All about West

I love writing West. It’s where I get to push myself as a writer, experiment with new things and see what works. I love the characters, the story, and it’s tonnes of fun to write.

I’ve dabbled with writing multiple stories side-by-side throughout the years, but it doesn’t fit my writing style of today. I need to work on one project, see it through to completion, and then I can move on. And right now, the project I’m working on is, of course, the infamous Secret Project. So where does this leave West?

First of all, to give you an overview of where we are and where we’re heading, let me share this tidbit:

In total, there are seven volumes of West.

This goes way back to the early days of V1, when I first laid out my plan for the series. I planned out seven major arcs, which gives us the seven volumes. So right now we have three more volumes to go, but in terms of storytelling, I’d say we’re about half-way. There’s lots still to happen, but for now let’s talk specifics: Volume 5.

V5 is interesting to me for a multitude of reasons. Mostly it stems from the way it pushes the West series in a very different direction to what we’ve seen before. Some elements remain the same, but the way things play out are unique.

In many ways, V5 spins things around and switches the focus onto West himself. It shares a more introspective chapter of West’s life. We saw some of this in V4, but V5 takes that further by asking stronger questions and demanding honest answers. A lot has happened in West’s life, and all within a very short period (Volumes 1 to 4 take place within six months). There’s a lot he needs to come to terms with.

But the world stands still for no one.

Volume 5 introduces us to a new set of characters. Some of them are bad, some are worse, and one makes Jack look like a saint. So rest assured there’s going to be action. Lots of action. But staying true to the themes of V5, expect consequences to come from the action. Not all of them will have rosy outcomes.

I’ve mentioned before that much of the volume occurs away from West’s hometown and includes only one major character. Despite less than 10K words having been written of V5 right now, that’s largely true. We’ll see all of our favourites from the main cast, but they’re taking a back-seat this time around. It’s West + X for V5. (Who accompanies West out of town isn’t necessarily a huge surprise, but I’ll leave you to speculate. Hint: It’s the person you’d expect, but no, not him.) As you’d expect, we’ll be learning more about this character too—a lot more since 100% of West’s interaction will be with them and only them (aside from the new characters).

So the question now becomes: when?

When, when, when?

I’m going to play it safe and say early-to-mid 2017. Sooner would be better, of course, but I’m not going to rush it out. While it may not be the longest of the volumes (I’m expecting something around the length of Yates) V5 deserves a lot of care to give the plot justice. It’s not one I can hammer out in a month or two.

So by this time next year, V5 will most likely be available to read. I’d give it a better than 90% chance.

Until then, I’ll continue to share more details about the story as it nears completion. Updates will be minimal for the next few months since my attention will be focused elsewhere, but I’ll keep you in the loop for all things West.


Act Two

Early last month I brought my newest project to its first major milestone: a completed first draft.

Interestingly, it’s probably the roughest first draft I’ve ever written. Many scenes need to be reworked, the pacing needs to be fixed, and don’t get me started on the opening. (I’ll come back to this in a later post.) But on the whole, I’m pretty pleased with how it’s turned out—for a first draft.

I’ve never really had a set number of passes, or drafts that I put my work through before it’s ready to go. “Do it until it’s done” is an adage I’ve stuck to, and it’s worked well. That said, there is a pattern to how it generally goes:

Right now I’m in the re-read and re-consider stage, essentially preparing what needs to be done for a second draft. This is the first time I’m getting to read through the entire story, the first time I’m viewing the project as a reader. Naturally I’m focusing on the big issues here. What works and what doesn’t? If I need to scrap half a chapter or, gasp, half the book, now is the time to make that decision. So far I haven’t come across anything show-stopping. Yes, large parts need to be rewritten, but the foundations of any questionable scenes are pretty nice. They work. So I’m optimistic.

It’s also during this stage where I look to remove any crud. Weak sentences and superfluous paragraphs need to go. I’m going to be strict with their replacements too since I’m over my preferred word count. Not by a huge amount—my estimates were pretty good—but I’m over by enough. As a reader, it can sound pretty alarming when a writer says they want to cut words, but it really is for the best:

Fewer words = tighter prose = better pacing.

Not always, but almost always. Think about it. When was the last time you heard someone complain about a lack of description in a novel, compared to someone complaining about flowery prose? Almost always the latter, right? So this is something I very much need to be aware of during this stage.

Another issue that became glaringly obvious during my read-through was inconsistencies with the characters. Earlier scenes didn’t quite capture the characters in the same way as later scenes did. This is to be expected—I’d become much more familiar with writing them as the story progressed, and in turn, they felt more real later on.

So there’s a ton of work left to do. Many writers remark how this is where the real pain begins. I’m not sure if I agree with that. Getting the first draft done is the hardest part for me. Yes, drafts and redrafts can be tedious, but it’s not a task I despise. I kind of enjoy it, actually. Until I don’t.

So this is what I’m going to be doing over the next few months.

I’ll keep you posted.


The devil’s in the details

So I’m working on a new project.

That shouldn’t come as too much of a surprise since: 1) I’ve hinted at it before, and 2) the lack of updates to this blog this year. (Apologies for that.)

So now I’m making it official: I’m working on something new.

What’s it about?

It’s about X, who discovers that Y leads to Z, with the rest of the alphabet thrown in there for good measure.

Sorry, but I’m sure you know me well enough to know how close I keep my cards to my chest. I’m even more careful when it’s a completely new project, especially this project. So I’m not going to tease you with little leaks and tidbits of info. Instead I’m going to take a step back and look at things on a more macroscopic level.

Working on this new project has brought several interesting writing-related fundamentals to the surface. Some of these I’ve experienced in past projects, while others are first-timers.

When I start on a new story, or Volume, I make a conscious effort to improve upon the quality of my writing to raise the bar. Going from Kieran, to West, and most recently to Yates, I think the improvement is clear. Some jumps are bigger than others, and I still have a long, long way to go, but progress has been made.

I bring this up because for the new project I’ve pushed myself even further. And with that comes something worthy of discussion: my limits as a writer.

There’s no such thing as a perfect writer. In a world full of diverse tastes, it’s simply impossible to find ‘one voice to satiate all’. Some people will love writer A while others despise them. That’s to be expected. But there is a difference between something that’s considered to be a ‘good story’ and something that’s seen as ’well written’. Regardless of writing style, genre, or audience, there’s always room for improvement.

And that’s a good thing. As annoying (and sometimes infuriating) it can be to be stuck on an issue that I know I wouldn’t have if I were a ‘better writer’, it’s a good feeling. Let’s face it, I’d be in real trouble if thought I were some literary genius who only writes gold and has nothing to learn. Or perhaps worse, were too stubborn to realise my own limits. Or worse still, is aware of their limits and does nothing to overcome them.

So how do you become a better writer? How am I trying to become a better writer?

Reading and experimenting.

Reading is hugely important. If you’re at all interested in writing and have perused author websites with FAQ’s, what’s the most frequent question?

How do I become a writer?

The answer is always the same.

Read. Read a lot.

I went on a binge-reading session over Christmas and it’s incredible how much I learned in just a few weeks. Not everything is applicable to my new project, but a great deal has influenced it. It’s also worth a mention that the things I take away from reading are skewed heavily towards ‘this is a good idea but I’d change X and Y’, than, ‘this is a perfect idea as is’. It’s within those small changes that something completely different emerges, leaving you with an original piece that’s been influenced, rather than lazily carbon-copied.

What about experimenting?

I’ve been doing a ton of experimenting over the past few months: thousands and thousands of words written, edited, and sometimes deleted.

Since there’s no deadline with this project, I have the luxury to work on it for as long as I want. A year, or two, or ten, it’s up to me. When it’s done, it’s done, and when it’s done, I want it to be as close to perfect as it can be. So what if I spend this week working on a scene that’ll never see the light of day? If it doesn’t work, scrap it. Hit reset. But if it does work, I’ve just found something special; something I may not have discovered had I played it safe and not ventured out of the box.

This isn’t the first time that I’ve worked on a project for a long time before beginning the manuscript itself. West began life this way, as did Yates. Both had tens of thousands of words written before I’d even knew what I was writing. I started with a character, a handful of ideas, and wrote some scenes. It gave me a feel for the characters, the tone of the story, and the general direction I wanted to take things in. This was how I experimented.

It’s a fun, albeit disjointed, process. I get to push the boundaries of the story and explore the characters in different ways. I get to see what works, and equally as important, what needs to be changed. And all of this happens before I commit to an outline. This doesn’t mean I begin a manuscript with a concrete idea of where I’m heading, just that I have a better feel for things and not shooting in the dark.

As with everything writing-related, it’s a balancing act. Too much experimentation can quickly lead to procrastination and an unruly project, and too little can leave me scratching my head down the line. It’s a delicate balance, but at the same time, it’s so much fun.


The Little Screen '16

It feels like only yesterday when I wrote last year’s ‘Little Screen’ entry, but here we are for another year with a look at what has me excited for 2016!

Note: Will probably contain light spoilers.

Finished Airing

The Man in the High Castle
(Historical|Alternate History|Sci-fi?|Based on a book)

Although I came away very impressed with the first season, it took me a long time to get into this show. I came very close to abandoning it about 1/3 of the way through, but boy, am I glad I stuck with it.

So what was the problem? 1) Super slow build, and 2) the characters.

Without going into specifics, the first 1/3 of the show has the two main characters chilling in location A, while the rest of the story (i.e. the parts we’re interested in) are happening… well, not in location A.

It’s kinda like the early days of Danerys’ arc in Game of Thrones. She’s away from all the ‘fun stuff’ going on. Now imagine if 90% of season one of GOT focused only on her storyline while teasing you with brief snippets of the Starks and Lannisters… see the problem?

Fortunately for High Castle, the characters came back from location A and, for me, the show finally started. But that was only half of the problem. Let’s talk characters.

Specifically, let’s talk favourites. For me it’s Obergruppenführer John Smith (big baddie), Chief Inspector Kido (big baddie), and Trade Minister Tagomi (goodie).

My least favourites? Everyone else—especially the MAIN characters. Now, this wouldn’t matter so much if the above baddie characters were anti-heroes and we were supposed to be ‘rooting’ for them, but I don’t think this was the writers’ intentions.

The main goodie characters are completely unrelatable to me. I find myself having no sympathy for them, and instead enjoy the scenes with the baddies instead—Trade Minister Tagomi being the sole exception.

I honestly can’t tell whether this is bad writing, bad casting, or bad acting. I used to wonder a lot about that in the early days of the show. Now it simply doesn’t matter. I’ve latched onto the well-written characters of the show, and they happen to be baddies.

The story itself? It’s really, really good and not corny in the way you might expect an alternate history-set show to be. There’s a lot of unanswered questions running throughout the season, which I like, and you’re left desperate for a season two. At least I was.

So despite my earlier concerns (and my rambling about the show) The Man in the High Castle remains one of my favourite shows from last year. Definitely recommend. (And a second season is on the way!)

The Expanse
(Sci-fi|Adventure|Space|Based the books)

Unless you’re super new to all-things Kai Taylor (in which case, Hi!) you should know that I’m a big sci-fi fan. So when I first heard that Syfy was making a new space-based show, I got very excited. And when I heard that it was based on a series of books, my excitement went even higher. And when I started watching the show, my reaction was… meh.

Wait, what? My reaction was ‘meh’?


For a show set in space?


For a show with spaceships and space battles?


Ouch. What went wrong?

First of all, it took me a long time to get into The Expanse. In fact, I kept on noting that it was just like The Man in the High Castle. Unfortunately, it ended up much worse.

For me, it wasn’t until the last three episodes did I feel like the show ‘clicked’ with me and I started to enjoy it. Why the long delay? This will sound familiar: 1) Super slow build, and 2) the characters. Even now I’m still so-so about many of the main characters. I find it really difficult to emphasise with any of them—not a good sign when they’re the primary devices used to pull you into the story.

So what do I think of Season 1? As a whole, I’m impressed by quite a lot of what I saw and enjoy the underlying story, but it took way too long to get there. Again, it isn’t until the final three episodes does the story start to come together. Sure, there’s some exciting moments leading up to then, but there’s also a lot of filler too.

Syfy have already commissioned a second season, but I have to wonder how long this show will continue beyond that—especially since it’s supposedly a very expensive show. Hopefully enough people waited it out until the end of season one and found some satisfaction in tuning in (like I did), but how many gave up halfway through?

I’m looking forward to season two. I just hope that the faster pace of the last few episodes were the beginnings of a trend, and not random flukes.

Coming soon…

Dark Matter: I wrote about this one separately in another post, but to briefly rehash things here, I’ll state that this is the show I’m most eagerly awaiting this year. If you haven’t watched the first season so far, I highly encourage you to do so.

Game of Thrones: I’m pushing this show into the binge-watch queue. I still enjoy watching it, but its mighty slow pacing leaves me wishing I could fast-forward through entire scenes. Saving the next season for a binge-watch sounds like a good idea.

Hell, maybe I’ll save the next two seasons. Spoilers be damned.

The Last Ship: Its second season was one of the more entertaining shows I watched last year, but it didn’t quite reach the high of season one. The story was still good, and I’m definitely tuning in for season three, but the plot felt weaker. Also, there was less Rhona Mitra this time around (which makes sense given the story) but her character was so good in S1 it was an unfortunate regression.

Side note: Those accents damn near killed me. Which accents? The English baddies. Naturally.


Here’s some shows that I mentioned in last year’s post but for one reason or another, never got around to finishing them:

Homeland (new season): Watched episode one, but didn’t go any further. Why? Decided to binge-watch months ago and simply forgot about it. This one’s in the to-be-watched queue.

Sense 8: Similar to Homeland, I watched only the first episode of this. The story didn’t resonate much with me and I wasn’t too concerned with any of the characters. The reviews say to keep watching and friends have said the same thing. I’m putting this one in the queue too.

Heroes Reborn: Haven’t started this one yet and I’m kinda reluctant to. I really, really loved Heroes when it was on (BIG emphasis on its 1st season), but I’ve heard not-so-great things about this reboot-that’s-not-a-reboot. I wouldn’t want Reborn to tarnish any of those good memories from the early days of the series. But hey, maybe it’s worth the risk…


Phew! That took a lot of words. More words than were probably needed but we got there in the end.

While I’m still lamenting the lack of Hannibal this year, 2016 looks pretty promising. Several new shows are getting a second season, and all the others on my radar have been renewed. And beyond the shows I’m looking forward to, I have a healthy to-be-watched queue as well.

2016 should be an entertaining year.


About Yates

As with any new story that I write, there’s always a set of ideas and themes that surrounds its creation. Yates is no exception.

I’ve focuses on three aspects of Yates that I’ve detailed below to give you a closer look at some of the thoughts I had when planning and writing the story.

Stylistic note: Yates (Non-Italics) = the character Yates (Italics) = the story


It’s all in the opening.

No, seriously, that’s where the idea for Yates began: with a killer opening. As it turns out, I ultimately ended up ditching that opening for the one that’s actually in the story.

Confused? Let me explain.

Back in the middle of 2014 (yep, the year before last), I came up with the aforementioned killer opening. It was pretty cool, but that’s all I had: a single idea that happened to be an opening.

So I started to build a story around it. I created Yates, along with the rest of the main cast, and then the main plot that’s in the story. But that’s when I ran into problems.

See, the opening was (and still is) a great opening, but it no longer worked with the story I created. It introduced a second plot line that didn’t fit with the main plot, and it led to a whole mess with the pacing.

Back to the drawing board I went. But since this was just a small side-project, I ended up leaving it on the drawing board a little longer than I’d hoped.

Fast-forward to the middle of 2015, where I brushed off the dust and began working on a new opening. And, well, the rest is history.

So what about the first opening? The killer one? I’m a diligent recycler, so while it didn’t appear in Yates, it’s sitting up on the writing shelf, ready for it’s moment. But in the end it worked out for the best. Yates gets its own killer opening, and I get an ‘extra’ one to use down the line.

Love, baby!

Yates was born out of the desire to write a romance story that wasn’t a romance story. That’s what I set out to create when I planned it out, and it’s what the finished story is. A romance that isn’t a romance.

So what is it?

First and foremost, it’s a coming-of-age story. Only in our case, Yates is entering adulthood vs teenhood. This leads to some pretty big differences:

The biggest is the setting: no scenes of the story take place in school. Okay, that’s a lie. There’s one scene. A teeny-tiny one. The second is characters: Yates spends most of his time interacting with adults, not similarly-aged peers. And third: plot. Everything changes when you’re no longer in school! (Duh!)

Alright, so we have a coming-of-age story that’s a romance but isn’t a romance. Why make it romantic at all?

Romance, romance, and nothing but romance doesn’t do much for me. Back when I was younger, sure, it was a pretty big theme to my writing, but now that I’m old and miserable (ahem, citation needed), it occupies less of my focus.

But if we shift the romance into the background… A-HA! Now we’re getting somewhere!

All grown up!

Teenagers entering the world of work isn’t a new theme in the world of YA LGBT stories, but few make it a central to the story. It makes sense—teenage readers would rather a story focus on issues relevant to their age group. In this case, school, rather than work.

But teenage life doesn’t end with high school. They still have the same needs, fears, desires, and insecurities as before—they’re just experiencing them in the adult world of work. And this is where the fun begins.

Responsibility is a recurring theme in Yates, but what does that mean to an eighteen year old? How does someone who’s tired of being told what to do by teachers suddenly react when it’s their boss issuing the orders? Does being paid to do it sweeten the deal? Do they enjoy what they do? And what about the adults—where do they fit into everything?

There’s so much going on that in many ways, it’s like going through another round of high school all over again. The rules have changed, you’re back as a little fish, and there’s a fresh cast of goodies and baddies. Yet at the same time, it’s completely different to being at school.

This is the backdrop I created for Yates. And for the most part, the plot, characters, and themes all came from there. It’s a great setting to write for, opening up so many new possibilities that simply wouldn’t work in a school.

The characters are completely different too. The adults that Yates interacts with at work are peers, a world apart from the teacher-student interactions he had at school. Who knew adults could be this fun?

Speaking of fun, some of my favourite lines of dialogue are in Yates. Much of this stems from the mix between younger and older characters. And of course, it’s very refreshing to write from the POV of another protagonist who isn’t West. (Nothing against West, but it’s nice to hang out with someone who’s so different).

* * *

So there’s some of my thoughts behind the creation of Yates. There’s so much more I want to touch on, so I’ll save them for future posts. (Teaser: Characters. Lots and lots about the characters.)

In the meantime, I’ve updated the ‘preview’ to include Chapter 2. Since the main plot begins in the second chapter, it’ll give you a better feel of the story. It’ll also introduce you to some of those aforementioned characters.



Can you believe it’s been a year since I posted this?

Crazy, right?

So it’s 2016 and the New Year’s upon us: what’s on the Kai Taylor agenda?

Not much.

He lies.

Actually I’ve got lots of stuff to do, most of it I can’t talk about (as usual—I’m a fiend for surprises), but suffice it to say I’ll be one busy Kai.

Okay, so what can I tell you?

First of all, I’d like to give a HUGE thanks to everyone who’s checked out and even squeal purchased Yates. You guys are super! I really appreciate it! :D

Speaking of Yates, there’s a few things I’d like to delve into over the next few weeks, a behind-the-scenes series of posts, if you will. Those of you who’ve read the story will find them an interesting read.

West! No year is complete without our favourite… uhm… West. (Seriously, you try defining him! (Okay, I could define him, but it’d be very spoiler-y. I’ll resist.))

So I’m also going to be working on West V5. The story is a little different from what we’ve seen in the previous volumes, but I think you’ll like it. As always, more info will follow as we get closer to its release, which should be… December?

Let’s put it this way: I’d like to have V5 out before December. But, well, 2016 is going to be crazy busy. I’ll do my best and keep you in the loop.

On the plus side, I’ll get to show this blog a little more love. It’s been languishing over the past few months so I’ll have to brush off the dust and get back to it. That’d be nice. And fun too—I have lots to add to my ‘USA Adventures’ series of posts. Hey, maybe I could update the ‘About’ page while I’m at it too…

So. Many. Possibilities.

2016 New Year’s Resolution: Write more, read more.



I’m incredibly excited to finally be sharing Yates, my first novel since the release of West.


Yates is available as an eBook from both the Direct Store and Amazon Kindle:

(Click here if you need help choosing.)

At almost 70K words, Yates is approximately 240 pages in length, spread out over 16 chapters and a prologue.

Not convinced? (And I really think you should be from the incredible cover!) ;)


As much as I’ve enjoyed working on the West series, the desire to work on something new continued to grow and grow, until I finally opened a new document and began Yates last year.

Being the third story on the Kai Taylor bookshelf, Yates compliments my other work, but also stands proudly on its own. The plot is new and fresh, yet it retains a sense of familiarity—you could almost picture West or Kieran hanging out in the background.

It’s been a busy year getting the story where it needs to be, but at long last it’s ready, just in time for Christmas!

So whether you’re new to my work, or have been around since the start, I really hope you give Yates a look. I couldn’t be happier with how it’s turned out, and I think you’ll enjoy it too!

Happy Holidays!


Introducing Yates

Last year, late in the month of September, I opened up a blank document and began a new story. While it isn’t unusual for me to begin a new project based on a single idea, few go on to become anything more than a collection of random thoughts.

But this project felt different. Rather than put it to one side and store away for future use, I decided to make it an active project.

I’ve spent the last year experimenting, planning, and writing. And now, 70K words later, I’m very excited to finally introduce you to my latest creation.


Struggling under the hardships of everyday life, Riley Yates elects to ignore it all. Fun and games are his daily story; anything and everything to run away from the reality of failing exams and the end of school.

Given a final chance from his parents to turn his life around, Riley manages to secure a job at the prestigious media firm, Rohn|Ive. There he meets Beck, the office boss whose strict nature and high expectations gives Riley some much needed direction in his life.

Showing a surprising competency to his job, Riley is soon entranced by the adult world of work. But when temptations from his past return, Riley is forced to choose which path to take. Should he stay within the comfortable safety of his past? Or should he push forward into the unknown?


Yates is a completely new novel, one unrelated to my other stories. It stands proudly on its own, but will fit perfectly within the Kai Taylor bookshelf alongside Kieran and West.

It’s part Young-Adult and part New-Adult, bringing together a combination of coming-of-age and romantic elements. It’s honest and sincere, yet loose and playful too.


Yates will be released in time for Christmas.

There’s still some finishing touches to be made, so a final release date will be announced over the coming weeks.

If you’d like to be notified the instant that Yates is available, consider signing up for the Mailing List. No spam, just a mail letting you know when the story is available.

I’ll be posting more about Yates as we get closer to Christmas. I really can’t wait to see what you all think of it.


Volume 4 Interludes: Part I

If you’re following along with the online release of Volume 4, you’ll know that lots has happened over the past few chapters.

While there’s much to write about, I’ve decided to focus on three of the biggest events that occurred in the most recent chapters.

Let’s get started:

West vs Harry

This one goes back to an idea I wrote about a few months ago. I’ve long enjoyed the idea of having characters begin as friends and then morph into enemies. I find something strangely euphoric about protagonists sharing history, or intimacy, with their antagonists.

It also helps to elicit emotion and purpose. It helps to answer the question of why. Why are these characters at odds with each other, and why can’t they get over it and move on?

Having West and Harry at opposing sides feels incredibly natural, yet very wrong. They’re both fighting for the same thing, but share very different views on how to accomplish it.

Readers have a love/hate relationship with this. We’re drawn into a middle ground, neutral to both parties. We see things developing in different, sometimes obvious ways:

“Harry clearly isn’t cheating on Tess. Why doesn’t West see this?”

“Why is Harry being so risky? West has the better idea.”

“Why don’t they both get over themselves and work together?”

All good questions. And as a writer, what could be better than having readers engage with your story?

I have nothing.

Other than, well, giving the readers what they want:

Kick-ass West!

This had to happen. After three and a half volumes, it was time to see West get physical. We’ve known from the early days of V1 that West (and Harry) both took karate lessons. Now we’ve finally seen his abilities in practise.

But the fight scene was so much more than just getting us to see West in his element. I wanted to use it to portray something much more essential to the series: a deeper understanding of the character.

Ever since I started writing West, one of the toughest challenges I’ve had is trying to define him. Whether it’s to myself or to someone asking about the story, it’s not an easy thing to accomplish.

While I obviously know what drives West and what makes him tick, there isn’t really one defining characteristic.

In Chapter 9, I wanted to explore this in detail and purposely single out one aspect of his persona: his defiance. Doing so leads us on a path I’ve been developing since the beginning.

West is filled with something. In this chapter, he discovers that it’s a need for power—often at the expense of placing himself in increasingly dangerous situations.

This has huge implications for his character. Just think about the types of scenarios he could get involved in. And consider this: West is seventeen. Where could such a person ultimately end up?

Now that I’ve given you some food for thought, let’s move onto the third and final topic:

West coming out

While West is a LGBT-themed young-adult story, it’s not an issue novel. Events such as coming out are discussed, but they’re not central to the story. With this in mind, let’s look at how it’s been portrayed in this volume:

West actually has a long history of coming out:

Volume 1: Sean and Tess Volume 2: Zoe Volume 3: Harry

Going to Volume 4, Chapter 4, West finally comes out to his parents. I’m sure it seems crazy to some that it’s taken 36 chapters before our protagonist came out to his parents. Thirty-three chapters for a character who: 1) Accepts his sexuality, and 2) Has accepting parents.

So why did I do this? Did I fall into a plot hole? Nope. It was by design.

Consider this: the story is written in 1st person, from West’s POV. This does a few things to the story, the biggest of which is bias. Simply put:

West has never seen his sexuality as a big deal, so it doesn’t feature heavily in the story. He’s bisexual. Simple as.

Taking a step back for a moment, from a writing perspective I never planned to have coming out be central to the story. Plenty of other stories focus on the issues with coming out (including Kieran).

With West I wanted them to be non-issues. That isn’t to say everything is fine and dandy, that there’ll be no repercussions for coming out, but rather I simply didn’t want to follow down the well-trodden path.

Even in today’s world, where tolerance and acceptance is growing by leaps and bounds, coming out is still a ballsy move. More so to some, less so to others.

Instead I decided to do something different. Something big, bold, and staying true to the character of West:

West uses his coming out as a weapon.

Why not?

West is all about getting things done. If he sees an easy or simple way to achieve something, he’ll do it. And to him, coming out publicly is the perfect way to to get what he wants:

1) Help snare The Report, and 2) Release him from Slater’s crosshairs.

Is he successful? You’ll have to wait and see. Fortunately you don’t have much longer—there’s only two more chapters to go!

So we now move onto Chapter 11. It’s a big one—15K words—about half the size of Volumes 1 or 2! It’s also one of my favourites.

The chapter is entitled Reveal, so maybe, just maybe, you’ll get some answers sooner than later.

A word of wisdom: keep an eye on the subtlety. Of all the chapters I’ve written, this one contains the most foreshadowing. Not just for the rest of V4, but for the series as a whole.

If you want some hints on the future of the series, this is where to find it.



It’s recommended you read Chapter 6, Volume 4 of West before reading this post.

Ever since the early days of planning West, one of the things I really wanted to explore was West’s past in greater detail. Originally this was supposed to take place in Volume 3, but as time went on I decided to push the idea back a little bit.

So here we are in Volume 4, where Chapter 6 marks the moment we arrive at the flashback.

Since I’d planned on featuring the scene in V3, much of chapter’s premise has remained the same over the past 18-months. I knew it was going to focus on West meeting Rikesh, and potentially feature a fight-scene. In the end I toned things down to focus more on the psychological rather than the physical, which I think was the right decision to make.

But why do a flashback? And why wait until now to do it?

I always wanted Volume 4 to achieve two things: push the story forward, and build out the foundation of the series. As the main story arc through Volumes 1 to 3 (Sean & Jack) had come to a close, it gave me a great opportunity to achieve the above two goals in one go.

Rewinding the clock is a great way to expand the foundation. While we’re familiar with present-day West, what was he like a year ago? Or in the case of Chapter 6, three years ago? How was he different, and how was he the same?

Claire’s arrival in V4 is big part of this. While it’s great to jump back in time for a chapter, I wanted to follow through with the idea of West facing his past. Claire is the embodiment of this. She represents an easier, simpler, and maybe even happier time in his life.

Right now, West is a little too busy to fully comprehend what Claire’s return means for him. Not necessarily in terms of rekindling his relationship with her, but the repercussions of simply interacting with such an integral part of his past. In the process he’s forced to see where he was, where he’s at now, and what he wants to become.

Volume 4 gives us our best look into West’s persona and psyche yet. And once you’ve read the entire volume, I think it’s something you’ll agree with.

It’s a marriage of drive, growth, and experience. We enter the volume with a clear view of West, yet we exit with a slightly different take on him, as though someone had shifted the hue of our image. It brings out the details we’d always known were there, but never stopped to notice or consider.

But we’re not alone in our discovery of West’s innermost details and facets. He’s the one leading the way, always one step ahead and ready to react to his ever-changing life.

And take it from me—he’s just getting started.