For you, friendo!
Good morning or afternoon, depending wherever you are friend. I'm sorry I didn't get to this last night, as I was just so tired. The answers are beneath the read more.
What was your last Creative Eureka moment about?
My last big Eureka moment hit me when I realized Alexander Maloney had to die at Sephiroth’s hand in the later half of Fantasy Worlds Collide.
The realization came after I understood Alexander was basically a “what if” version of Sephiroth: what he might have been if he hadn’t fallen. That parallel only works if their paths collide, and it forces Sephiroth to destroy the reflection of what he could never be. It sharpens the narrative because it strips away any illusion that he could have chosen differently. Sephiroth's fall wasn’t just circumstance, it was his nature.
In Fantasy Worlds Collide, Sephiroth and Alexander stand as mirrored archetypes of power, but their roots and philosophies could not be more different. Sephiroth is born of a corporation's corruption and experiment, his power a distortion of natural and divine order, wielded in pursuit of control, dominance, and a rewritten reality shaped by obsession. By contrast, Alexander is forged directly by the Creator as Heaven’s sword and shield, his power an affirmation of order, wielded to preserve balance and guard against destruction.
Where Sephiroth manipulates chaos to bend existence toward his vision, Alexander resists chaos to uphold what already is. Even their flaws reflect inversion. Sephiroth’s downfall lies in obsession and pride, driving him into self-made chains of vengeance, while Alexander’s flaw lies in self-sacrifice and rigidity, chaining him to duty even at the expense of his humanity.
Together, they form opposite poles. Sephiroth is the architect of ruin reborn as god, and Alexander is the guardian of creation disguised as mortal. Both titans shaped by prophecy: one bound to Bianca Moore’s fate and the other to Kayla Winters yet divided by whether destiny should be rewritten or endured.
It also adds weight to the story’s themes. Alexander’s presence isn’t just filler. It becomes the ultimate foil. If Sephiroth’s arc is about obsession, legacy, and destruction, then Alexander embodies discipline, restraint, and preservation. Killing him isn’t just a victory. It’s a statement that Sephiroth will never allow his story to be rewritten or diluted. That choice changes the stakes and reframes the back half of FWC around inevitability.
When people read your WIPs, what is the #1 takeaway you hope they get from them?
The main thing I want people to take away is that love and obsession are not the same thing, but they often get tangled. My writing leans into those messy, dangerous spaces where devotion becomes destructive, where tenderness is laced with cruelty, and where the line between protection and possession blurs until it’s almost invisible.
I don’t want readers to feel safe in these dynamics. I want them to question them. I want them to ask whether something that looks like love can actually destroy you, and whether destruction can still feel like intimacy.
At the same time, I want readers to feel the raw, unfiltered weight of my characters’ emotions. Bianca collapsing into monstrous from to shield her twins from Sephiroth (and by extension Jenova)'s brutal training, or whispering manipulative comfort to the Remnants, it isn’t about clean morality. It’s about the ferocity of bonds and whether itis sacred or twisted. If people leave my work thinking, “That was horrifying, but I understood it,” then I’ve done my job.
It’s not about painting heroes and villains. It’s about showing how complicated love, power, and survival get when the world is already broken. And, ultimately, it is about rising about trauma in the way feels safest for the survival.
What scares your OC more than anything else?
What terrifies Bianca the most is irrelevance. For all her power, for all her destiny wrapped up in prophecy and corruption, her greatest fear is that her choices won’t matter. That she’s just another pawn. First for her father, then for Shinra, and, finally, for Sephiroth and Jenova. That when it’s all over, the scars she carries and the blood she’s spilled won’t add up to anything but more noise in a cycle that goes on without her.
Oblivion doesn’t scare her. Being forgotten does.
Her fear sharpens when it comes to her children. If her twins were to suffer or die and the universe simply went on as if they never existed, it would unravel her. It’s why she clings so tightly to roles that give her meaning—Harbinger of Destruction and Rebirth, Sephiroth’s partner, Jenova’s priestess, mother of the Remnants and to Aurora and Lucien—because without them she’s just another person and a broken experiment in a long line of tragedies.
That’s the true horror for her: not death, not suffering, but the idea that none of it mattered in the end.
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