There is no advancement of art without experimentation.

I've said my work is 'avant garde' and an experiment that works for the intended audience, but I haven't explained what that is. In 1992, I began trying something new. Today, the most common story form isn't in first, second or third person. What is it? Voyeur, through the camera lens. Because of the way women visualize and communicate, it's possible to bring that POV to the written word.

I'm not in my books. No author intrusion, at all. The narrator is a character in the written form. There's very little description, but women visualize holistically. Basically, the success of the 50's soap operas was due to that. Two with coffee cups in a kitchen talked and 'thought' the story and it worked, especially well for women.

I've used that visualization and the old radio play technique of characters saying each other's names frequently, to meet the parameters of the experiment. POV is voyeur and no author intrusion.

All of the books are punctuated as dialog, the way the characters would say it. To make it easier for people using an ebook reader, monologues aren't broken into paragraphs. That's one of several things I did to reduce difficulty in keeping track of who's speaking. The object is not interrupt the reader.

It does take a couple chapters to get used to it, but once a woman has, she'll read it faster than other books. The books are built to be read fast. If you read them fast, you'll hit an identifier that tells you who's speaking before the question forms. It's a compliment that people want to know who said that, but it's not important the first read.

Did I say the first? Absolutely. Even the small books have more in them than you can get in one reading. They're built to be an entertainment bargain, good in 'reruns.' No book today can successfully compete as entertainment unless it is. Go back and 'listen' to the oratory of the president and the wisdom of the elder. The second time through, you'll discover you have built the visual image of the characters and you'll understand the complex society in which they function, often to steer it away from disaster.

That brings us to the story part of the experiment. My work has been called "Heinleinesque." I do 'social experimentation' in it. Exploring and defining family is part of the social component in most of my work. Societal construction is a logic process. Example logic chain:

This reliable source says the complex was built 15 years ago. A few pages later another reliable source says sixteen years. The most logical reason for the difference is they're counting from a different place, one the end and the other the beginning. That tells you the project took a year and from that you can extrapolate its size and the investment in it. If it's a public 'purchase,' the people either decided it's something they want, or they're mad.

A beer is a good basis for currency exchange and the difference in price between a neighborhood bar and a fine dining restaurant is a clue to the state of the economy. Every culture is constructed as the characters reveal and discover it.

Now, about those heroes. I write men for women, demigods and superheroes. Dr. Who, McGyver, do you like Torchwood? I've got a Captain Jack in one of my books. He's a myth and a legend, a real person and an attitude. The characters deal with the real problem. Villains do not get equal billing. You see, there's no one else writing fun 'science fiction fantasy' that really makes your mind run fast, for women. Did I mention it always frustrated me we didn't get a look at Wayne Manor? Raven said, "with a little Lifestyles of the Rich and Famous," in her introduction to my work. I'll use your imagination. You'll enjoy seeing what you created, the second read.

What else do I do that's specifically different. I write pilots. Assembling a band of heroes to solve a really big problem is a twice yearly, with supplements, event. Yes, that kind of pilot. It defines the type of ending. Now, the big 'weird.' Fan fiction readers and writers asked me to write for them. There you go. Have fun. Don't kill them off. Don't make good guys bad guys. It irritates other writers. Mention where you got them. Go ahead. Publish. Make money. Make a movie. Now if you use my story for the movie, I do want to talk. But you have specific permission to use my characters and cultures for your writing fun.