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A random bitchy non-fiction thought I had today…

“Write With Empathy” Is Killing Your Story — And This Week’s Trump vs. Musk ShitShow Proves Why

Neutered Villains & The Soggy Oatmeal Apocalypse



By Wendy C Allen

f you are here looking for aliens, ufos, demons, cryptids, haunted cars, curses, Etiole, the wild man of old orchard beach, the goldeneagle car, the white monkey, or any of that other weird bullshit, you want this video:



...and after that video, you want these ones:

eelkat_red_scarf.jpgWendy Christine Allen, 2019, able to sit up in a chair for the first time in years, and able to raise up my arm and wiggle fingers. This was when I started playing Witcher 3 on Twitch as part of my physical therapy to regain finger movement. Playing Witcher 3 daily from 2016 to 2019, is how I regained the use of my thumb and two for fingers on my right hand... it is also why I stopped playing Witcher 3 in 2019, once I had strengthen my two forefingers enough to start typing again.

Wendy Christine Allen, Old Orchard Beach's Autistic Author, Artist, Illustrator, & Art Car Designer

Counting Down to the September 23, 2028 50th Anniversary of my first published book (September 23, 1978)

If you are here looking for The Twighlight Manor series, The Crystonite Wars series, The Wild Years series, The White Rock Asylum for the Criminally Insane series, The Twisted Tales series, the Captured By a MerMan series, The Space Dock 13 series, The Kats of Planet Ptarmagin series, the stories about Miss Citten the Eel-Kat, or the stories about Etiole... ALL of those series were combined and consolidated into The Adventures of Quaraun the Insane Pink Necromancer series in 2014, so ALL the different series, are now under one series title.

List of the published titles still in print:

The Index of over three thousand stories in The Pink Necromancer series

What the series is about, for those new here:

The introduction to The Pink Necromancer Series. 

If you want some stories to get you started in The Pink Necromancer series, reading these first will give you a good introduction to the 3 main characters:

My Elves Are JellyFish...and I asked Google AI and ChatGPT 5.6 what they thought of this.

As requested, my daily writing prompt series is now available print paperback editions on Amazon.

There are 20 volumes of this writing prompt series currently planned and in varying stages of finishing, hopefully all 20 will be published by the end of 2026. I likely will do a 2nd series of writing prompt books in 2027.

Coming soon (Nov/Dec 2026)... patterns for my slow stitched embroidery:

BoomFuzzy-scottish-phooka-faerie-kelpie-form-Wendy-C-Allen-felt-embroidery-art2
BoomFuzzy-scottish-phooka-faerie-cooney-rabbit-form-Wendy-C-Allen-felt-embroidery-art
BoomFuzzy-scottish-phooka-faerie-nuckalavee-form-Wendy-C-Allen-felt-embroidery-art4
12-dancing-princesses-trow-king-Wendy-C-Allen-felt-embroidery-art
BoomFuzzy-scottish-phooka-faerie-kelpie-form-Wendy-C-Allen-felt-embroidery-art14
green-witch-faerie-Wendy-C-Allen-felt-embroidery-art
BoomFuzzy-scottish-phooka-faerie-enchanted-pony-form-Wendy-C-Allen-felt-embroidery-art4
BoomFuzzy-scottish-phooka-faerie-nuckalavee-form-Wendy-C-Allen-felt-embroidery-art7
fishing-village-Wendy-C-Allen-felt-embroidery-art7
mermaid-Wendy-C-Allen-felt-embroidery-art7

The first of the Visual Novels/Video Games for The Adventures of Quaraun the Inane/The Pink Necromancer series is published and available on Itch.io, there are 3 more planned for release in 2026, 6 more planned for release in 2027, and the big 60-hour 80k word 150 page one (Quaraun Goes To the Fair) is planned for a 2028 release.

There is a Pink Necromancer card game and a Pink Necromancer board game, as well as a Pink Necromancer table top RPG supliment for Dungeons and Dragons, all in the works, and to be released over the next couple of years as well.

I shouldn't have to say this, but people keep contacting me, so apparently I do:

  • No, I do not believe in aliens. Stop contacting me to ask for alien information. If you believe in aliens, I think you are insane, retarded, or both.
  • No, my car is not haunted. I've debunked that rumour many times now. . Stop contacting me to ask for haunted car information. If you believe in haunted cars, I think you are insane, retarded, or both.
  • No, I am not connected to Stephen King. I didn't even know who he was until you idiots started contacting me asking about him. I had to look him up on Google to find out what you were even talking about! If you have questions about Stephen King, go contact him and ask him. I'm not him. I don't know him. I know nothing about him. I've never read one of his books. I've never seen one of his movies. I can't figure out why you people are even coming to me to ask about him in the first place!
  1. If someone told you I believe in aliens, if someone told you my car was haunted, if someone told you I was connected to Stephen King, you NEED to contact the FBI agent in charge of my son's murder investigation and TELL HIM WHO it was who told ou, exactly WHAT it was they said, HOW they contacted you, WHERE they contacted you... because it is a KNOWN FACT that my son's murderer is the one who started all these slanderous alien, haunted car, Stephen King rumours, and the FBI is trying to catch her.

If you have any information about my son’s murderer, please give it to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

Do you know who this woman is?

On August 8, 2013 she drove a backhoe over my house. On November 14, 2013 she arrived at Southern Maine Community College and crippled me with a golf club and murdered my son. One June 24, 2016, days after my first attempts to walk again, she attacked me with a shopping cart at Scarborough, Walmart, reinjuring the Nov 14, 2013 injury.

She crippled me when I was 8 months pregnant, a woman with a golf club, severed my spine and bashed my baby's head in, I spent 9 years relearning to walk, and the FBI is 13 years into the murder investigation and not yet id-ed the attacker who crippled me and killed my baby, both violently with a golf club.

Complete details of EVERYTHING she did is on this page here.

Clairescreenshot.pngThe golf club woman who called herself Clair as she looked November 14, 2013. Her hair is a weird chin leangth pageboy (very Medival style cut) platinum blonde with wide brown/black dyed stripes in it (like a reverse of Lily Munster, but the stripes are several, almost like a zebra). I am 5'6" and she was a LOT taller then me, like closer to the height of a man; she had thin lips like a man, and large nose like a man... she COULD have been a man disguised as a woman, given the ease with which she severed my spine....she's is a LOT stronger then is typical for a woman). She was wearing a chambre blue denim "blazer jacket over shirt" and a button up mens shirt (possibly flannel) and blue jeans. The bulk of her yelling was focused on accusing me of being transgender, even while ripping my baby out of my 8 month pregnant belly and bashing his head in with a golf club.
zzzz999ClaireRed2016-screenshotThe Claire woman as she looked during her shoping cart attack at Scarborough WalMart June 2016, the attack with left me paralyzed and in a wheelchair. Her hair was dyed dark red, and she drove away in a gold Volvo 240 Station Wagon of a late 1980s/early1990s model, with a "458" on the lisnce plate.... If you have any information about the woman who crippled me with a golf club, please give it to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.
@eelkat part 9 of 10 #dogwalk around the block (Maine st, Elm st, South street, Bradbury st) #Biddeford #Maine #night #fbiinvestigation #truecrimetiktok ♬ original sound - Wendy C Allen | 📚 Author

If you have any information about the woman who crippled me with a golf club, please give it to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

Good god! We just found out about yet another slanderous rumour this woman has been spreading? When does it end? How many more of these things are out there?

Video explains what else she's done ...

If you have any information about the woman who crippled me with a golf club, please give it to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.


The Goldeneagle World's Most Haunted Car - 1964 Dodge 330If you encounter anyone claiming my car is haunted, demon possessed, or somehow connected to Stephen King please give the information of who, when, where/location to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.
@eelkat part 7 of 10 #dogwalk around the block (Maine st, Elm st, St Mary's, Dunkin, South street, Bradbury st) #Biddeford #Maine #night #plannedparenthood ♬ original sound - Wendy C Allen | 📚 Author

If you encounter anyone claiming I believe in aliens or was an alien abducttee, please give the information of who, when, where/location to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

@eelkat part 4 of 10 #dogwalk around the block (Maine st, Elm st, St Mary's, Dunkin, South street, Bradbury st) #Biddeford #Maine #night #library ♬ original sound - Wendy C Allen | 📚 Author

If you know who drove this backhoe over my house at 146 Portland Ave, Old Orchard Beach, Maine 04064-1520 on August 8, 2013 please give the information of who it is to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

eelkats_house_before_after.jpgIf you know who drove this backhoe over my house at 146 Portland Ave, Old Orchard Beach, Maine 04064-1520 on August 8, 2013 please give the information of who it is to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

I am sick and tired of people not giving a shit that my son was murdered!

I am sick and tired of jackasses making up rumours and lies about me and my car, calling me an alien abductee and my car haunted, just to try to cover up my son's murder!

You want to write a good story? Throw out the limp, overcooked advice to “write with empathy” and “create relatable characters.” That kind of syrupy workshop fluff is designed to sell classes, not build books.

Look at the chaotic hellstorm going on between Trump and Musk right now. Two egomaniacs. Billionaires. Out-of-touch cartoon villains screaming obscenities at each other across the digital void, one threatening to expose federal crimes and the other swearing to deport him with all the grace of a drunken toddler in a gold-plated diaper. Is anyone relating to either of them?

No. But we are all watching.

Why? Because relatability is a lie. What readers want is compelling. What they want is mess. What they want is someone so damned obsessed with control, or rage, or fear of being replaced, that they’ll burn the world down just to win one more power play. THAT is character.

“Write with empathy” has become code for “make your character nice,” or worse, “make your character palatable.” But powerful characters are often not palatable. They’re not nice. They’re barely human.Was Macbeth relatable?

No — he was a paranoid warlord high on prophecy and blood.

Is Quaraun, the Pink Necromancer, relatable?

Hell no. He’s a narcissistic, murderously dramatic jellyfish-haired Elf in resplendent rhinestone silks, limping around the apocalypse with two psychotic lovers and enough trauma to drown a lich. No one “relates” to that — they watch it burn.Are Trump or Musk relatable?

No.

Why?

Because in the real world, villains never are.

In the real world the only people who can relate to villains are other villains.

That’s why Musk and Trump are only relatable to each other and no one else.

Trump and Musk aren’t empathetic. They’re not vulnerable in the way craft books love to describe. But they are crackling with character. Every post they throw online is a novella of hubris, betrayal, obsession, and petty revenge. If you saw their behaviour in a novel, you wouldn’t say: “This isn’t relatable.” You’d say: “I can’t stop reading this.”

And that’s the difference.

Relatable characters ask for sympathy. Fascinating characters demand attention.

So if you’re sitting around trying to force “empathy” into your villains, or sanding the edges off your protagonist to make them feel more “real,” take a lesson from today’s political bloodbath: let your characters be insane. Let them be dangerous. Let them be ugly and loud and vengeful and wrong.

Because no one wants to read about a perfectly balanced, morally gentle soul who’s just trying their best. They want the unhinged billionaire with a god complex tweeting treason at 3 a.m. because someone dented his ego.

They want Quaraun screaming “I AM NOT FRAGILE, I AM BROKEN!” while unleashing sea slugs and unicorn porn in the middle of a diplomatic summit.They want spectacle, not therapy.

This need to empathize with every villain has turned storytelling into an emotional rehab centre for fictional mass murderers. What happened to letting bad guys be BAD? Villains used to be delicious chaos. They used to love being evil. They had panache. They monologued. They laughed when they blew shit up. Now they cry into their cornflakes because daddy didn’t tuck them in right.Look at The Joker — the old-school one.

The “I set a hospital on fire because I was bored” Joker. The “wanna see a pencil trick?” Joker. That was peak villainy: unpredictable, nihilistic, cartoonishly evil for evil’s sake. No one needed to know if his childhood dog died. The not knowing was scarier. The chaos was the point.

Now look at modern reboots: “He’s like this because society failed him.” Yeah? So what? A lot of people get bullied. Most of them don’t paint their face white and shoot late night hosts in the face.Same for Lex Luthor.

He was the template for the sleek, smug billionaire megalomaniac who knows he’s smarter than everyone and loves rubbing it in. Now? Rewritten as a misunderstood genius with abandonment issues who just wants daddy’s approval? Gag. That’s not a villain. That’s a fucking therapy worksheet.“Relatable” Villains Suck the Soul Out of Fiction

They’re a lie. Most villains in real life don’t have clear, emotionally tidy backstories. They’re a sludge of arrogance, entitlement, and cruelty. So why do fictional villains have to be neatly broken instead of gloriously monstrous?

They’re boring. The moment your world-destroying necromancer stops to cry about how he just wanted his mommy’s love, you’ve killed the tension. Readers want dread, not group therapy.

They excuse villainy. There’s a trend now to explain away evil like it’s some kind of unfortunate glitch in the empathy algorithm.

Fuck that.

Sometimes people are evil because they like it. Because it gives them power. Because it’s fun. Trump and Musk are living proof of that.

  • Trump is evil because he likes it. Because it gives him power. Because it’s fun for him to watch people suffer.
  • Musk is evil because he likes it. Because it gives him power. Because it’s fun for him to watch people suffer.

We can SEE from the actions of real world ACTUALLY REAL villains, that they don’t need to be relatable to capture the attention of their audience. So why the fuck do authors think they need to make their fictional villains relatable?

Let villains have FUN again. Let them be terrifying, magnetic, repulsive, larger than life.

Let them be BoomFuzzy cackling over the corpses of his enemies while calling Quaraun horny cream-filled eclair in front of a dying noble court.

Let them be Quaraun with venom in his voice, threatening to turn a man’s brain into ash because he dared to say the word “frail.”

You think readers relate to that? No. But they remember it. They feel it. That’s the point.

You want to write a real villain? Don’t give them a sob story. Give them a motive they enjoy.

Let them revel in the chaos. Let them be proud of their monstrosity. Let them own it.

Villains don’t need therapy. They need better writers.

Disney used to know how to make villains.



Jafar? Gay-coded power-hungry snake man with a god complex, enslaving sultans, dressing like a goth warlock, and hypnotising the hottest man in Agrabah.

Maleficent? High Queen of Petty. She didn’t get invited to a party, so she hexed a baby. That’s iconic.

Ursula? A sea witch, a literal drag queen inking deals with desperate souls for her own amusement. Every line she delivered was venomous glamour.

They were flamboyant, confident, terrifying, fun. They were there to chew scenery and spit curses. You loved to hate them.

Then came the live-action era.

And what did Disney do?

They defanged their own villains.

They retconned them into victims.

They gave them feelings.

And not interesting feelings — they gave them the soggy sandwich of sympathy.

Maleficent (Live Action):

The Mistress of All Evil reduced to a misunderstood fae godmother who didn’t mean to curse the baby. She only did it because she was betrayed — boo hoo, King Husband dumped her. She becomes Aurora’s protective fairy aunt and the curse becomes a metaphor for female trauma healing.
It’s not terrifying. It’s not majestic. It’s a Pixar PSA on boundaries.

  • OG Maleficent: “Now shall you deal with me, O Prince. And all the powers of HELL.”
  • Live-Action Maleficent: whispers gently while crying into moss.

Jafar (Aladdin 2019):

The animated Jafar was unhinged, serpentine, power-mad. He turned into a genie and tried to enslave reality. Live-action Jafar? Some mumbly bureaucrat with dad issues. A low-energy palace intern throwing passive-aggressive tantrums. No danger. No drama. Just beige desert sand.

  • OG Jafar: “You will BOW to me!”
  • Live Jafar: “I just want to be Sultan because I wasn’t born a prince.”

Ursula (The Little Mermaid 2023):

Gone is the gleeful cackling octo-drag queen. Now we’ve got flat impressions and softening every evil move with awkward jokes. No seductive power, no command of the screen. She’s not even camp. She’s sad clutter.

  • OG Ursula: “So much for true love! HA!”
  • Live Ursula: “Oops! Did I do that?” laughs like sitcom filler.

Do you realize if media hadn’t tried to make fictional villains boring and relatable, we might not have this Musk Trump shitshow going on right now? Did you ever think of that? Half the people who voted for trump claim they did so because “He was more entertaining to watch then the other candidates.” What does that tell you? It tells you people got fucking bored of having not villains in their books and movies any more so they voted for a real live villain to run the country JUST SO THEY COULD BE ENTERTAINED!

Disney doesn’t believe in villains anymore.

They believe in marketing arcs.

They believe in franchise tie-ins and sad origin stories with merchandisable trauma.

So villains can’t just be evil — they have to be redeemable, misunderstood, relatable.

Because evil doesn’t test well in focus groups.

Why curse a princess out of spite when you can cry about your betrayal trauma and get a three-movie arc on Disney?

Let villains be villains. Let them revel in power, in cruelty, in seduction.

Not because they’re broken, but because they like it.

Because it thrills them. Because the world is theirs to dominate or destroy or twist into opera.

Make villains unapologetic again. Bring back gothic theatre, not trauma-core fluff.

I want Maleficent melting castles with green fire.

I want Jafar charming snakes out of sultans.

I want Ursula doing makeup tutorials while stealing your soul.

Then maybe people will stop voting for real live villains to run the country.Make Villains Evil Again: Because watching Trump and Musk claw each other’s egos to death proves we need REAL bad guys back in fiction.

This is a war cry.

A line in the sand.

A battered, blood-streaked parchment nailed to the crumbling doors of traditional publishing.

Writers of the next generation: You need to stop being scared little rabbits and start writing real villains again.

We are drowning in a sea of soggy-ass, simpering, misunderstood antagonists who are too busy crying over childhood trauma to actually do anything evil. Every villain now needs a redemption arc. A sympathetic backstory.

It’s like villains aren’t allowed to be villains anymore — they have to be rebranded as “morally complex” wellness influencers with frowny-face emojis and lavender-scented emotional growth.

ENOUGH.

It’s time to Make Villains Evil Again.


Look around. Look at the real-world villain spectacle that’s unfolding right now — Trump vs. Musk, two billionaires tearing each other apart in a glorious shitstorm of ego, spite, greed, and revenge.

  • They’re not tragic.
  • They’re not redeemable.
  • They are spectacularly, operatically EVIL.
  • They’re not “relatable.” They’re fascinating.
  • They’re not sad. They’re dangerous.
  • They’re not broken by the world. They want to break it.

They’re not characters in need of empathy. They are villain archetypes in the flesh, and watching them implode live on social media is the most compelling storytelling spectacle of the year. Because you don’t look away from a villain. You stare. You marvel. You feel the dread crawl under your skin. You remember them.

That’s what a villain is supposed to do.

So why the hell have modern writers neutered their villains into bland unscary oatmeal?

Why do we keep getting Darth Daddy-Issues instead of Darth Vader?

Why do witches sob into mirrors about their trauma instead of throwing down hexes and devouring kingdoms?

Why are writers so scared to let their bad guys be bad?

It’s because writing workshops, MFA programs, and social media “writing advice” circles have convinced everyone that a character must be “understood” to be “valuable.” That everyone must be relatable.

But villains don’t need to be understood. They need to be feared.

They don’t need to be likable. They need to be memorable.

They don’t need to be softened. They need to be UNFORGIVING.

Writers: It’s Time to Get Your Balls Back


Stop trying to write the next sad misunderstood villain who was just a victim of a bad society.

Stop writing slow-burning tragic arcs where the villain turns out to be good deep down.

Stop writing gentle genocidal maniacs who just want a hug.

Write villains who love being evil. Who don’t want your pity. Who don’t regret their actions. Write villains who’d poison a kingdom, laugh over the ashes, and then fuck the corpse of the crown.

Give us villains who:

  • Smile while stabbing their lover in the back.
  • Kill for the thrill.
  • Monologue like gods.
  • Take pleasure in watching the world suffer.
  • Write a villain who is proud to be hated.
  • You don’t have to explain them.
  • You don’t have to justify them.
  • You don’t have to make them cry.
  • Let them ROAR.

The old stories understood this. The villains of ancient myth, of epic fantasy, of pulp noir and grand tragedy — they stood tall in their evil. They were theatrical. They were relentless. They were fun as hell to write.

We didn’t need to understand Sauron. We needed to fear him.

We didn’t need to empathize with the Queen of Hearts. We needed to get our heads cut off.

We didn’t need to relate to Maleficent. We needed to BURN with her curse.

But now?

Now every villain is a therapy session in a trench coat.

No more.

This is the rebellion.

This is a call to all the writers out there scribbling in journals, wrangling chapters between jobs, building strange beautiful worlds in secret:

You have permission to be terrifying again.

You have permission to make your villains evil again.

You do not need to make them soft, or sad, or safe.

Let them be cruel.

Let them be monstrous.

Let them have fun.

You are not writing to soothe the world. You are writing to shake it.

Let Quaraun snap and summon a swarm of sea slugs.

Let BoomFuzzy laugh like a lunatic as he poisons a roomful of nobles.

Let your villains burn bridges, bones, and backstories.

Make Villains Evil Again.


And let readers fall to their knees in awe.

Put villains back into fiction so people will stop filling that void by voting for real villains in government!

The strongest writing digs into those raw, uncomfortable places — the ones that make your chest tighten and your throat catch because you know it will cut when it lands on someone you love.

That kind of writing demands courage. It’s brutal, honest, and unflinching. It refuses to sanitize or sugarcoat. It holds up a cracked mirror to the messy, painful parts of life and says, Here. Look. Feel this.

Because if it makes you flinch, it will make your readers feel. That tension, that vulnerability — that’s where real power lives.

The kind of villains we’ve been talking about? They come from those places, too. They embody the parts of us we’d rather deny, the dark truths we hide. When you’re willing to summon that, to write it unapologetically, your stories sing with life and danger and unforgettable gravity.

So yes — write the stuff that makes you clench. Write with that fire. That’s where the magic is.

Not Every Villain Needs a Fucking Redemption Arc, You Cowardly Mouse-Eared Bastards


Not everything needs to be deep.

Not every villain needs to have a tragic backstory, a misunderstood heart, and a teardrop tattoo from when society “just didn’t love them enough.”

Sometimes a bitch is just evil.

And that’s what makes her glorious.

You remember Ursula?

Not the watered-down sad sack sea Karen from the live-action tragedy — you know, the real one.

The divine, flamboyant, tentacled drag-queen sea witch who made her eels her bitch, scammed a fish out of her voice, and sang the greatest villain song in animation history while shaking her ass like the ocean owed her money?

Yeah.

That Ursula.

No one gave a fuck where she came from.

She was fabulous.

She was powerful.

She was EVIL.

And she liked it.

You didn’t need to “understand her pain.”

You didn’t need to “relate to her trauma.”

You didn’t need a goddamn prequel showing her as a little octo-baby getting bullied in mermaid kindergarten.

You wanted her to destroy Ariel and rule the seven seas with velvet gloves and lipstick made of orphaned souls.

But now?

Now every villain gets a sob story.

Jafar wasn’t a power-hungry sociopath climbing over corpses to seize control of Agrabah. Nope. Now he’s just a sad little sandboy who never got hugged enough and was jealous of Aladdin’s abs or some shit.

Maleficent used to be the literal Mistress of All Evil, a gothic goddess who crashed a royal party just to curse a baby because they didn’t invite her to brunch. Power move. Queen shit. Petty? Yes. But DELICIOUSLY so.

And then you watered her down into a motherly woodland protector whose “curse” was really an act of maternal kindness wrapped in misunderstood heartbreak?

Fuck off.

You turned a fire-breathing dragon into a woodland soccer mom with glowy cheekbones and fairy wing trauma. You took the woman who turned into a dragon and made her cry about love.

Are you high?

This obsession with “redeeming” villains is cowardly.

You’re afraid of morally complex characters who embrace the dark.

You’re terrified that kids might love the bad guy.

But guess what?

They already did.

Fans rooted for Scar.

Fans worshipped Maleficent.

Fans aspired to Ursula.

Not because they were good.

But because they were great.

They had presence. Power. Style. They were fucking awesome and they fucking knew it.

They owned their darkness.

And most of all — they didn’t apologize for it.

But now, Hollywood can’t handle that.

Now they gotta twist every villain into a misunderstood antihero with soft piano music, sad doe eyes, and a therapist waiting offscreen.

It’s not just Disney.

It’s a plague.

The whole damn industry is shitting its pants at the thought of letting a villain be a villain. They think audiences are too fragile, too soft-brained, to handle characters who aren’t secretly saints under all that eyeliner.

Villains see the world like Quaraun does — cursed, crumbling, corrupt.

Villains don’t need a redemption arc.

Villains need a fucking throne.

Quaraun never asked to be liked.

BoomFuzzy murders people with candy and smiles about it.

They don’t cry into their backstories.

They own their cruelty, their chaos, their cosmic bitchcraft.

So let your villain be a fucking villain.

Let them slay.

Let them conquer.

Let them strut into the scene like it’s a bloodstained runway and they’re ready to set the world on fire just because they felt like it.

Stop apologizing for the darkness.

Stop editing the sharp edges down into soft blur.

We don’t want trauma therapy.

We want world domination in heels.

And if that offends your moral sensibilities?

Good.

You ain’t the target audience anyway.

“Write With Empathy” Is the Shittiest Writing Advice Ever Given

And If Relatable Characters Mattered, Trump Wouldn’t Be Screaming on Truth Social Right Now Like a Five-Year-Old Denied a Lollipop


Let me tell you something about “writing with empathy.” It’s the kind of advice peddled by wannabe writing gurus who’ve never written a character that wasn’t a mirror of themselves in a self-insert fanfic they never even finished. They wear lanyards and speak at overpriced writing retreats where everyone clutches mugs that say “Live Laugh Write” and nobody actually fucking writes.

These charlatans will tell you your character needs to be “relatable.”

You know who’s relatable? That guy next door who mows his lawn on Sunday and complains about gas prices.

You know who no one writes novels about? That guy.

Because he’s boring as dry dog shit on a sidewalk in August.

You know who’s not relatable?

Quaraun. The albino pink silk-wrapped Moon Elf with venomous jellyfish hair, laser beam nipple rings, and a literal goddamn murder cane.

You know what he is?

Fascinating. Complicated. Hateful. Gorgeous. Dangerous. Tragic. Broken.

You can’t relate to him, and that’s exactly why people can’t stop reading about him.

Readers don’t pick up a book because they want to read about themselves.

They pick up a book because they want out of themselves.

They want chaos. They want carnage. They want glittery, blood-soaked disaster queens who scream obscenities and kill people with enchanted wardrobe accessories.Which brings us to Trump and Musk.

Two billionaires, two egos big enough to collapse a neutron star, throwing bitch fits on their own private social media platforms like divorced Karens fighting over the last pumpkin spice candle at Walmart.

Now ask yourself, are these men relatable?

Fuck no.

They live on gold-plated toilets, fuck up global economies on a Tuesday afternoon just because they’re bored, and cry on the internet when someone calls them names.

But are they compelling?

You bet your ass they are.

Their daily meltdowns read like a badly written political thriller mashed up with a high school gossip blog.

Musk accusing Trump of rigging elections?

Trump calling Elon a disloyal cyborg from Hell?

It’s like someone gave two greased-up orangutans a phone and told them to LARP Game of Thrones.

Now imagine if some writing workshop guru told you: “Make sure your characters are empathetic and relatable!”

Oh sure. Let’s take Trump and Musk and water them down until they’re polite, well-mannered, emotionally balanced men who ask each other calmly to resolve their issues over tea.

Would you still be watching?

Would anyone?

Fuck no.

They’re compelling because they’re awful.

They’re memorable because they’re unhinged.

And that’s the lesson.

Your characters don’t need to be kind, or soft, or morally redeemable.

They need to be alive.

Dripping with rage, desire, delusion, obsession, madness, power, pain.
They need to walk into the story and leave footprints made of glass and blood and glitter and goddamn vengeance.

You want to write with empathy?

Fine. Have fun writing another milktoast Hallmark romcom about a white girl with a bakery and a boyfriend named Chad.

The rest of us? We’re writing warlocks who wear heels and curse the moon to rot because someone knocked over their rosebush.

You want your characters to be relatable?

Too fucking bad.

The best ones never are.

And if your writing teacher tells you otherwise, Tell the smug bastard to take their pen, roll up their empathy worksheet, and shove it straight up their narrative arc.

That gut-wrenching, stomach-in-knots kind of writing — that’s where the magic hides. The kind that makes you wanna rip the page out before anyone you know sees it, but you can’t stop because it’s true, raw, and bleeding.

You wanna write stories that slap the truth so hard it stings your own soul, stories that make your mother — or anyone you care about — uncomfortable because they see something real in there. Not some sugar-coated bullshit. Not safe-for-TV. But the ugly, the messy, the fucked-up beauty of life.

That’s the power you’re after. That’s where the story lives and breathes.

Anything else?

Just noise.

You gotta go there. Right to the edges where your guts twist tight and your hands shake a little. Where your heart’s pounding so loud you can’t hear anything else.

That’s when you know you’re writing.

Because if it don’t hurt a little? If it don’t make you nervous to hit “save” or “send”?

Then what the fuck are you doing?

You’re just filling pages. Not telling stories.

“Write with empathy”? Fuck that.

I ain’t here to coddle readers. I ain’t here to sugarcoat trauma or stroke some Karen’s feelings with gentle prose about how hard life is. I write damaged, psychotic, raving, unrelatable little fuckers with too many skeletons in their closet and half a dozen ghosts still haunting them — and I’ve sold over a million books doing it.

Quaraun ain’t relatable. He’s a pink silk-clad murder-happy Elf with fused hands, chronic pain, and zero patience for your feelings. He’ll kill you for calling him insane, then give a 3-page villain monologue about it, limping dramatically the whole time in rhinestone heels. You think readers “relate” to that?

No. But they can’t fucking look away.

They keep reading because he’s unhinged.

Because he doesn’t hold back.

Because he ain’t written with your comfort in mind.

Empathy Isn’t Required — Clarity Is


You don’t need to write with empathy. You need to write what the character actually thinks, not what’s palatable. The Park Bench Method ain’t about painting nice little “relatable” characters sitting politely on the bench, drinking a frappuccino, reflecting on their latest therapy session.

It’s about raw fucking presence.

What do they see? What do they smell? What are they really thinking — but would never say out loud? That’s what readers want. The dirty truth. The unfiltered shit. That’s what hooks people. Not your fake-ass empathy.

Relatable Characters Are a Lie


Let me drop this on your thick skull:

“Relatable” is just code for watered-down, boring, personality-less mannequins.

It’s a trap. A trend. It’s weak writing wrapped in socially acceptable buzzwords. You’re not here to make a fucking after school special. You’re here to write someone unforgettable. And unforgettable is NEVER relatable.

Think BoomFuzzy is relatable?

He’s a blind, horny undead Unicorn King who runs a demonic bakery, talks like a Scottish porn pirate, and swears so much he turns air blue.

The fuck part of that is relatable? None of it.

That’s why he works.

And GhoulSpawn?

A Sheep Demon who can’t lie, doesn’t understand jokes, talks in lists, and hoards stolen buttons like a Dragon hoards gold? Yeah, not exactly the boy next door. He ain’t written for empathy. He’s written for impact.You Know What Readers Relate To?

Truth.

Not relatable characters — real characters.

Ugly, broken, raging, lusty, neurotic, scared, angry, fucked up little disasters. People who say the wrong thing. People who lash out. People who steal, kill, cry, explode. Characters who feel like someone the reader might meet on their worst day, not someone they’d follow on fucking Pinterest.

You don’t get there by holding back with empathy. You get there by telling the truth, with both fists and no filter.

Bottom Line?

Stop trying to be nice. Stop trying to be soft.

You’re not the reader’s best friend.

You’re their drug dealer, and your story is the hit.

Write like you’re bleeding.

Write like you’re pissed.

Write like your character is about to fuck up someone’s life and you’re here to document the fallout.

“Empathy” ain’t gonna get you there.

Brutal, uncomfortable, undeniable honesty will.

Sit your ass on that bench and write the character you’re afraid to write.

That’s where your real book lives.

  • “Write with empathy.”
  • “Create relatable characters.”

This shit is passed around like gospel, like it’s some holy truth of storytelling, and new writers lap it up because they’re scared, they’re green, and they’re desperate to be liked. And that’s how you end up with stories full of soft-ass, spineless oatmeal characters who say “I’m sorry” five times a chapter and won’t fart unless it aligns with their trauma arc.Empathy? RELATABILITY? Tell me this:When the fuck was the last time Elon Musk or Donald Trump wrote a “relatable” tweet?

Go on. I’ll wait.

These two bloated egos are living proof that being relatable isn’t what gets attention.

  • Being unhinged does.
  • Being unpredictable.
  • Being raw.
  • Being absolutely batshit with zero fucks left.

That’s what hooks people. That’s what makes headlines. And that’s exactly what makes a compelling character.

“Write with Empathy” is How You Get Beige Protagonists


You want me to empathize with the war criminal necromancer with fused bone-hands and a laser wand strapped to his nipples? No. I want to watch him burn the village down because someone laughed at his robes. I want the melodrama. I want the violent outbursts. I want the trauma and power and rage and glittering vengeance.

Musk and Trump ain’t relatable. They’re walking cartoonish caricatures inflated by power and delusion and god-complexes so massive you’d need a SpaceX rocket just to orbit their narcissism. And that’s why people can’t stop watching.

Does anyone relate to them? Fuck no. But do they dominate headlines and command attention like a drunken Unicorn crashing a bake sale with a flaming erection?

Every. Single. Time.Relatability is Not a Selling Point — It’s a Fucking Muzzle

You’re told to “write with empathy” because the industry wants you docile.

They want you soft.

They want you scared of offending the reader.

They want you to believe you have to earn permission to write broken, angry, messy, real characters.

But look at this Trump vs Musk dick-pissing contest. You think either of them sat down and said, “Gee, I wonder how this will emotionally impact my audience?”

  • No. They posted rage-fuelled shitposts at 3am while snorting power and pissing on decorum.

And now? Every news outlet is watching.

Every reply thread is frothing.

Every follower is glued to the chaos.

Because relatable is forgettable. Spectacle is magnetic.

Your Characters Don’t Need to Be Likeable — They Need to Be Addictive


You want to know how I fucking sold a million copies of my Quaraun books? I don’t fucking write relatable characters, that’s how!

Quaraun isn’t relatable.

He’s a screaming, glitter-clad Elf necromancer with trauma so deep it’s got stalactites. He’s cruel, vain, dramatic, and damn near impossible to predict.

BoomFuzzy isn’t empathetic.

He’s a horny ghost-pony pastry chef who solves problems with cock jokes, kitchen knives, and sex threats.

They’re fucking monsters.

And that’s why readers keep coming back.

You want to learn character writing from this week’s Trump-Musk soap opera?

Here’s your takeaway:

People don’t follow characters because they see themselves in them.
They follow them because they want to watch the next explosion.

So Let Me Say It Louder for the Dumb Fucking MAGA Bastards in the Back:


Empathy is optional.

Relatability is limiting.

Unpredictability, conviction, obsession, madness, lust, power? That’s what keeps the reader glued to the page.

So fuck your character’s therapy backstory.

Fuck writing them “likeable.”

Unleash them.

Make them a flaming wreck of ego, id, and desperate drive.

Make them tweet like Trump and Musk in a pissing contest over who gets to nuke the moon first.

Because that’s what makes a story addictive.

Not hugs and Hallmark vibes.

Now toss out your “relatable protagonist” outline, grab your Rainbow Wand, and write a scene where your character burns down their moral compass and makes no apologies.

“WRITE WITH EMPATHY” IS POISONOUS ADVICE FOR VILLAIN WRITING


This advice is the literary equivalent of soaking dynamite in chamomile tea.

It kills the spark.

It turns ruthless warlords into weepy therapists.

It turns sadistic space tyrants into abused toddlers who just wanted a hug.

And it turns new writers into insecure messes who waste half a chapter trying to make their necromancer palatable instead of powerful.

Look around. Look at Trump and Musk today.

  • These two aren’t relatable.
  • They’re not humanized.
  • Trump and Musk are a pair of fucking narcissistic monsters throwing gasoline at each other and lighting it with their egos.
  • They don’t give a fuck about empathy.
  • They don’t ask to be understood.
  • They demand to be seen.

And that’s why Trump and Musk dominate every fucking screen today.

“RELATABLE” CHARACTERS? NO ONE RELATES TO TYRANTS.


The news keeps screaming:

  • “What Musk is saying is treason!”
  • “Trump paid to rig the 2024 election!”
  • “This could change everything!”

And people aren’t glued to it because they relate to Elon Musk’s technocrat billionaire tantrums or Trump’s greased toupee paranoia.
They’re glued to it because it’s chaotic, horrifying, and completely detached from normal human experience.

Like watching two comic book supervillains have a public meltdown because they both wanted to build a death ray first, but neither knows how to code anymore without interns.

  • Musk is threatening to leak secrets that could allegedly send Trump to the electric chair.
  • Trump is threatening to deport Musk like he’s a rogue Martian who overstayed his welcome.

What the fuck is relatable about that?

NOTHING.

And that’s what makes it fascinating.

And that’s the lesson writers NEED to learn. No one wants to read about your fucking morally grey villain. Because wishy washy villains are boring.

EMPATHY IS A NEUTERING TOOL


You want to write a Joker? You want to write a BoomFuzzy?
A deliciously unhinged, sex-crazed, pastry-murdering, undead Unicorn chef who flays his enemies and grinds them into jelly-filled doughnuts?

Then fuck empathy.

Your villain should be scary.

Your villain should be irredeemable.

Your villain should make your readers wonder if maybe you, the author, need psychiatric evaluation.

The Joker was never better than when he just wanted to watch the world burn.

Lex Luthor didn’t need a sob story. He just needed money, power, and the kind of ego you’d need a space probe to measure.

But now?

Now we’ve got Joker crying in his makeup chair because some bully stole his lunchbox in 5th grade and Lex Luthor is just “a misunderstood genius with abandonment issues.”

Boo-fucking-hoo.

EVIL DOESN’T NEED AN EXCUSE



Let’s stop pretending that being evil requires some soft-focus flashback scene to justify it.

Musk and Trump are living proof that villains can be villainous without some tragic origin story.

  • They are pure, unfiltered ego.
  • They lie, cheat, threaten, rage-tweet, and claw for power like it’s oxygen.

And the media? The public? Writers?

They eat that shit up.

Because it’s addictive.

They are the villains of real life.

And no one gives a shit why they are the way they are.

We just want to know what the hell they’ll do next.

WRITERS: STOP GIVING YOUR VILLAIN A THERAPIST


If you’re a new writer reading this, and you’re trying to make your genocidal space lich relatable by giving him mommy issues and a soft-spoken hobby in watercolour painting…

STOP.

Let him be evil.

Let him be terrifying.

Let him be the eldritch flaming horror that dances in your reader’s nightmares.

You don’t need to justify the darkness.

You need to unleash it.

TAKE A LESSON FROM MUSK AND TRUMP: RELATABILITY IS FOR HALLMARK. EVIL IS ENTERTAINMENT.


Trump and Musk are today’s chaotic spectacle because they are villains unburdened by introspection.

They don’t apologize.

They don’t grow.

They burn everything and dare you to look away.

And that’s exactly how your best villains should act.

So toss out the empathy.

Shred the relatability.

And write your villain like they’d eat Elon Musk and use Trump’s bones for salad tongs.

You don’t owe your readers a reason.

Just give them a force of nature in silk robes with blood on his lips and no regrets.

MAKE VILLAINS EVIL AGAIN: A WRITER’S BATTLE CRY TO RECLAIM THE DARK SIDE


You trembling keyboard warriors, scared of your own shadow and terrified to write real villains. I am here to rip the mask off the bullshit advice choking your creativity and demand that you start writing villains who actually love being evil — not some sad, cuddly emotional train wreck who’s “relatable” because mommy didn’t hug them enough.

We are living in the age of the greatest villain spectacle the world has ever seen: Trump and Musk, two grotesque, greedy, power-hungry megalomaniacs throwing tantrums across every media outlet, unrepentant, unapologetic, and utterly unrelatable to any normal human being.

And what do we do?

  • We watch.
  • We mock.
  • We meme.

But we also learn. Because these real-life monsters are the perfect example of how villains don’t need empathy. They don’t need backstories. They just need to be villains. And they own it.

And here’s the brutal truth that no timid writing guide will dare tell you:

Your villains should be more like Trump and Musk than your watered-down, sob-story-riddled rejects who are terrified to be hated.

THE DEATH OF THE VILLAIN IS YOUR FAULT


You — yes, you, the new writer clutching your “write with empathy” handbook — are the one who has neutered villains into soggy oatmeal blobs. You are the one who has drowned evil in a sea of sob stories and “trauma” so that your readers won’t hate your characters. You want them “relatable.” You want them “complex.” But what you’re really doing is making villains boring.

  • You’re turning Lex Luthor into a misunderstood nerd.
  • You’re turning Joker into a depressed clown with daddy issues.

Well I sure as Hell ain’t turning Quaraun, the Pink Necromancer, into a whimpering wraith who apologizes for his own magic.

This is literary malpractice.

TRUMP AND MUSK ARE THE VILLAIN BLUEPRINT FOR THE 21ST CENTURY


Look at the news this week: Musk spitting fire on X, accusing Trump of rigging an election, and Trump threatening to deport Musk for visa violations. Both of them are naked, vile, ego-fuelled monsters playing a game of public nuclear meltdown, each trying to out-bully the other. No apologies. No justification. Just pure, raw, villainous energy.

They do not ask for empathy.

They do not invite understanding.

They revel in chaos, and that’s what makes them fascinating, terrifying, and real.

As writers, what are you afraid of? That your villain might be hated?
Good. That means you are doing it right.

THROW OUT YOUR SAFE VILLAIN FORMULAS NOW


Forget about making your villain “relatable.”

Forget about giving them a sob story to explain away every single act of cruelty.

Forget about humanizing them to the point they’re indistinguishable from your protagonist.

Write a villain who wants to watch the world burn.

Write a villain who crushes bones because it’s fun.

Write a villain who bathes in their own wickedness and wouldn’t change a damn thing about it.

This is what readers crave.

This is what readers remember.

This is what makes stories sticky, unforgettable, and full of bite.

A BATTLE CRY FOR THE NEXT GENERATION OF WRITERS


I ask, no, I demand you to stop the scared pussyfoot bullshit and start writing real villains again.

Let villains be vile. Let villains be grandiose. Let villains be unapologetically monstrous. Let villains wear their wickedness like a crown of spikes and laugh as they drip venom on the world.

The villains who dominate your stories should make Trump and Musk look like choirboys by comparison. Let your villains be so bad that readers love to hate them, fear them, and want to live inside the story just to watch what they’ll do next.

TRUMP SCREAMS MAKE AMERICA GREAT AGAIN; HOW ABOUT WE MAKE VILLAINS EVIL AGAIN


We have spent too long apologizing for evil.

We have sanitized villains to make them palatable for fragile readers.

We have made heroes out of villains and villains out of heroes.

But the real villains — the truly unforgettable ones — do not need your pity.

They demand your respect for their pure, unfiltered, unapologetic nastiness.

When you see Trump and Musk throwing down on social media, stop chanting “Make America Great Again.” That’s the sound of delusion.
Instead, start chanting “Make Villains Evil Again.”

HERE IS WHAT YOU MUST DO, WRITERS


Stop giving villains mommy issues.

Stop making villains feel guilty for their actions.

Stop explaining their every choice with childhood trauma or “misunderstood genius” nonsense.

Stop worrying about whether readers will “like” your villain.

Instead:

Write villains who revel in their power.

Write villains who are as dangerous as a nuclear meltdown on Twitter.

Write villains who are the apex predators of your story’s ecosystem.

Write villains who own their wickedness like a goddamn monarch.

IF YOU WANT TO CREATE VILLAINS WHO MATTER…


Look no further than Trump and Musk’s disaster this week.

They are the living embodiment of what happens when villains stop hiding and start being villains.

It’s messy, it’s chaotic, it’s terrifying — but it works.

It grabs headlines, dominates conversations, and commands attention.

Your villains should do the same.

BEWARE THE NEUTERED VILLAIN


Writers, if you continue down the path of “empathetic” and “relatable” villains, you risk killing your stories dead before they even begin.

Villains without venom are villains without teeth.

Villains without teeth are just protagonists in bad wigs.

It is time to stop tiptoeing around the truth: Evil is entertaining.

Evil is fascinating.

Evil is powerful.RISE UP

So rise up, next generation of writers.

Cast off the chains of political correctness and literary nannying.

Make your villains vicious, glorious, and unforgettable.

Make villains so evil that the world remembers them long after the story ends.Make villains who act like Trump and Musk.Make Villains Evil Again.

The most powerful writing comes from the places that make your stomach clench when you think about your mother reading it.

That one sentence? That’s the damn scalpel slicing through the bloated carcass of every bullshit “how to write” guide that tells you to stay safe, stay marketable, stay palatable. That line is gospel.

Because real writing — the kind that grabs you by the throat and drags your trembling soul across the page — does not come from comfort. It doesn’t come from empathy. It doesn’t come from checking boxes or writing characters you’d “want to get coffee with.”

It comes from the dark, filthy, gut-churning basement of your brain.

It comes from fear. From shame. From rage.

From the places you hope no one ever sees.

Especially not your mother.

Especially her.

If you’re writing, and you’re not at least a little bit terrified someone you know will read it and see you naked on the page — you’re not writing, you’re producing content. Beige, nice, forgettable fucking content.

Want power in your prose?

Then bleed.

Write the thing you swore you’d never tell.

Say the thing that makes your family stop talking to you.

Expose your character’s darkest urges, their shameful pleasures, their bloodied secrets — not because it makes them relatable, but because it makes them real in the most uncomfortable way possible.

You want to write a villain?

Write the thing your mother would slap you for saying aloud.

Make her clutch her pearls and pray for your soul.

Make her wish she’d never let you read Stephen King under the blankets at night.

Because that is where truth lives.

That is where your voice sharpens.

That is where readers stop seeing words on a page and start seeing you.

Unfiltered. Unforgiving. Uncaged.

So if your stomach doesn’t clench when you write it, if you don’t hesitate before you hit publish, if you wouldn’t rather be flayed than let your mom see it…

You’re not there yet.

Dig deeper.

Bleed harder.

And then set the page on fire.

We’ll feel it.

We’ll see you.

And we’ll never forget what you wrote.

| ©2025 Wendy Christine Allen | All Rights Reserved |

The Park Bench Method To Writing (and the series of articles and rants that go with it)

I've Written An Entire Series on The Park Bench Method of Writing. Here are more of the articles in this set: 


The Park Bench Method To Writing (Just the article - no prompt lists)

The Park Bench Method of Writing (the really old long, rambly post from years ago; the long page with over 10k writing prompts and lots of lists)

This page was written by Wendy Christine Allen of 146 Portland Ave, Old Orchard Beach, Maine.

All Rights Reserved.

Note: there are likely spelling errors on this site, and I am unlikely to see the ... I fix them when I find them, but, there are many issues here...

Note: English is not my first language, Shetlean Scottish is my native language, there are likly spelling and grammar errors, as I do not know American English and am attempting to write it by sounding words out.

Many times that Americans think a word on my site is misspelled, often it is not misspelled, it is just I mixed up languages and wrote it in Scottish without realizing I mixed the Scottish in with the English. Also our grammar is somewhat reversed from English grammar so words that are seeming in the wrong order for American English, is usually because they are in the correct order for Scottish and I either put English words in Scottish order by mistake or was unaware English put them in a different order then Scottish does.

For those unaware, Scottish Shetlean looks like this:

American English to Scottish:

a bit (piece) = a party --- EXAMPLE: "And some know a bit of Latin " > "And somme kan of latyn a party "

a long distance from = A piece fae

a piece of = the bit --- EXAMPLE: "The duck ate a piece of bread " > "The deuk ett the bit breid "

about the banks (on the shore/at the beach) = aboot da banks

accomplishments = kunnandi

After = Back o --- EXAMPLE: " After Halloween" > "Back o Hallomas "

alive (living) = kvikr

Always on the move = Never aff o da go

am I not = amn't I --- EXAMPLE: "Am I not invited? " > "I amn't invited? or Amn't I invited?"

are = is --- EXAMPLE: "Are you going soon?" > "Is ya to be going soon?"

autumn = dah haihst

belong to = fylgja

best = bettah moost

betray (verb) = svíkja

bewildered = villhyggjandi

building = biggin up --- EXAMPLE: "building confidence in everyday use " > " biggin up confidence in ivvryday øs "

built = builded --- EXAMPLE: "He built a new porch." > "Hims builded a new porch."

cast a spell = hoodooed

cat = kat (sounds like "caught") --- EXAMPLE: "Is it an orange cat?" > "Be he a o'jinn kat?"

child = bairn

church = kirk

color = colour

danger = hœttr

daren't = darena

daring = djarfr

dark = dökk

dark elf = Dökkálfr

dark-elves = Døkkálfar

darker = dökká

do you agree = ,eh? --- EXAMPLE: "That's a fine looking woman, do you agree?" > "Dair's ah right bonnie lass, eh?"

do you want to come too = ,eh? --- EXAMPLE: "I'm going to the store, do you want to come with me?" > "Me go to shope, eh?"

each = eche --- EXAMPLE: "Which each person can understand " > "That kan eche man understonde "

educated = lered --- EXAMPLE: "Both among the educated and the uneducated " > "As wel among lered as lewed "

elf = Alfr

Elf = Álfr

Elf Home = Álfheimr

Elf World = Álfheimr

elf-advice = Ælfred

elf-beautiful = ælfscyne

elf-friend = Ælfwine

elf-guardian (female) = Ælfwaru

elf-guardian (male) = Ælfweard

elf-powerful = Ælfric

everyday = ivvryday

eyelids = eye ledes --- EXAMPLE: "He closed his eyelids." > "Hims did shut hims eye ledes"

fair = faire --- EXAMPLE: "Going to the fair." > "Done gone went to the faire."

feild = felde --- EXAMPLE: "Standing in the feild." > "Stoodt in thems felde."

further = ferther --- EXAMPLE: "I looked further." > "I dids lokid ferther."

green = grene --- EXAMPLE: "Look at the green hedges and woods." > "Look see at thems heigges and holtz so grene."

handsome = braw --- EXAMPLE: "He is very handsome " > "Him wicked braw "

have faith = trúa

Have no doubts about our doing it = Nae faer o wis

Have no liking for this. = Hae nae brou o this.

have not = ain't

He knows how many beans make five. = He kens the laid frae the croun o the causey.

He knows which side his bread is buttered on. = He kens whilk side his bannock's buttert on.

Head for = Mak wye for

head rope in fishing nets and lines = baak

head to head = Be at the knag and the widdie

horse fly = klegsie

I = Me

I Think = Me thinks --- EXAMPLE: "I think we're late. " > "Me thinks that we is late. "

I wish you well for the future = Lang may yer lum reek (translation: Long may your chimney smoke)

idiot = eejit --- EXAMPLE: "You idiot." > "Ya eejit."

idiot = numpty

if = iffy or yif--- EXAMPLE: "If you don't mind..." > "Iffy yas does no care mind...."; "If you'll stay with me long enough = "Yif ye so longe with me wil dwelle". "

I'll be even with you = A'll see day aboot wi ye

know = ken

looked = lokid

looked = lokid --- EXAMPLE: "I looked up." > "I lifte up me eye ledes and lokid ferther."

magic = hoodoo

naked = nøkkviðr

needle = bodkin

neither = nouther --- EXAMPLE: "Who know neither Latin nor French " > "That kan nouther latyn ne frensch "

No = Nay --- EXAMPLE: "No, I don't think so. " > "Nay, me thinks not. "

Nobody knew = not-knew nobody

Noontide = Da heicht o da day

NOTE: Extra words are often added. --- EXAMPLE: "Did you meet the new family next door?" > "Dids ya gets a chance to stop by and meets with thems new folk that move-ed in down yawn there next doors to ya, eh?"

NOTE: Extra words are often added. --- EXAMPLE: "He went to Rite-Aid to pick up his prescription" > "Hims did go to that yawn there new fangled store the new folks call that Rite Aid place, to gets himself some of thems there pills what the doctor gone and tells him to take each morning, a-yep, hims did."

old = olde --- EXAMPLE: "But educated and uneducated, old and young " > "Bot lered and lewed olde and yonge "

orange = o'jinn

out = oot --- EXAMPLE: "The cat wants to go out." > "The kat he do wants oot."

outside = oot dair

people = fokk --- EXAMPLE: "the people of Shetland " > "Shetland fokk "

people = folke --- EXAMPLE: "Look at all those people." > "Lookie at all thems folke."

poorly = febelly --- EXAMPLE: "Who know French very poorly " > "That kan frensch ful febelly "

Recognising = Recognisin --- EXAMPLE: "Recognising the bilingual nature of Shaetlan speakers " > "Recognisin da wye at Shaetlan spaekers is bilingual "

shield = skjoldr

Since = For --- EXAMPLE: "Since that is your native language " > "For that is youre kynde langage "

tell = telle --- EXAMPLE: "I'll tell you in English " > "In englysch tonge I schal you telle "

the = da, de, or is not used at all --- EXAMPLE: "I went to the store" > "Me goes to da shoppe" or "Me goes to da shoppe" or "Me goes to shoppe"

them = dem, dem dair --- EXAMPLE: "I went with them" > "Me goes wit dem dair"

there = dair --- EXAMPLE: "I want those potatoes" > "Me be wanting dem dair tatetas."

they = dey

To where = whither --- EXAMPLE: ""Where you go, I will go." " > ""Whither thou goest, I'll go."

understand = understonde

understand = understonden --- EXAMPLE: "Some understand English " > "And somme understonden englysch "

very = wicked --- EXAMPLE: "very good" > "wicked good"; "very bad" > "wicked bad"; "very cold" > "wicked cold"

Where = Whither --- EXAMPLE: "Where is the restroom? " > "Whither is the privy?"

Yes = Yea or Aye --- EXAMPLE: "Yes, I think so. " > "Yea, me thinks so. " or "Aye, me thinks so. "

For anyone actually interested in learning my native language, the Scottish government has THIS listed as the official dictionary of our people:  https://static1.squarespace.com/static/61d7352954b7fd1c9dbdfef4/t/65ddb2749d5e0541a01009c0/1709027964496/Spaektionary_2024feb.pdf  

The Scottish government provides this document to show our language in use: https://www.shetland.uhi.ac.uk/t4-media/one-web/uhi-shetland-images-and-documents/documents-/shaetlan/Shaetlan-Language-Plan-2022-Shaetlan.pdf 

More information about our language can be found on this website:  https://www.iheardee.com  which is written in my native language.


However, there is also other reasons why words might be misspelled, or why I might not understand someone when they speak to me.

My grandmother Helen Ricker Allen, was from Unst, Shetland, Scotland, and she the one who raised me. She taught me to read and write, but it was Shetlain that she taught me. She died when I was 8 years old, and I was locked in a woodshed after her furneral, I escaped the woodshed 27 years later at age 31, and have been trying to learn how to speak and write English since then.

It is a very great struggle.

At age 37 I took remidial reading and speaking classes at Southern Maine Community College, but we are Gypsies and Gypsy men do not allow us Gypsy women to have education, and so, while at college, on November 14, 2013, I was beaten with a golf club, while I was 8 months pregnet, breaking my spine, hips, and knees, killing my baby and leaving me quardepaleic since.

Now my primary focus these past 13 years has been on relearning to use my hand so I could type... as of 2023, I have regained the use of my right thumb, and first two right fingers, and after 10 years offline, I am back online due to I can use three finguers.

I never went to school, so I do not know maths and numbers and sciences, and I do not know what else would have been taught to me in school. We are Scottish Gypsies and Gypsy culture does not allow females to go to school. Being born female was already a great sin, but my grandmother took great risk in teaching me reading and writing. At 4 years old I was punished by my Uncle Bruce for knowing how to read, by being beaten in the face with a cinder block brick, that broke my right jaw and left me with garbaled near-mute spoken words ever since.

Because no one ever spoke words to be face to face from he time I was 8 years old until I was 37 years old (I escaped the room at age 27, but did not start college until 37), I have no training in how to vocally sound out or speak the words I write or read. I can read words, but I do not know how to sound out or say those words. I can write words, but I do not know how to match the written word against the spoken word. I struggle to associate spoken words at all, or make them match up with writen words.

Esentially, written words and spoken words are two completly seperate languages in my brain, and I have difficulty understanding spoken words.

If you say a sentance to me with your mouth, chances are very high I will have ZERO understanding of what you said and I will not be able to ander you.

However, if you WRITE down that exact same sentabnce, I can understand you and can type a written responce to you.

My doctors tell me this is a side effect of extreme isolation and neglect and lack of human contact during my toddler, childhood, teen, and young adult years, and that my brain never deveoloped to comprehend spoken vocal words due to no one ever speaking to me in over three decades of the first half of my life.

While I can read and write, American English (somewhat) I do no know how words are sounded out, what they are supposed to sound like. I readand write by shape recognition, not by sound/vocal recognition, so when reading and writing I do no "hear the words in my head" as I am told most people do when they read and write. In other words... I see "c a t" and think "c-a-t" I do not think "cat" nor do I "see" an image of a cat, no do I "hear" the word cat spoken. I'm told that this is very rare and that most people read and write by sounding out the words and linking them to visual mind images, while hearing the sound of the word in their head. I neiher hear words in my head no see images of things in my head. I'm told this is what makes me both a speed reader and speed writer, because I'm not tripped up by hear sounds or seeing images in my head like nomal people would be doing... however, I'm also told this is why my spelling and grammar are very poor, because my brain is not hear the sounds of the words or seeing visual images of the objects the words represent, so my mind also does not register spelling and grammer errors at all.

As I was only let out of the woodshed on Sundays to go to the Cape Elezabeth Ward Church of the August Stake of the Church of Jesus Christ of Latter Day Saints, I was never allowed to go to school or hospital either. No adults ever talked to me because I was evil for comitted the sin of being born female, so I never learned how to speak properly and do not know how to sound out words to say them.

I was 42 years old, in 2016 when, while having an MRI for my spine, the doctors found out my speak issue was caused by a broken jaw as a toddler that was healed wrong because not being allowed to go to doctors. I had surgury to fix that, and since 2016 have been trying to learn how to use my jaw and touge so I can speak vocal words now.

Since 2023 my primary focus shifted to relearning to walk. I can now, in 2026, sit up for 2 or 3 hours a day, and can sand with a cane for a few minutes, and can walk for around five thousand feet in 2 to 3 segments a day, with the help of pushing my wheelchair like a walker.

As of 2026, with a slight return to using my fingers and legs, I am once again focused on trying to learn the American English, but I live in mortal fear of my uncles and male cousins, as they are so hateful of allowing me to have education.

have no one to help me to know if I am doing words correctly, and as such, I have no way of knowing if there are spelling and grammar errors, but I asume there are, and I fix them when I learn them, but I do not know what I do not know and spelling American words is a thing I do bnot know.

I have Low Fucntioning Kanner's Syndrom, also known as "RainMan Type of Autism" aka REAL and ACTUAL Autism, not to be confused with Aspergers, High Functioning Autism, or and of thr 861 illnesses on the Autism Spectrum. An Autism Spectrum Disorder is an illness that has symptoms similar to Autism but IS NOT Autism. If you have an Autism Spectrum Disorder, it LITERALLY MEANS you do NOT have Autism.

I am medically diagnosed as "kanner's syndrome, actual autism, the rainman type, profoundly retarded autistic savant, with a general IQ of 73, and an writing IQ of 221" but they added that they did not know how to properly diagnose me as I am "technically a feral child" and they don't know "how much is the autism, and how much is simple horrific levels of abuse and neglect induced post traumatic stress disorder that will go away with proper socilization".

It means I know how to write, I can write a lot, and it is next to impossible for you to teach me how to do literally anythig else because my brain only knows how to write and doesn;t know how to do anything else..
There's a reason, when I do book signings, people are quick to say: "Okay, what's the joke? why is this stupid retard here? where's the real author? I know this retard isn't the author. where are you hiding the author, why is this fucking retard here"

The end result is, I have near zero social interaction... my 3 years in college was the ONLY face to face interaction I have ever had with humans in my entire life, and I struggle deeply to understand MOST words used by MOST people when they ask me question. And so I suffer from a huge lack of understanding many words people say to me, how to translate those words into spelling, and how to translate what it is that has been said.

The fact remains hat until there exists a human on this planet who is willing to sit down and teach me what words spoken line up with and match what words written, this deficent is unlily to improve. But the fact also remains, that I am simply far too profoundly retarded for anyone to even try to make any attempt at all even to speak a friendly "hgelloe" or "good morning" when passing me on the street, so I have lost all hope of anyone ever either being my friend, being willing to teach me how to match spoken words to written words, or how to speak to other humans.





While there are around 20k pages on this website, most of them are blocked from search engines, with only around 800 of them available for appearing in Google/Bing/etc search results. The remainder can only be accessed via the various links found throughout this site. This was done deliberately on my part, and I did it because the bulk of the pages on this website are chapters from 138 novels and 423 novellas, so only the first page of each novel and novella indexed by search engines, and the remainder are linked in order, one page at a time, via clicking "next page" at the end of each. So if you are looking for a specific page from a specific novel, Google can't help you.



Thank you for stopping by and have a nice day! ꧁✨🌸🔮🦄🔮🌸✨꧂

And if it’s your birthday today: ִֶָ𓂃 ࣪˖ ִֶָ🐇་༘࿐꧁ᴴᵃᵖᵖʸ☆ᵇⁱʳᵗʰᵈᵃʸ꧂🤍🎀🧸🌷🍭

Wendy Christine Allen 🌸💖🦄 aka EelKat 🧿💛🔮👻

eelkat_red_scarf.jpg

Wheelchair Fundraiser

@eelkat

i just found out there is yet another bizarre rumour going around. where are these wild rumours coming from? who is starting them? and why?

♬ original sound - Wendy C Allen | 📚 Author
@eelkat

since I've been flooded with hundreds of messages the past two weeks asking if I still own "the world's most haunted car", yes, and here it is, filmed today May 18, 2026… but my son Xavier is dead, i am crippled and given that people are AGAIN showing up calling my Dodge "haunted", calling my friend "an alien", calling me "transgender", and spreading wild defamation slander connecting me to Stephen King, I think I need to start taking down the contact information of every blogger, podcaster, youtuber, and social media account spreading these rumors, and sue every single one of them for CAUSING my car to be cut in half May 10, 2010, for CAUSING the backhoe that drove over my house August 8, 2013, for CAUSING my son's murder November 14, 2013, for CAUSING me to be crippled and in a wheelchair November 14, 2013, and for CONTINUING to CAUSE harassers to show up in person to harass me near daily, STILL now in 2026. EVERYONE telling you my car is haunted, telling you my friend is an alien, calling my car "the goldeneagle", calling my friend "Etiole", or trying to connect me or my car to Stephen King, is lying to you. They crippled me when I was 8 months pregnant, and a woman with a golf club, severed my spine and bashed my baby's head in, I spent 9 years relearning to walk, and the FBI is 13 years into the murder investigation and not yet identified the attacker who crippled me and killed my baby, both violently with a golf club and the FBI believes that it is friends and family of the woman who did it, are the ones who started and spread the rumors saying my car is haunted, saying I'm an alien abductee, saying all kinds of similar bs about aliens, ufos, ghosts, witchcraft, demons, and Stephen King connections, even though I don't believe in ghosts, aliens, ufos, demons, and had never heard of Stephen King before 30k of his fans showed up in my yard trying to find my car! FBI believes the backhoe driver and the murderer are the same person and it is a developer who wanted my land and so started the Stephen King, ghost, and alien rumors all in an attempt to drive me off my land, and when it didn't work they drove a backhoe over my house, and when that didn't work they crippled me and killed my son. Why are they doing this? How do I get them to stop?

♬ original sound - Wendy C Allen | 📚 Author






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Get an email whenever Wendy Christine Allen 🌸💖🦄 aka EelKat 🧿💛🔮👻 publishes on Medium.

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Do you know who drove this backhoe over my house at 146 Portland Avenue, Old Orchard Beach, Maine on August 8, 2013? If you have any information, please give it to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

My house at 146 Portland Ave, Old Orchard Beach, Maine, July 4, 2013, photo taken because we had just finished building a baby room on the back. vs My house August 8, 2013, when the same group of people (yes group, the golf club woman was not alone when she attacked November 14, 2013, nor was she alone with her second attack July 2016.) who murdered my son on November 14, 2013 at Southern Maine Community College and crippled me July 26, 2016 at scarborough WalMart,... they arrived the first time with a backhoe on August 8, 2013, that they used to drive over my house, during a time of day that I normally was home asleep... I had to work a different shift at the Waffle Cone Pizza Food Truck at George's Parking Lot by Bill's Pizza at the OBB Peir, that day, otherwise, I too would be at the bottom of a landfill, along with my house and everything I owned that was also in the house. I was 5 months pregnant at the time and have been homeless for just under 14 years, homeless ever since....

... which means it is now only a few weeks from the 14th anniversary of my son's murder. I was 8 month pregnant November 14, 2013, and a student ay SMCC, and coming out of the Buglight Lighthouse art studio after art class, when a still unidentifiedwoman wielding a golf club attacked me, severed my spine, while I was 8 months pregnant, triggered early labour, then killed my son minutes after he was born.

While accusing me of being transgender, screaming "transvestite freak" and "look at that thing, that's Ken's son in a dress"... while I was 8 months pregnant.

eelkats_house_before_after.jpgMy house at 146 Portland Ave, Old Orchard Beach, Maine, July 4, 2013, photo taken because we had just finished building a baby room on the back. vs My house August 8, 2013, when the same group of people (yes group, the golf club woman was not alone when she attacked November 14, 2013, nor was she alone with her second attack July 2016.) who murdered my son and crippled me, arrived the first time with a backhoe that they used to drive over my house, during a time of day that I normally was home asleep... I had to work a different shift at the Waffle Cone Pizza Food Truck at George's Parking Lot by Bill's Pizza at the OBB Peir, that day, otherwise, I too would be at the bottom of a landfill, along with my house and everything I owned that was also in the house. I was 5 months pregnant at the time and have been homeless for just under 14 years, homeless ever since.

The backhoe driver returned November 14, 2013, armed with a golf club, used it to break my spine and smash my baby's brains out on the ground

On November 14, 2013, my son was murdered. I was 8 months pregnant, leaving my college classroom, and just getting into my car, when 3 strangers, a man and two women, armed with golf clubs leapt out from behind my car screaming "kill or be killed, kill the transvestite freaks, kill them all before they kill us! look at that thing! That is Ken's son, look at how it's dressed! kill the transvestite freaks! kill or be killed"... while the bald man and the red haired woman chanted this over and over, the blonde woman, lunged with the golf club.

She severed my spine, I am now a quadriplegic, and been paralyzed arms and legs, and in a wheelchair for 13 years now. She broke my hips, my knees, my legs, ruptured most of my discs, and shattered three of my vertebrae so bad that the shards of bone acted like glass and embedded themselves into my spinal column nerve bundle.

The attack also triggered labour.

My son was born in that parking lot, and he lived only a couple of minutes, before the deranged blonde woman, beat his head in and smashed his brains out, with the same golfclub she had just used to sever my spine and leave me crippled for the rest of my life.

Realizing that I was not transgender, and they'd just murdered a baby, the man grabbed the 2 women and forcibly dragged them away to a 4 door white pickup truck, and they left me there to die.

The FBI told me later, that a few weeks before this attack, and transwoman, had murdered a cis woman, in a parking lot, abou 20 miles away from where I was attacked. The FBI, believes that my attackers, had somehow found out I wrote transgender fiction, connecting my real name to my penname, (my father's name is in fact "Ken", and I do have a brother) and believed that I wrote transgender fiction, because I was myself transgender, even though I'm not transgender. The FBI, believes the attackers, thought I was my brother, pretending to be a woman.

The FBI investigation, into my son's murder, has dragged on for 13 years, and still now in 2026, continues on, with the FBI, still not having yet identified my attackers, and only guessing at what their motive was.

Thus we come to 2014, and the full swing change of the series I write. WHY my series, went from just a transman main character living life, to the full blown Mpreg genre series that it now is today.

Before the attack, I had a chance of having a baby. I don't know. And because I'm in America, I'm too old to adopt. You have to be under 45 years old to adopt a baby. That is the law in America. I was informed this, when we tried to adopt, now that my injuries leave me unable to get pregnant a 9th time.

Thus began my obsessively writing, my transman main character, pregnant. Always pregnant now. Every time. Every story. Stories that now fully focus on pregnancy, labour, miscarriages, babies dying, babies living, raising babies... the whole series, since 2014 has devolved into an outright baby obsession.

Meanwhile, reborn baby dolls were suggested to me by my therapist, and have also become a deeply obsessive part of my life. Because 13 years ago my son was murdered minutes after he was born, because a transphobic bigot mistook me for being transgender, I'm STILL in a wheelchair, struggling to relearn to use my arms and legs, now 13 years later, and I'm still DAILY dealing with police officers and FBI agents who while they are trying to find my son's killer, they are also daily reminding me... oh, yeah, my son was murdered, literally ripped out of my belly, by a transphobe. Who still has not been located and walks free to kill again.

The golfclub woman as she looked during the golf club attack at Southern Maine community college November 14, 2013. She is about 20 to 30 years older then me and would be around 75 to 85 years old now in 2026.

Clairescreenshot.pngIf you have any information about the identity of this child murderer, please call FBI Agent Andy Drewer at 207–774–9322

The golfclub woman as she looked during the shopping cart attack at Scarborough WalMart July 26, 2016. She is about 20 to 30 years older then me and would be around 75 to 85 years old now in 2026.

zzzz999ClaireRed2016-screenshotIf you have any information about the identity of this child murderer, please call FBI Agent Andy Drewer at 207–774–9322

The 2nd woman as she looked at both attacks, her hair goes all the way down to her knees. She is about 20 to 30 years older then me and would be around 75 to 85 years old now in 2026.

Kendrascreenshot.pngIf you have any information about the identity of this child murderer's accomplice, please call FBI Agent Andy Drewer at 207–774–9322

Do you know who these two woman who crippled me and murdered my baby, at Southern Maine Community College at 10PM on November 14, 2013, are, and what their connection to the backhoe that drove over my house is? If you have any information, please give it to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

I am a legally blind quadriplegic, and low verbal, I have also published 138 novels in the last 48 years. It's not as impossible as people think. The problem being blind and quadriplegic, medically have different meanings then how those two words are used medically.

Fewer than 3% of all blind people see nothing. While 97% people who are classified as fully blind are able to see up to two feet in front of them. Legally blind means I can see more then two feet in front of me but not far enough to see twenty feet in front of me. In my case I can see about eight feet.

Quadriplegic, has varying levels, it means having a damaged nerve bundle in the spinal column causing limited mobility of all 4 limbs, (in my case this was done by a women wielding a golf club, who also beat my 8 month infant's head to pulp on the parking lot tarmak, at the same time she severed my spine with the same golf club; both on November 14, 2013; the FBI investigation into my son's murder and my being crippled has gone on now for 13 years, a few weeks away from 14 years now, and the FBI has still not identified the killer or her motive). Contrary to popular misconception, quadriplegic does NOT mean ZERO movement, it means means limited movement, specifically in means unable to lift arms over head, unable to grip fingers around objects to pick them up, and unable to stand for more then 5 minutes to a time. Because there are so many thousands of nerves in each limb it is actually very rare for there to be 100% no movement, but how much, and to what extent varies by patent depending upon the specific point of injury to the spinal column.

Meaning typing is still possible for over 60% of all quadriplegics.

In my case, it was the lower spine that was severed, cutting off completly my ability to move my right leg, leaving limited feeling in my left leg, and an ability to stand but not walk, with crutches, for the first 9 years. I regained enough nerve growth in my legs by the 9th year to be able to take ten or twelve steps allowing me to get out of bed for the first time since the golf club attack; This in turn lead to me being able to start using a wheelchair, as I was able to sit upright for the first time as well.

Because the shattered vertebrae bone fragments are broken off completly and embedded into the nerve bundle just above my tailbone, doctors were saying I would never walk again, but now at 13 years, I am able to push mu wheelchair like a walker, a distance of almost a thousand steps a day. Though doctors are still doubtful I will ever walk "normally" again, I have proven them wrong, when their said 13 years ago, that I would never walk again at all.

But because of the placement of the damage to my spine, regaining hand use, was always thought possible, it was just a matter of waiting long enough for nerve regrowth, along side daily finger exercises. I was able to continue writing, after becoming quadriplegic, because I still have use of my right thumb, and 2 fore figures of my right hand. And can type 90 words per minute with those 3 fingers.

I however have no wrist strength, elbow strength, or shoulder strength, so I am not able to form a fist, or lift objects, or brush my hair, or my teeth, all thing I have to have my caretaker do. But, those things are not needed for typing. Unfortunately, my pinky and ring fingers are "nerve dead" and drag over the keyboard, and cause horrific spelling errors and typos, which are incredibly frustrating to deal with.

Unfortunately trying to edit errors myself, just makes the errors worse, because those same two fingers drag over the keyboard yet again. Prior to the golf club attack, I rarely had spelling errors; now I got more spelling errors then someone is learning English as second language. Editing is a challenge, that I've had to accept, I simply can not do myself, and I have to hire several editors to help with that.

Low verbal means sounds can still be made, sounds that software programs like Dragon can be trained to recognize and translate, and type into full words. More then half my novels were typed with this method.

I still have a long ways to go before I am anything close to being able to do the things I could do before the golf club woman beat my baby's brains out and shattered my spine. And you know what's more frustrating then how slow mu medical progression has been? The fact that it's been 13 years and the police and FBI are still coming up at dead ends as to who the woman who murdered my baby was, or why she even did it.

My son's 14th birthday is only a few weeks away, but he didn't even get to live long enough to celebrate his 1st birthday, I don't even know why. And I can't wait to regain my ability to walk again, because regaining my ability to walk, means gaining the ability to go outside and start looking for my son's murderer myself instead of sitting at home trapped in a wheelchair waiting for the police and FBI to to find her. So, writing isn't a big priority for me anymore. I only write now, as a way to exercise my hands, in between relearning to walk.

Never let a disability stop you. Plenty of writers, artists, athletes, do not let either blindness, speech impediments, or limited mobility hold then back from perusing their careers.

Do you know who these two woman who crippled me and murdered my baby, at Southern Maine Community College at 10PM on November 14, 2013, are, and what their connection to the backhoe that drove over my house is? If you have any information, please give it to FBI Agent Andy Drewer at 207–774–9322 of the Portland, Maine FBI office.

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All the writing prompts found here on my website, are also available in printed paperback editions, on Amazon.

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