Bio

I’m a writer, editor, producer, and transmedia artist with more than two decades of experience working across print, audio, visual, digital, and interactive media. Most of my work happens where collaborative storytelling meets media production.

My role has often been to connect editorial judgment, an art director’s eye, and practical production sense, then help carry the work from concept to delivery. I know enough to step into different roles when a project needs it, and enough not to mistake that for being equally good at every job.

Whether a project is original or client-facing, I tend to begin with the same questions: what form it calls for, what process makes sense, what scale it demands, and what kind of team it actually requires. The same is now true of AI: I use it selectively for narrow research, development, or production tasks when it serves the brief, not as a substitute for judgment or craft.

That approach started early. Around 2000, I co-founded the Evolving Media Network, working out of a 15,000-square-foot A/V production facility in upstate New York. By day, we handled commercial media work. By night, the same space turned into a lab for music, writing, video, and collaborative experiments. That mix of client work and independent production shaped a lot of what came after.

I moved to Los Angeles in 2003. In 2004, I published my first novel, Join My Cult!. After that, and after the band I was playing with dissolved, the next decade was a blur of startups and collectives, early podcasting and pro-blogging, summers spent traveling festival and con circuits, couch-surfed book tours, and the collaborations that happened in the incubation periods between one push and the next.

A significant part of that period was also tied to ARGs, transmedia, and interactive media, back when those terms still described an actual frontier instead of a stale pitch deck. I worked on installations, live events, projection, video, sound, online storytelling, and collaborations that brought me into orbit with figures like Joseph Matheny and Dave Szulborsky, avant-theater circles such as The Foolish People, and a range of gallery- and event-based projects. A lot of that work is difficult to trace now, which is also part of the story. Some of it survives in fragments. Most of it doesn’t.

By the time I landed in Boston in 2014, the pace had changed. I moved deeper into research-heavy projects, freelance journalism, and editorial work. The indie-media churn continued, of course. Rebel News, for instance, began as an independent journalism platform with one set of goals, was sold, and later ended up in the hands of people with almost diametrically opposed intentions. That, too, was part of the education.

In recent years, much of my fiction has centered on The Fallen Cycle, a mythpunk world unfolding across illustrated fiction, webcomics, audio, music, and the ongoing development of a tabletop RPG. The Fallen Cycle Mythos presents some of those stories as audio fiction, paired with an original soundtrack.

That same interest in participatory narrative runs through Modern Mythology, where I explore RPGs and collaborative storytelling alongside my co-host, and through Narrative Machines, which extends my work on myth, media, and propaganda.

After years of living and traveling across the United States, I’ve returned to Philadelphia, where I grew up. The thread running through all of it, from grade-school RPGs onward, is a longstanding fascination with stories people can read, hear, play, and inhabit.