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Tag: speculative_fiction_writer

Don’t Know Where This Was Discussed, but Here’s My Thoughts

A man slaughters a big cow, starts the grill, and says to his daughter, “Daughter, go call our relatives, friends, and neighbors to join us… We’re having a celebration!”


The daughter goes out to the street and shouts, “Please help! My father’s house is on fire!”
After some time, only a few people come out to help, while many others act like they didn’t hear anything. The ones who came stay, eat, and enjoy the food until late.

The father, confused, looks around and says to his daughter, “I don’t know most of these people. Some I’ve never seen before. Where are our friends, family, and neighbors?”


The daughter calmly replies, “The people who came didn’t come for a party. They came because they thought we were in trouble. These are the people who care about us. These are the ones who deserve to celebrate with us.”

Lesson: The ones who don’t show up when you’re struggling don’t deserve to be with you when you succeed.

What do you think? I think it all depends on the intent of a person, really. Some people may WANT to help, but don’t know how. There are times in everyone’s lives when it’s just too hard to stretch and serve another, even though we want to help.

If someone came to our door right now, my husband would do everything he can, but he can’t give money or can’t be gone from the house very long, as people need him here. Those circumstances must be taken into consideration, and not punish those with good intent.

The Magic of Runes in Modern Storytelling

As an author weaving tales of survival and mysticism, I’ve fallen in love with runes, those enigmatic symbols from our ancestors. Today, let’s explore how these ancient marks breathe new life into modern stories, drawing from their historical roots to inspire today’s readers and writers.

Imagine a world shattered by catastrophe, where survivors cling to fragments of ancient wisdom to forge their path forward. In my Zion series, a mysterious rune etched on a weathered stone whispers prophecies of hope amid the ruins. It’s not just a plot device—it’s a bridge to the past, pulsing with magic that feels alive on the page.

Runes aren’t mere letters; they’re portals to a bygone era. The Elder Futhark, the oldest known runic alphabet, emerged around 150-800 AD among Germanic tribes in Scandinavia and beyond.

Carved into wood, stone, or bone, these 24 symbols served practical purposes—like labeling possessions or commemorating the dead—but they also carried deeper, mystical connotations.

Derived from the word “rún” meaning “secret” or “mystery” in Old Norse, runes were believed to hold divinatory power. Warriors might consult them before battle, or shamans use them in rituals to glimpse the future.

Historians draw much of what we know from sources like the Anglo-Saxon Rune Poem and the Norwegian Rune Poem, which assign poetic meanings to each symbol.

Take Fehu, the first rune, shaped like a cattle horn: It represents wealth, prosperity, and the rewards of hard work.

Uruz, resembling an aurochs (a wild ox), embodies raw strength and endurance—perfect for tales of overcoming adversity.

Then there’s Ansuz, linked to Odin, the Allfather, symbolizing wisdom, communication, and divine inspiration.

These aren’t static definitions; they’re fluid, open to interpretation, which is why they fascinate storytellers like me.

In my Zion series—starting with Zion: The Beginning and continuing through the chronicles—I’ve adapted these runes to fit a post-apocalyptic landscape. Here, they’re more than historical nods; they’re survival tools.

Characters decipher rune-inscribed artifacts to unlock hidden bunkers or predict environmental threats, blending ancient lore with futuristic grit.

For instance, a protagonist might trace Uruz during a brutal storm, drawing on its energy to push through exhaustion.

This isn’t arbitrary—I researched authentic meanings to ensure they resonate authentically, then twisted them to serve the narrative. It’s like Tolkien did with his Elvish scripts or runes in The Hobbit, where they add layers of world-building that make Middle-earth feel timeless.

What draws me to runes in storytelling is their versatility. They’re visual poetry: Simple lines that evoke complex ideas, making them ideal for visual media like book covers or fan art.

In Zion, they symbolize resilience in chaos, mirroring real-world themes of adaptation in uncertain times. And honestly, incorporating them sparks my creativity—it’s like unlocking a secret code in my own writing process.

Speaking of process, let’s get practical. If you’re an aspiring writer eyeing mystical elements, runes are a goldmine. I start with research:

Books like The Rune Primer by Sweyn Plowright or online archives from museums provide solid foundations without overwhelming you. Then, I sketch them out—drawing Fehu or Ansuz helps internalize their shapes and energies.

One tip I had fun with: Try “rune journaling.” Each morning, pull a rune (you can use apps or make your own deck) and let it inspire a scene. Stuck on a character’s motivation? Draw Ansuz for a wisdom breakthrough. It’s a low-pressure way to infuse some Nordic or Celtic magic into your drafts.

In Zion, this method led to some of my favorite twists—like a rune that shifts meaning based on context, forcing heroes to question fate. It’s empowering: Runes remind us that stories, like real life, are woven from choices and interpretations. If you’re curious, grab a notebook and experiment— who knows what secrets you’ll uncover?

As we step into 2026, runes feel more relevant than ever. In a world buzzing with AI and rapid change, they ground us in human heritage while fueling imagination. Whether you’re devouring fantasy epics or crafting your own, these symbols endure because they tap into universal truths: Strength in struggle, wisdom in whispers.

From Book 1: Zion: The Beginning Of the 6-part Series “America’s Great Perfect Storm”

If runes have sparked your interest, let me know and when it’s ready, I will let you know.. You’ll dive into the Zion series on Amazon—start with Zion: The Beginning and see how these ancient marks shape a new world.

Share your thoughts in the comments: Have you used runes in your stories, or do they appear in your favorite books?

I’d love to hear! And stay tuned for more chronicles woven in runes—next up, perhaps a rune-deep dive on my upcoming podcast.

Thanks for reading, fellow adventurers. Until next time, may your paths be marked with prosperous runes.

You Might Be a Writer If… You’re Chasing the Spark of Creation

Being an author isn’t just about putting words on a page—it’s about chasing the spark that turns ideas into stories that touch hearts. As the creator of Discovering Misty: The Mermaid of the Emerald Coast and George and the Brave Eagle, and a blogger who recently hit 1,048 visitors, I’ve learned that writers live in a world where imagination and purpose collide. If you’re wondering whether you’ve got that writer’s spark, here are some signs, tied to my own journey of crafting children’s books, growing my blog, and advocating for hope.

What Happens Next?

You’re Always Asking, “What Happens Next?”

You might be a writer if you can’t help but wonder what’s around the next corner of a story. Whether I’m walking along the Emerald Coast, where Discovering Misty was born, or brainstorming for George and the Brave Eagle, I’m constantly asking, “What happens next?” A seashell could inspire a mermaid’s quest, or a soaring bird could spark a tale of courage. If you’re always chasing the next plot twist, you’re a writer at heart.

You Rewrite the World to Make Sense of It

You might be a writer if you process life’s highs and lows by turning them into stories. When life feels heavy, I pour my thoughts into blog posts about resilience or craft scenes where Misty faces challenges with grit. Writing is my way of making sense of the world, and if you find yourself doing the same—whether through poetry, fiction, or a journal—you’re likely a writer, too.

People Watcher

You’re a People-Watcher with a Purpose

You might be a writer if you process life’s highs and lows by turning them into stories. When life feels heavy, I pour my thoughts into blog posts about resilience or craft scenes where Misty faces challenges with grit. Writing is my way of making sense of the world, and if you find yourself doing the same—whether through poetry, fiction, or a journal—you’re likely a writer, too.

You might be a writer if you study strangers in a coffee shop, imagining their backstories. I’ve built characters for Discovering Misty: Friends Forever by watching kids play at the beach or families share stories. Writers don’t just observe—they weave those moments into narratives that resonate. My blog often reflects these snapshots, connecting everyday life to bigger themes like hope and community.

You Fall in Love with Your Tools

You might be a writer if you have a favorite pen, a lucky notebook, or a laptop you treat like a trusted friend. My desk, cluttered with notes for my GoFundMe campaign for George and the Brave Eagle, is my creative sanctuary. If you get a thrill from the click of a keyboard or the smell of fresh paper, you’re part of the writer’s club.

You’re Haunted by Stories That Demand to Be Told

You might be a writer if an idea grabs you and won’t let go until it’s on the page. The story of George, soaring with bravery, or Misty, discovering her strength, kept me up at night until I brought them to life. If you’ve ever felt a story tugging at you, insisting it needs to exist, you know the writer’s calling.

You Find Joy in Reader Connections

You might be a writer if a single reader’s comment lights up your day. When someone leaves a review for Discovering Misty on Amazon or shares how my blog inspired them, it’s like fuel for my soul. Hitting 1,048 blog visitors felt like a milestone worth celebrating, and every interaction reminds me why I write: to connect, inspire, and spread joy.

You Write for Something Bigger

You might be a writer if your stories carry a deeper purpose. For me, it’s about more than children’s books—it’s about weaving hope and resilience into every page, a mission that ties to my advocacy for suicide prevention. Whether I’m sharing a blog post about family reading or a story about a brave eagle, I write to remind readers, young and old, that they’re not alone. If your words aim to lift others up, you’re a writer with heart.

You Keep Going, No Matter What

You might be a writer if you push through rejection, doubt, or the grind of promotion—like pitching Discovering Misty to bookstores or rallying support for George and the Brave Eagle. Writers don’t quit because the spark of creation is too strong. Even on tough days, I find myself back at my desk, writing a new blog post or polishing a chapter, because stories are how I make a difference.

If these signs feel like home, you might be a writer. Embrace the spark, chase the stories, and let your words light up the world. For me, it’s about bringing Misty and George to life, growing my blog, and sharing hope—one story at a time.

Navigating Grief During the Holidays: Finding Light in the Shadows

The holidays are often painted as a time of pure joy—twinkling lights, family gatherings, and cherished traditions. But for many, this season stirs deep sorrow. Grief doesn’t pause for celebrations; it can make empty chairs, familiar songs, and festive cheer feel like painful reminders of what’s missing.

Whether your loss comes from the death of a loved one, estrangement, divorce, health challenges, or even the family you wish you’d had, holiday grief is real and valid. Expectations of mandatory happiness, resurfacing memories, and cultural pressure for perfect togetherness can all amplify the ache.

“No Empty Chairs…”

The good news? You don’t have to force cheer or pretend everything’s fine. Grief and joy can coexist. Here are some gentle ways to care for yourself this season:

• Give yourself permission to feel. Cry if you need to, laugh if it comes naturally, or simply rest. No guilt required.

• Rethink traditions. Keep what comforts you, adapt what hurts, or skip altogether. Light a candle in memory, share a favorite story, or create something entirely new—like volunteering or a quiet day alone.

• Set kind boundaries. It’s okay to decline invitations, leave early, or ask for space from certain topics. Protect your energy.

• Speak your needs. Tell supportive people what helps: “This year is tough—let’s keep it low-key” or “I’d love to talk about them today.”

• Practice small self-care. Eat, rest, move, breathe. Honor your loved one through a donation, a special ornament, or playing their favorite music.

• Seek support if needed. Friends, grief groups, counselors, or online communities can lighten the load.

Christmas Dreams

If you’re supporting someone grieving, your presence matters most. Listen without trying to fix it. Acknowledge their pain. Offer specific help. Simply say, “I’m here for you.”

Grief changes the holidays, but it doesn’t erase meaning. In time, the sharp edges soften, and space opens for new warmth alongside the memories you carry.

The Magic of Christmas

This season, be gentle with yourself. Your feelings are valid, your love endures, and healing comes in its own quiet way.

Wishing you moments of peace amid the complexity. 🎄

Created With Nightcafe

Below is my Creation Listing for 2025. As you can see, I haven’t been using this tool very long, but I’m certainly enjoying it. The entries in the piece shows some of my books and yet-to-be published books of this year.

You can see Misty, the mermaid of the Emerald Coast, from my 2 children’s books of the same name. She’s chatting with 6-year-old George Washington and his buddy, the brave eagle.

Under that section, you’ll find the book cover for my Washington’s Fantastical Crossing, where he’s being watched by merfolk – I really hadn’t planned to write so many stories about merfolk!

The one at the bottom middle is part of my America’s Great Perfect Storm. The leopard and night-watchers are suggestive of Obama’s dream — more on that later.

The bottom left is from my YA speculative fiction, “The Covenant Fire”, a story about a team asked to locate and activate an ancient artifact, while avoiding the evil cabal chasing them to recover the artifact to use for their purposes. This artifact is meant to bring about the 2nd Resurrection and gather the Lost Ten Tribes.

“Pages Alight” is my forthcoming podcast on YouTube! Coming very soon.

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Another Winner: The Tide That Broke the Pond 

by S. M. Ulbrich

Change in perspective creates growth

It Changed Me contest entry. You don’t grow by expanding what you already know. You grow by standing in something that doesn’t need you and choosing to learn its language anyway. Write a Story that shows how perception changes someone that causes growth, good or bad.

Monterey Bay Aquarium

The first time I saw the ocean, I was twenty-three and already convinced I knew everything worth knowing. I’d grown up in a landlocked county where the biggest body of water was a stock pond behind my grandfather’s barn, and I’d spent my teens treating that pond like a kingdom. I could name every catfish by the scar on its lip, predict the exact second a turtle would surface, and skip a rock six times if the wind was right. The world beyond the county line felt theoretical, like a rumor adults told to keep kids in line.

College had widened the map a little, but only on paper. I studied environmental science because it let me stay close to dirt and water I already understood. My professors talked about coral bleaching and ocean acidification the way priests talk about hell—distant, inevitable, someone else’s problem. I nodded along, aced the exams, and went home for summers to fish the same pond with the same buddies. Life was a closed loop, and I liked the hum of it.

Then my girlfriend, Mara, got accepted to a marine biology program in Monterey. She asked me to drive out with her, just for the summer, to help her settle before I started my senior year. I said yes because I loved her and because California sounded like a dare. We loaded her Civic with aquariums and textbooks and my one duffel of clothes, and we pointed west.

California Coast

The drive took four days. We slept in rest-stop parking lots and ate gas-station burritos. Mara read aloud from field guides while I drove, her finger tracing pictures of kelp forests and sea otters. I humored her, but inside I was cataloging exits back to the interstate, back to the pond. Every mile felt like a betrayal of the kid who’d sworn he’d never leave.

We hit the Pacific on Highway 1 just south of Big Sur. The road hugged cliffs so steep I couldn’t see the water until we rounded a bend and there it was—endless, moving, louder than any silence I’d ever known. I pulled over at a scenic turnout because my hands had gone numb on the wheel. Mara got out first. I followed, slower, like the air itself might push me back.

The ocean didn’t look like water. It looked like weather. Waves rose and collapsed with a violence that made my pond seem like a puddle pretending to be brave. Salt stung my eyes before I reached the railing. Gulls wheeled overhead, screaming in a language I didn’t speak. I stood there until my legs shook, not from fear exactly, but from the sudden, nauseating realization that everything I’d mastered back home was irrelevant here. The ocean didn’t care about my rock-skipping record or the way I could smell rain coming in the mesquite. It had its own rules, and I was a trespasser.

Mara tugged my sleeve. “You okay?”

I lied and said yes.

We found an apartment in Pacific Grove, a shoebox with a view of the bay if you pressed your face to the kitchen window. Mara started her program. I got a job at the Monterey Bay Aquarium, mostly mopping tanks and feeding squid to moray eels. The pay was nothing, but it kept me near her and, I told myself, near the research I’d eventually need for grad school apps.

The aquarium was a cathedral of glass and salt. I learned the rhythms fast: dawn feedings, midday tours, the hush when the lights dimmed for the kelp forest exhibit. Visitors pressed their palms to the tanks and asked me questions I couldn’t answer yet. Kids wanted to know if sharks slept. Old men wanted to know if the octopus could really change color on purpose. I smiled, said “Let me check,” and went to find a docent.

At night, Mara came home smelling of brine and formaldehyde. She talked about intertidal zones and upwelling currents until her voice cracked. I listened from the couch, soda going warm in my hand, feeling the distance between us widen like a tide pool at low tide. She was becoming fluent in a world I still stumbled through.

One morning in July, the aquarium’s dive team was short a safety diver. The regular guy had food poisoning. My boss, a woman named Keiko who’d once swum with great whites off Guadalupe Island, asked if I’d fill in. I’d logged maybe twenty dives total, all in quarries back home. But I said yes because Mara was watching, and because some reckless part of me wanted to prove the ocean hadn’t beaten me yet.

The dive was in the Great Tide Pool exhibit—an outdoor tank the size of a basketball court, open to the sky. We were supposed to scrub algae off the rocks and check the surge pumps. Easy work, Keiko said. I suited up in a borrowed 7-mil wetsuit that pinched under the arms. The water was fifty-four degrees. My teeth chattered before I even hit the surface.

Underwater, the noise vanished. Just my breathing and the click of the regulator. The rocks were slick with life—anemones like green fireworks, scallops clapping shut as I passed. I forgot the cold. I forgot Mara waiting topside. I was inside the thing I’d feared, and it was beautiful.

Then the pump jammed.

It happened fast. A plastic bag—someone’s lunch trash—had tangled in the intake grate. The surge stopped, and the water level began to drop. Fast. The exhibit was designed to mimic tides, but this was wrong, mechanical. Keiko signaled frantic: Fix it. Now.

I kicked down to the grate. The bag was wedged tight. I yanked. Nothing. My fingers went numb inside the gloves. Air hissed from my regulator in panicked bursts. Twenty feet above, the surface looked impossibly far, a silver coin I couldn’t reach. For the first time since I’d left home, I thought: I might die here.

I forced my breathing slow. In, out. Like skipping rocks—find the rhythm. I wedged my knife under the bag’s edge and sawed. The plastic gave with a rip. Water roared back through the pump. The level rose. Keiko grabbed my arm, thumbs-up, and we surfaced to applause from a crowd I hadn’t noticed.

Mara met me at the ladder. Her face was pale. “You scared me,” she whispered.

I couldn’t answer. My legs wouldn’t hold me. I sat on the deck while interns wrapped me in towels. The ocean smell was everywhere—on my skin, in my hair, inside my lungs. I realized I wasn’t shaking from cold anymore. I was shaking because something had cracked open.

That night, I couldn’t sleep. Mara breathed softly beside me. I slipped out to the tiny balcony and watched the bay glitter under streetlights. A sea otter floated on its back, cracking clams against its chest. The sound carried across the water—sharp, deliberate, alive.

I thought about the pond back home. How small it seemed now. How safe. I’d spent years perfecting control there—knowing every eddy, every shadow. The ocean had stripped that illusion away in one clogged pump. It wasn’t cruel; it was indifferent. And somehow that indifference felt like grace.

The rest of the summer unfolded differently. I asked Keiko to teach me everything. I logged dives in the open ocean, cold and murky, learning to read surge the way I’d once read wind on mesquite. I failed a lot. Lost a fin to a kelp tangle. Got bent once from ascending too fast. Each mistake carved me smaller, humbler, better.

Mara and I fought more. She wanted commitment—grad school together, a life built on this coast. I wasn’t ready to promise forever, but I was ready to stop pretending I belonged anywhere else. When August ended, she drove back east for her fall semester. I stayed. Took a full-time tech position at the aquarium. Slept on Keiko’s couch until I could afford my own place.

The pond still exists. I go back sometimes, when holidays pull me home. The catfish are fatter. The turtles slower. I sit on the bank and skip rocks—three bounces now, maybe four if I’m lucky. The water smells like algae and cow manure, familiar as childhood. But it doesn’t own me anymore.

Monterey Bay

I’m twenty-eight now. I lead dives for the aquarium’s research team. I can read a swell chart the way farmers read clouds. Last month, I watched a kid press her nose to the kelp tank and whisper, “It’s like another planet.” I told her it was better than that—it was ours, if we paid attention.

Some nights, I still dream of that clogged pump, the water dropping, my lungs burning. I wake up gasping, but not scared. Grateful. The ocean didn’t kill me. It just made me big enough to hold it.

(Word count: 1,847)

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Life in a Small Town

The essence of my life.

Contest: Write 150 words about your life in full; don’t give just parts of your life.

I was born in a small town. Story was my first language. I learned to read the rules in school and to rebel in books. Now they’re arrows pointing injustice and wonder.

I was married young and divorced younger but I learned motherhood would be an anchor in all storms of love. Then I was married for keeps.

Mother and foster motherhood came. Six boys, two girls, two angels, brave and funny. I learned to read my heart in their handwriting and put children’s books in print.

Misty a mermaid swam in my thoughts and cried for a tiara! Faith grew where my eyes met a portrait of Christ saying, “You are enough.”

I am a writer today scheduling social media posts, recreating like fireflies; still I believe stories can cross ice floes.

My life? Untidy, hope-full, windy, full of notes of beauty, sometimes heartbreaking and often rewriting manuscripts.

1st Prize: Voices in the Static

In case the link was broken…

Below is my first post, and the first contest I won in the competition on the Fanstory website. It was a “Dialogue Only” contest.

 Horror and Thriller Fiction posted October 9, 2025. First Place Winner

Strange Sounds in the Desert

“Hey, you there? Radio’s spitting static again.”

“Yo, I’m here, Jess. Twist the dial a bit, maybe it’s just interference.”

“Interference? In the middle of nowhere? Gimme a break, Sam.”

“Alright, alright. What’s it soundin’ like? The usual hiss or somethin’ weirder?”

“Weirder. Like… whispers. Hey, you hearing this?”

“Whispers? Nah, my set’s quiet. You sure it ain’t the wind playin’ tricks?”

“Wind don’t say ‘help me’, bub. You tellin’ me you don’t hear that?”

“Jess, quit messin’ with me. Ain’t no way—”

“Shh! There it is again. ‘Help me.’ Clear as day. Sam, what’s going on?”

“Okay, okay, hold up. You’re on the old frequency, right? 104.7?”

“Yeah, same as always. Why’s it doin’ this now?”

“Dunno. Maybe someone’s hijackin’ the signal. Pirates, y’know?”

“Right, pirate radio in the desert? Sam, we’re fifty miles from anything. Who’s broadcasting ‘help me’ out here?”

“Could be a prank. You know, kids with a cheap transmitter. Did you check the console logs?”

“Logs are clean. No incoming signals, no overrides. Just… this voice.”

“Alright, creepy. You recordin’ it? Get proof.”

“Hang on, let me—oh great, battery’s low now. You got power issues over there?”

“Nope, all good. Lights are steady. Jess, what’s your location again?”

“Outpost 3, near the dry lake bed. You’re at 5, right?”

“Yeah. Ten miles apart. That’s too far for crosstalk. You try switchin’ channels?”

“Tried. It follows. Every frequency, same whisper. ‘Help me.’”

“Come on, Jess, don’t spook me like that. You sure it’s not in your head?”

“You callin’ me crazy? I know what I hear. Wait—there’s another voice now.”

“Another? What’s it sayin’?”

“Somethin’ like… ‘not alone.’ Sam, I’m freakin’ out here.”

“Okay, deep breaths. I’m gonna drive over right now. Stay on the line.”

“Drive? In the dark? Roads are half sand out here.”

“I got the jeep. Ten minutes, tops. Just chill. You got a weapon?”

“Yeah, the rifle’s by the door. Why?”

“Just… keep it close. In case.”

“In case of what, Sam? You know somethin’ I don’t?”

“Nothin’. Just stories. Old miners talkin’ ‘bout voices in the desert.”

“Stories? Like what?”

“Like… people hearin’ things at night. Whispers. Folks who worked these outposts before us.”

“And? What happened to ‘em?”

“Some left. Some… didn’t. Look, it’s probably nothin’. I’m on my way right now.”

“Sam, it’s louder now. Like it’s right outside. ‘Help me, help me.’”

“Jess, lock the door. Don’t go out.”

“Too late. I’m lookin’ out the window. Nothin’ but dark.”

“Get away from the window! You hear me?”

“Wait. There’s… there’s light. Out there. Flickerin’. Like a fire.”

“Jess, don’t you dare go out there.”

“I gotta see. Could be someone hurt.”

“Or it’s a trap! Stay put, ya hear?”

“Sam, I can’t just—oh no.”

“What? Jess, what’s wrong?”

“The light’s gone. But the voice… it’s inside now.”

“Inside? How—”

“It’s not on the radio anymore. It’s in the room. ‘You’re not alone.’”

“Jess, grab the rifle and get to the jeep. Now. I’m five minutes out.”

“Sam, I… I see somethin’. Shadows. Movin’.”

“Run, Jess! Get out now!”

“I can’t. The door… it’s stuck. Sam, it’s like someone’s holdin’ it shut. Hnng. Hnng. Hnng.”

“Break it down! Use the rifle!”

“I’m tryin’—wait. The whispers… they’re sayin’ my name now. ‘Jessss.’”

“Jess, listen to me. Shoot the lock. Get out!”

“I… I hear footsteps. Behind me. Sam, they’re—”

“Jess? Jess! What’s happening?”

“…”

“Jess, talk to me! Please!”

“Sam… it’s not just voices. It’s – .They’re here. They’re—”

“Jess, who’s there? What do you see?”

“Nothing… but I feel them. Cold. So cold. And the radio… it’s on again.”

“What’s it sayin’?”

“‘Stay with us.’ Over and over. Sam, I don’t think I’m alone anymore.”

“Jess, I’m almost there! Hold on!”

“Sam… if you get here… don’t come inside.”

“What? Why not?”

“Because… I don’t think it’s me talkin’ anymore.”

“Jess? Jess!”

“…”

“Jess, answer me! All I hear is static!”

“Sam… help us…”