers must wait too long for the central conflict, they often lose interest.
Why it matters:
Modern readers have endless entertainment options. If a story doesn’t hook them quickly, they move on.
How to fix it:
Introduce conflict early.
Start with a problem or mystery.
Reduce unnecessary exposition.
Crime novels often include complex plots, but complexity should never create confusion.
When readers struggle to keep track of characters, names, or events, the mystery loses its appeal. Readers want intrigue — not frustration.
Signs of this problem:
Too many characters introduced at once.
Unclear motivations.
Important details without context.
How to fix it:
Introduce characters gradually.
Clarify relationships and stakes.
Keep the reader oriented at all times.
Clarity builds trust. Confusion loses readers.
Every scene in a crime novel should push the story forward.
When chapters repeat information, dialogue drifts, or subplots stall the investigation, tension disappears. Without tension, there’s no reason to continue.
Readers stay engaged when:
each chapter reveals something new
stakes increase over time
questions lead to bigger questions
If the story stops moving, readers stop reading.
A mystery only works when readers care about the outcome.
If the danger feels distant or the consequences seem unimportant, readers have little emotional investment in the resolution.
Strong crime fiction creates:
meaningful consequences
real danger
urgency
personal stakes for characters
Without these elements, even clever plots feel empty.
Crime readers want immersion, not decoration.
Overly complicated prose slows pacing and weakens suspense. When readers must struggle to understand the writing, they lose connection with the story.
Effective crime writing is:
clear
direct
immersive
focused on action and emotion
Simple writing keeps readers inside the story.
A clever puzzle alone isn’t enough. Readers stay for characters.
They want flawed investigators, believable victims, and meaningful consequences. Without emotional connection, the story feels mechanical — even if the mystery is strong.
Readers ask:
Do I care what happens?
Do these characters matter?
Does this outcome mean something?
If the answer is no, the book closes.
A successful crime novel creates a powerful sense of curiosity — a need to know what happens next.
Strong pacing, clear stakes, engaging characters, and meaningful tension keep readers invested from beginning to end.
When readers feel that need for answers, they stay with the story.
Crime fiction works when readers feel pulled forward by mystery and tension. When momentum fades, confusion rises, or emotional stakes disappear, readers simply walk away.
Understanding why readers quit helps writers craft stronger stories — and helps readers find novels that truly engage them.
What makes you stop reading a crime novel before the mystery is solved?
8 Feb 2026 06:23
When readers describe a crime thriller or mystery as easy to read, they’re not saying it was simple or forgettable. They’re saying the story moved. The writing stayed out of the way. The book delivered tension without making them work for it.
For genre readers, that’s not a weakness. That’s the point.
Readability Equals Engagement
In mysteries and thrillers, readability is tied directly to engagement. Clear writing allows readers to focus on the investigation, the danger, and the characters—not on untangling sentences or flipping back to remember who’s who.
An easy-to-read book keeps readers oriented and invested from the first chapter.
Momentum Is Everything
Crime and suspense readers abandon books when momentum stalls. Pages of exposition, unnecessary subplots, or dialogue that circles instead of advances can kill tension fast.
Readable thrillers keep scenes purposeful. Each chapter answers a question—or raises a better one. Even slower moments feel like pressure building, not time being wasted.
That forward pull is what turns a mystery into a page-turner.
Familiar Structure Builds Trust
Most readers choose crime fiction knowing roughly what they want: a compelling mystery, believable stakes, and a satisfying resolution. Familiar story rhythms help them settle in quickly.
That familiarity doesn’t make a book predictable. It creates trust. Once readers feel grounded, writers can surprise them without losing them.
Clear Writing Keeps Readers Immersed
Readers don’t want to admire the prose while the plot cools off. They want to stay inside the story. Clear, natural language lets tension build without interruption and keeps characters believable—even under extreme circumstances.
When the writing doesn’t call attention to itself, readers stay immersed.
Why “Easy to Read” Is High Praise
Readers recommend books they finish. They return to authors who respect their time. In crime fiction especially, easy to read often means hard to put down.
Readability isn’t about lowering standards. It’s about delivering a gripping story without unnecessary friction.
What makes a crime novel easy to read for you—and what makes you put one down before the mystery is solved?
30 Jan 2026 07:32
If gritty crime and detective thrillers filled with smart twists and dark secrets are your favorite kind of read, you may enjoy diving into the Neil Hammer Novel series — a character-driven crime thriller series centered on intense investigations and unexpected revelations.
Each book features:
👉 Explore the Neil Hammer crime thriller series
Whether you’re looking for a fast-paced detective thriller or a deeper, character-driven crime novel, the Neil Hammer series delivers the tension crime fans crave.
21 Jan 2026 10:40
Over time, this blog has become less about announcements and more about attention.
I’ve written about the realities of being an independent author — the business side, the silence that follows publication, the challenge of being discovered in a crowded and distracted world. I’ve written about craft: dialogue, point of view, genre-blending, momentum in the middle of a novel. I’ve written about readers — where they are, how reading habits have changed, and why connection often matters more than numbers.
But threaded through all of it is something quieter.
Much of what I return to here lives in the space between projects. The pause after a story ends. The unease that follows when momentum fades. The ideas that surface without asking to be finished right away. These entries have become a way of acknowledging that writing isn’t only measured by output, visibility, or response. Sometimes the work is listening. Sometimes it’s waiting. Sometimes it’s trusting that unfinished ideas aren’t failures, but signals that not all the pieces have arrived yet.
As a new year begins, I’m less interested in resolutions than in continuity — continuing to write, to experiment, to rethink audience, format, and expectation without abandoning curiosity. Whether the focus turns toward a new novel, a different readership, or simply staying present in the quiet between stories, this space remains a record of that ongoing practice.
The next story will arrive when it’s ready.
Until then, the work continues — even when it’s difficult to see.
16 Jan 2026 04:34
Writing Between Projects and the Stories That Return
This is what I find waiting in the quiet spaces.
Writing between projects often looks like inactivity from the outside. No pages piling up. No clear direction. Just quiet. But I’ve learned that this space is where unfinished stories linger — not abandoned, just incomplete.
Some story ideas don’t arrive as stories at all. They appear as shapes—glimpses, atmospheres, a quiet sense that something is there, even when the pieces don’t yet connect.
I’ve always been good at seeing potential—recognizing when an idea carries weight—but not always good at knowing how to complete it. I can sense the outline of a story long before I have the elements to flesh it out. Characters are missing. Motives are unclear. Endings refuse to exist. What remains is the feeling that the idea matters, even if I can’t yet prove it on the page.
More than once, I’ve made it halfway through a story only to scrap it entirely. Not because the writing was bad, but because I was wandering—unsure where it was going, or why. Without a destination, momentum turns into doubt, and doubt eventually becomes the trash bin.
Those stories don’t truly disappear. I’ve learned the difference between an abandoned story and a dormant one. Abandoned stories fade. Dormant ones wait. They return quietly, often when I’m focused elsewhere, carrying the same unanswered questions.
When a story refuses to stay buried, it isn’t demanding completion. It’s asking for patience. Writing between projects isn’t where stories die — it’s where they wait until the rest of themselves arrives. The story was always there. You just didn’t have all the parts yet.
9 Jan 2026 03:55
Writing Between Projects and Learning to Trust the Quiet
After finishing a project, there’s a quiet no one warns you about. Writing between projects doesn’t announce itself as a phase or a process. The words stop, the routine disappears, and what’s left isn’t relief so much as stillness. No next idea demanding attention. Just space.
For a long time, I thought that silence meant I was losing momentum. In a culture that celebrates constant output, not working can feel like falling behind. If you’re not producing, it’s easy to wonder whether you’re still moving forward at all.
But the space between projects isn’t empty. Writing between projects is where ideas loosen their grip and rearrange themselves. Where unfinished thoughts resurface, not yet as stories, but as possibilities. You may not be writing pages, but something quieter is happening—listening, noticing, recalibrating.
I’m learning to stay in that quiet without trying to fix it. To trust that not knowing what comes next doesn’t mean nothing is coming. Writing between projects isn’t a failure—it’s a threshold.
The next story will arrive in its own time.
And when it does, the quiet will have been part of the work.
1 Jan 2026 07:10
Back-Pocket Tales is a new series of short, creepy stories written especially for readers ages 11–15 who love mystery, suspense, and strange twists—but not graphic horror.
These stories began as part of my adult Bizarre Stories collection, but I realized many of them had something younger readers would enjoy: atmosphere, imagination, and that spooky feeling you get when a story ends and makes you think twice before turning off the light.
So I reworked them.
What Makes Back-Pocket Tales Different?
Each story has been carefully rewritten to:
These aren’t stories about monsters jumping out. They’re about what might be lurking just out of sight, strange choices with unexpected consequences, and endings that leave you thinking.
Who Are These Stories For?
Back-Pocket Tales is perfect for:
Each volume stands on its own, making it easy to jump in anywhere.
Why the Name Back-Pocket Tales?
These are stories you can carry with you—read between classes, on a bus ride, or before bed. Short, memorable, and a little unsettling, they’re the kind of tales that stick in your mind long after you’ve finished reading.
If you enjoy creepy stories that spark your imagination without going too far, Back-Pocket Tales might be your next favorite read.
20 Dec 2025 16:57
As this year closes, I find myself reflecting less on outcomes and more on persistence. Writing, for me, continues to be an act of curiosity and defiance—creating stories even when the noise is loud and the response is quiet. This year I explored the emotional bonds we form with our characters, the challenges of sustaining momentum, and the realities of being an independent author in an increasingly crowded and distracted world.
I wrestled openly with doubt, creative fatigue, and the shifting landscape of reading itself, while also rediscovering why I started writing in the first place: to follow ideas wherever they lead. That curiosity sparked new projects, including a reimagining of my stories for younger readers, proving that reinvention is sometimes the most honest form of progress.
Whether discussing craft, business, inspiration, or intuition, this year reaffirmed a simple truth—writing isn’t about being seen every time; it’s about showing up every time. I’m ending the year still curious, still experimenting, and still committed to telling the stories that won’t let go.
Thank you for reading, listening, and walking this road with me.
8 Dec 2025 15:03
I’m excited to share something I’ve been working on behind the scenes!
The lackluster interest in my Bizarre Stories collection — eerie, twisty tales originally written for adults sparked an idea.
Kids (especially ages 11–15) love spooky stories — not terrifying ones, but fun, mysterious tales that give them chills in all the right ways. So, I decided to revamp the stories from my adult collection and reimagine them for younger readers.
And that’s how my new series was born:
⭐ Back-Pocket Tales
Creepy, bite-sized stories for curious young readers.
I’ve kept the atmosphere, the twists, and the sense of mystery — but adjusted the content so it’s appropriate for a younger audience. And honestly? The stories feel fresh and exciting in a whole new way. My hope is to introduce a new generation to the joy of being just a little scared… and maybe even inspire future lifelong readers.
I’m in the process of designing several volumes from the original collection and expect releasing the first Back-Pocket Tales paperback book on January 3, 2026.
Thank you, as always, for supporting my writing. This new journey is one I’m thrilled to take.
29 Nov 2025 08:07
Being an independent author means wearing a lot more hats than just “writer.” Along with creating the story, I’m also responsible for publishing, marketing, promotion, and visibility. When a book appears on a platform like Amazon, it represents far more than just the finished manuscript — it reflects dozens of behind-the-scenes decisions most readers never see.
One of the hardest parts of indie publishing is ‘being discovered’. With so many books competing for attention, reviews and word of mouth become incredibly important. A single honest review helps more than most people realize, because readers trust other readers.
Marketing is another unavoidable reality. While I’d much rather spend my time writing the next story, promotion is part of the process. The challenge is finding the right marketing balance between sharing your work and preserving the creative energy that made you write it in the first place.
Success as an indie author looks different for everyone. For me, it’s simple: continuing to write the stories I believe in and connecting with readers who enjoy them. It’s not always easy — but it’s always worth it.
20 Nov 2025 06:09
Writers are always searching for inspiration, but sometimes inspiration finds us—often in the most unassuming places. For Halfway to a Southern Heart, it didn’t arrive in a quiet study or a cozy café. It showed up on a long drive down I-55, carried on the hum of the road and the rhythm of passing town signs.
It started with one name—then another. Holland. Cooter. Luxora. Victoria. Lepanto. Marie. They appeared one after the other like a roll call of forgotten Southern poetry. At first, they were simply destinations on an Arkansas highway. But the more I saw them, the more they began to feel like people. Their names held stories. Their stories held families. Their families held heart.
Before long, Marie and Lepanto weren’t towns, they became a character full of boldness and spirit. Victoria and Luxora combined for a character full of quiet Southern grace. Cooter and Holland became a villain.
As the cotton fields stretched endlessly on either side of the interstate, those characters grew roots—deep Southern roots. The Delta landscape, with its wide sky and rich soil, became the perfect backdrop for the intertwining lives of a cotton-country family. The land shaped them just as much as their names shaped the story.
It still amazes me how a simple highway drive turned into a novel. How ordinary green signs sparked entire lives in my imagination. Inspiration, I’ve learned, doesn’t always knock. Sometimes it flashes by at 70 miles per hour, and if you’re paying attention, it gifts you a whole world waiting to be written.
13 Nov 2025 14:43
Writers often start with a plan—this idea will be a short story, that one a novel—but stories have a way of deciding their own size. Some arrive sharp and contained, meant to hit hard in a few pages. Others unfold slowly, insisting on more characters, more history, more room to breathe.
The trick is recognizing what the story demands. If scenes keep expanding or characters accumulate backstory, you’re probably writing something longer. If the power lies in one moment or image—and explaining too much weakens it—you’re in short-story territory.
Ultimately, a story’s length isn’t about your intentions but its internal pressure. I believe listening to that pressure is part of developing my instincts as a writer.
3 Nov 2025 08:58
Let’s be honest—the middle of a novel can feel like quicksand. You start strong, full of ideas and energy, and then somewhere around chapter ten… everything slows down. The sparkle fades, the plot gets tangled, and you start to wonder if you’ll ever make it to “The End.”
I’ve been there—many times. For me, the secret isn’t to avoid the messy middle (you can’t), but to lean into it with a plan.
First, I remind myself that the middle isn’t just filler between the exciting beginning and the dramatic end—it’s where the real transformation happens. This is where characters face their biggest doubts, make bad decisions, and grow. When I’m stuck, I look for new ways to turn up the tension. What can go wrong right now? What’s my character most afraid of? Usually, that’s the direction I need to write toward.
Second, I break the middle into small story “chunks.” Instead of thinking, I have a hundred pages left, I focus on mini-goals: a confrontation, a twist, a moment of truth. Hitting those smaller milestones keeps me motivated—and it’s way less overwhelming.
And honestly? I give myself permission to write badly. Sometimes the only way out of the middle is through it, even if the writing feels clunky. I can always fix the words later, but I can’t revise a blank page.
The middle will always be tricky, but it’s also where your story starts to show its depth. So when the swampy section hits, keep going. Trust that the spark you had at the beginning is still there—you just have to write your way back to it.
16 Oct 2025 10:43
I’ve written nine novels over the years. Each one took months — sometimes years — of energy, hope, and late nights. And yet, the result has been the same: silence. A few sales, a handful of kind words, and then nothing. After a while, that silence becomes liberating. If no one’s reading (books in general), then why not write on my own terms? Why not use AI? I’m an author who can’t afford a ghostwriter like many of your favorite authors use. To me they are the same.
Ghostwriters cost money because you’re paying for human time and judgment. AI costs little or nothing because it’s pattern recognition at scale. But both serve the same purpose: they translate vision into form. So when budgets make ghostwriters impossible, AI becomes the collaborator I can actually afford — not a lesser one, just a different kind.
Because in truth, both exist to help me get words on the page, to sound like myself, to finish the work that matters. Whether I hand those directions to a human or to an algorithm doesn’t change the fact that the creative spark starts with me. The line that matters most isn’t who typed the words — it’s whose mind made them meaningful.
AI doesn’t replace my creativity — it extends it. It helps me explore new genres, experiment with styles, or spark ideas when I’m drained. It’s a tool, not a ghostwriter. It doesn’t think for me, it just accelerates the process of thinking out loud. And while it can’t feel what I feel, it can give me new ways to express it.
Some people say using AI cheapens the art. I think what cheapens it is giving up because the world isn’t watching. Writing, even when unseen, is still an act of defiance — a way of saying I exist, I imagine, I make. Maybe the books I create with it will still be ignored, but at least I’ll be producing, experimenting, playing again.
8 Oct 2025 09:10
The Fourth Key will be my next Hammer release, and the first to bridge the human and the digital as shared spaces for belief, doubt, and redemption. I’ve written Neil Hammer for a while now — long enough to let him grow older, slower, and a little more honest. In The Fourth Key, I wanted to see what happens when a man built on procedure and cynicism is forced to face something that doesn’t fit either.
At its core, the story blends the procedural realism of his past investigations with the metaphysical tension of modern myth. If the first stories were about pursuit, this one is about consequence.
The story begins in San Francisco and moves to the fractured skyline of Incheon, South Korea. The novel follows veteran FBI Special Agent Neil Hammer, a man aging and who’s outlived too many investigations. When a classified experiment unravels into an anomaly, Hammer and Detective Sylvia Kang team up to confront a madman trying to alter the fundamental nature of reality.
Hammer’s trademark sarcasm remains intact, but underneath it there’s a sharper edge of reckoning. He’s seen the cost of chasing order in a chaotic universe, and he’s still trying to decide whether the work of an agent — or a human being — is to restore balance, or to simply witness it.
24 Sep 2025 08:42
When I first decided to write in the first person, I thought it would feel natural—almost effortless. After all, what could be simpler than slipping into the “I” of a character and letting the story unfold as if it were my own? But I quickly learned that first person isn’t a shortcut. It’s a tightrope.
In my book, Halfway to MMXX, The Year 2020: It Begins, I challenged myself to walk that line. One of my main characters came to life in first person, and writing through their eyes forced me to slow down, to weigh every thought and every sentence against the voice I had built for them. Unlike third person, where I could shift perspective or dip into broader insights, first person kept me hemmed in. The character could only know what they knew. They could only see what was right in front of them. That limitation made the act of writing both more intimate and more demanding.
What surprised me most was how much first person asked of me as a writer. It wasn’t about speaking louder or more directly but about listening more closely to the inner cadence of the voice I had chosen. To write “I” convincingly, I had to surrender some of my own voice and allow theirs to take over. And in that surrender, I found both the struggle and the joy of writing in first person. However, my voice naturally goes to third person where I am most comfortable.
15 Sep 2025 12:28
When I sit down to write, I’m always torn between the planner in me and the dreamer. Part of me craves the neatness of an outline—a map that keeps me from wandering in circles. But the other part, the one that listens to late-night hunches and half-remembered dreams, knows that the best moments often come when I stop forcing the story and let it lead me.
I’ve learned that I need both. An outline gives me enough structure to feel anchored, but my gut is what gives the work its spark. Sometimes I follow the plan exactly, and sometimes a character suddenly wants to say something I never expected. I’ve stopped fighting that. More often than not, those unplanned turns are the ones that feel truest.
For me, writing is less about choosing between control and intuition than about letting them work together. The plan is my compass, but intuition is the heartbeat that keeps the story alive.
6 Sep 2025 04:55
Did you know that only about 1% of readers write full reviews for books? A few more may leave star ratings, but the majority stay silent. That means the number of reviews isn’t always a true reflection of how many people are reading and enjoying a book.
Nonetheless, did you notice that Amazon may show both local reviews and global reviews for books? Here’s why. Local reviews come from your country’s Amazon site. They focus on your edition, your shipping experience, and comply with local consumer laws. Global reviews give you a wider perspective. Amazon pulls in verified and helpful reviews from other countries and even offers automatic translations.
So why not merge them? By keeping them separate, Amazon shows you the most relevant opinions while still letting you peek at the bigger picture. Local reviews keep things clear. Global reviews broaden the view. Together, they help you choose your next read with confidence.
Goodreads reviews are fantastic for readers who want depth and discussion — they often feel more like book club chatter than product reviews.
There are a number of other review platforms, however, they usually have a cost to them which most independent authors, like me, can’t afford and they usually don’t translate to Amazon’s program.
✨ If you enjoy a book, consider leaving even a short review or star rating. It helps other readers discover stories they might love — and it means the world to authors.
1 Sep 2025 06:35
On September 3, 2025, I’m releasing my latest FBI thriller, Operation Whiskey Tango Foxtrot, and I couldn’t be more excited to share this story with you.
This book takes Special Agent Neil Hammer and Laura Cruz into unexpected territory: the rodeo circuits of Santa Fe, where money laundering, corruption, and dangerous alliances blur the line between law and lawlessness.
I’ve always been fascinated by the blend of authentic FBI work and settings you don’t normally see in thrillers. Rodeos aren’t just about cowboys and bucking bulls — behind the scenes lies a network of cash, records, and risks that make the perfect backdrop for suspense.
I wanted to explore: What happens when the FBI collides with the rodeo underworld?
When Hammer and Cruz uncover a secret ledger, they realize the rodeo world hides more than just livestock. At the center is Abigail, a powerful woman whose influence stretches across borders — and whose secrets may cost lives.
This novel blends FBI procedural detail with the grit of the American West, creating a fast-paced thriller that keeps readers turning pages.
If you enjoy:
📚 Operation Whiskey Tango Foxtrot is available for pre-order now on Amazon.
👉 Amazon.com: Operation Whiskey Tango Foxtrot (A Neil Hammer Novel Book 2) eBook : Mays, Anthony: Books
I’m grateful for every reader who takes this journey with me. If you enjoy Operation Whiskey Tango Foxtrot, leaving a short review on Amazon or Goodreads helps more than you can imagine. Reviews don’t just help the author — they help other readers discover stories they’ll love.
The countdown is on. 🐂 The rodeo begins September 3rd.
25 Aug 2025 14:12
The first book I wrote in this series, Palm Court Motel, was originally meant to stand alone, as do the rest of my novels. I never imagined it would grow into something larger. But the main character stuck with me—and with some encouragement from family and friends, I decided to write a sequel.
Although I could have moved forward with his story, I decided to explore the character’s earlier years. That book became Rembrandt, Vermeer, Degas Still Missing, which shifted Palm Court Motel into the role of book two in the series.
Now, with the upcoming release of Operation Whiskey Tango Foxtrot, the order shifts once again—pushing Palm Court Motel into the third position.
So while the books weren’t written in chronological order, each new installment has given me a deeper way to explore the character and his world. What began as a stand-alone story grew into a series I hadn’t planned, but one I’ve come to love building piece by piece.
For most authors, a story is more than a collection of words—it’s a living extension of themselves. Characters, settings, and themes often carry fragments of their own memories, hopes, and fears, whether placed with intention or revealed without realizing it.
One of the joys—and challenges—of writing a good thriller is keeping readers on their toes. Twists, red herrings, and surprise reveals are essential tools in a writer’s arsenal. After all, no one wants to breeze through a story and correctly guess the ending halfway through.
When I first began writing, I thought I had to choose a lane—thriller, mystery, science fiction, fantasy—and stick to it. But stories don’t always respect boundaries. Neither do the characters who live in them.
One of the trickiest things for me as a writer—right up there with getting the grammar right—is dialogue. It sounds easy. You just make people talk, right? Wrong.
Not in the very distant past, could an author only compete for readers by using established publishing houses. Those houses were very selective in the manuscripts they chose to print. Unless you have a well-recognized name, or are just plain lucky, most authors submitting their work rarely stand a chance. Enter vanity publishing, where authors pay to have their work printed, usually only in large numbers. If you are good at hustling, maybe you may manage to eke out a living from writing. Print-on-demand is now the predominant method for printing books. But who reads hard copy, right?
First, identify the symptom. For example, I often find it challenging to determine the direction of my writing, spending several hours on a single paragraph. This leads to fatigue, prompting me to conclude my work for the day. This issue occurs because I am one of those writers who prefer to edit while writing. Generally, my other difficulties include a lack of creativity, low motivation, self-doubt, and indecisiveness. For myself, I have found that the most effective approach is to set my writing aside—sometimes for days or weeks. Upon returning to the story, I usually have a fresh perspective. Moreover, I do not feel guilty ignoring my story because I still consider it while resting. I also remind myself that the only deadline is self-imposed.
I composed six works that I categorize as poetry. My I Speak for the Earth series of free text poems expresses my feelings about the natural world. Readers may either agree with my interpretations or form their own, as intended. Nonetheless, my works contain the ingredients to be called poems. However, there are those who would argue that what I wrote is really prose. The internet is full of articles that differentiate the two. Their authors aim to show various distinctions that would categorize them as prose. But unless you’re a student of word distinction and form, who cares? Sit back, relax, and read each line and I’m certain you’ll bring forth your own thoughtful enjoyment, as intended.
As an author, my primary objective is to craft a good story. As important, however, is addressing the various challenges necessary to ensure that my readers experience a gratifying read. The main challenges are typos and grammatical errors. Even multiple reviewers and word programs can miss them. My biggest issue is ordering my adverbs; oops! There are also factual inaccuracies to consider. While writing fiction allows for some creative freedom, I strive to ensure that the ideas and content I present are primarily grounded in fact. Finally, having too much or too little dialogue can be an issue. While my personal taste influences my writing, I know it doesn’t always agree with reader’s tastes. But if I craft a good story, maybe that could be overlooked. The following links provide other challenges facing us writers:
I have toyed with using a pen name or the initials of my first and middle names in publishing my books. My thought stems from other famous authors who have used pen names for some of their writings. Agatha Christie is one of them. She authored a few novels using the name Mary Westmacott. Why would she deviate from her own famous name? Reportedly to explore her imagination more freely and avoid influencing readers’ perception of the work. Others may have used it to test the waters by writing genres different from what they typically publish.
“I really enjoyed the writing style. It is smooth, easy reading. It has a fast pace with great interaction between the main characters, Neil and Reese, as they explore the underworld of the Boston mafia. Secondary characters have purpose and help to drive the plot forward. The ambiance and tone of the novel feel authentic, and you can really imagine yourself in locations in the book, whether it is in Boston's Back Bay visiting art galleries or searching for clues at the historic White Mountains resorts. The only thing I thought could have been better was the book's title. ― M J Campbell”
Halfway to MMXX The Year 2020: It Begins was published August 27, 2019. I have been surprised it has not been widely read. Although almost six years has passed, the story backdrop is as relevant today as when I wrote it. Russian military activities in the arctic form the setting to a group of scholars trying to prevent a cataclysmic event. The relevance lies in the fact that portions of the Arctic landmass are now being exposed due to retreating ice sheets, presenting opportunities for the extraction of Earth's resources. My fictional account blends exploration with a natural event and was accorded the LIFE (Literature for Environment) Award. A better synopsis can be found in this review: www.yeahlifestyle.com/book-review-halfway-to-mmxx-the-year-2020-it-begins-by-anthony-mays/
I find that genre is most accepting of my short story skills. Initially, I planned to write only one collection of short stories but quickly found that the stories were coming rapidly. Consequently, I authored a second book. Now all of them, plus others, are incorporated into my Bizarre Stories book. My inspiration is derived from various everyday experiences and situations, as well as from my childhood television viewing. I was especially inspired by Alfred Hitchcock and The Twilight Zone. In my writing, I focus on conveying thoughts and concepts rather than incorporating detailed imagery. To me, that is what separates creepy from horror. At times, I deliberately omit certain details, preferring to allow the reader's imagination to complete the picture. Writing short stories helps me continue working while taking breaks between writing novels.