Multiverse fiction about Joe, a middle-aged drifter, and Nobuyuki, a three-tailed kitsune...
Join Joe, Nobuyuki, and Sancho Tom in adventures Fothrought the multiverse of Fort Wayne, Indiana.
Middle-Aged Man in a Trashcan was released June 25th, 2025 from Wild Rose Press. The book has been decribed as fast, quirky, and heartbreaking.
Joe's lived here all his life, but he's not from around here. Street names are different, landmarks lie, and even money shows presidents he's never known. Some versions of Fort Wayne, Indiana are apocalyptic wastelands; others harbor darker secrets. When trouble strikes, Joe opens a trash can and tears a rift in reality. Inside lies a void where he glimpses the multiverse and rides unknown currents to another Fort Wayne, hoping this one might finally feel like home. With each crossing, his memories slip away. Only Nobuyuki, his shape-shifting kitsune companion, remains constant, and they are hiding secrets about Joe's past that he may never remember. In a multiverse where the next trash can might lead to salvation or doom, Joe must find his way back before he forgets what home is.
Middle-Aged man in a Trashcan by Wild Rose Press
Available everywhere, see Sancho Tom for Multiverse purchases.
By William Brian Johnson | A multiversal sci-fi comedy adventure
Joe doesn’t remember who he is or why he wakes up in new worlds inside a trashcan—but he’s pretty sure it has something to do with the shape-shifting three-tailed fox named Nobuyuki and the collapsing multiverse they’re barely surviving. From crumbling moons to fascist taco trucks, every world is weirder than the last.
From Chapter 1:
“There are rules for a new world. Peek out of the trash can and watch for anything odd. Limping undead? No-go. Dragons? Hard pass. Black-eyed children staring at you while everything dies around them? Shut that lid.”Read More
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“Wakes up in a trashcan, jumps between worlds, guided by a sassy fox spirit. Just your average Tuesday.”
If you’re into epic fantasy, sci-fi weirdness, or anime-level chaos, then you need to know what tropes Middle-Aged Man in a Trashcan is absolutely nailing. Tropes aren't clichés—they're the delicious flavors that make your genre dish pop. And this book? It's a five-course meal for trope lovers.
The Trope: Someone from our world is whisked away into another dimension.
Why It Works Here: Instead of being a teen in high school with a cheat code, our hero is a middle-aged burnout with memory gaps and a magic trashcan. Joe doesn’t get a grand prophecy. He gets a sore head and apocalyptic déjà vu.
Perfect for fans of: Re:Zero, Konosuba, The Wandering Inn
The Trope: The protagonist is guided by a magical beast or familiar.
Why It Works Here: Enter Nobuyuki—a shape-shifting, three-tailed kitsune who can be a fox, a bosy elderly man, or a complete pain in the butt. Nobuyuki’s dry wit, cosmic wisdom, and morally grey guidance steal every scene they're in.
Think: Geralt’s Roach meets Pokémon’s Ninetales, but with more sarcasm.
The Trope: Characters step through magical doors or devices to explore other worlds.
Why It Works Here: Each time Joe opens that trashcan lid, it’s a portal roulette. One world has fascism. Another? Taco trucks and a decaying moon. Every chapter is a new flavored universe. It's Dr, Who meets Apocolypse Now.
The Trope: The main character doesn't remember who they are or why they're here.
Why It Works Here: Joe's memory loss isn't just a hook; it's central to the emotional arc and escalating stakes.
Cue the existential dread... and jokes. Lots of jokes.
The Trope: Laughing in the face of madness (literally).
Why It Works Here: The tone shifts from ridiculous to terrifying on a dime. Remember that meeting a dragon is a life-changing event, but meeting through a dragon is a life-ending event. It's the Good Omens vibe turned up to eleven.
The Trope: The hero doesn’t want the job, the power, or the responsibility.
Why It Works Here: Joe didn’t sign up to save the multiverse—he just wants to survive long enough to eat a decent meal. He’s not trained. He’s not special. And that’s exactly what makes his journey real.
The Trope: Misfits form bonds stronger than blood.
Why It Works Here: Between Joe, Nobuyuki, and the possibly immortal taco vendor Sancho Tom, you’ve got a squad that doesn’t make sense—but somehow works. Their dysfunctional, heartfelt bond is what keeps the story grounded even when the sky literally falls.
If you love stories that flip tropes on their heads but still deliver the satisfying genre goodness of:
Interdimensional travel
Talking foxes
Cosmic weirdness
Snarky dialogue
Deep themes of memory, identity, and survival...
Then Middle-Aged Man in a Trashcan is your next obsession.
📚 Buy it now Links or from the publisher.
🦊 Join the mailing list to get bonus multiverse maps, Nobuyuki’s travel tips, and more.
#IsekaiLife #KitsuneVibes #PortalFantasy #WeirdFictionWins
Dr. Jones's journey into this fascinating historical connection began during his master's studies at Hollins University. While his initial research focused broadly on the Troubles in Northern Ireland, it wasn't until a 2021 visit to Derry that he discovered something remarkable: the profound influence the American Civil Rights movement had on Northern Ireland's own struggle for equality.
"People came up to me saying, 'we stole so much from you guys,'" Dr. Jones recalled. "Being a history major, I was blown away." Throughout Derry, he found murals depicting Martin Luther King Jr. and Malcolm X, tangible evidence of this cross-Atlantic inspiration.
What makes this connection even more compelling is how well-known it is in Northern Ireland, yet how little awareness exists in America. Dr. Jones noted that even his own parents, who had marched in the Civil Rights movement of the 1960s, had no idea about this historical parallel.
The book itself came about through serendipity and relationships formed during the pandemic. After reading Julieann Campbell's powerful book "On Bloody Sunday," Dr. Jones connected with her online. When he later visited Northern Ireland, Campbell not only became a friend but also encouraged him to write this book and ultimately wrote its introduction.
The writing process was comprehensive and collaborative. Dr. Jones described his approach to historical writing, emphasizing the importance of creating a narrative arc even in nonfiction: "I think you're always looking for that story arc. You're looking at what's the beginning, what's the middle, how you're gonna wrap everything up."
What elevates "Good Trouble" is Dr. Jones's commitment to primary sources. He conducted extensive interviews with participants from both movements, including Sheyann Webb-Christburg (known as "King's little soldier"), who marched with Dr. King in Selma at just eight years old, relatives of Selma's "Courageous Eight," and Eamonn McCann described as "the John Lewis of Northern Ireland."
Perhaps most meaningful to Dr. Jones was the opportunity to interview his own parents about their experiences in the American Civil Rights movement, incorporating their stories into the historical narrative.
As for future projects, Dr. Jones hints at additional books focusing on American history while planning an eventual return to Northern Irish topics.
For those interested in uncovering hidden historical connections and understanding how social movements inspire one another across oceans, "Good Trouble" offers essential reading from a passionate historian dedicated to preserving these vital stories.
Check out on Dr. Jones upcoming book tour schedule: https://www.forestissacjones.com/.
Good Trouble is available from several retailers:
http://www.barnesandnoble.com/s/9781839994623
https://www.amazon.com/dp/1839994622
https://www.waterstones.com/book/good-trouble/forest-issac-jones/9781839994623
https://www.hodgesfiggis.ie/book/good-trouble/forest-issac-jones/9781839994623
In the ever-evolving world of publishing, finding your path as a writer often means exploring different genres, forms, and approaches before discovering where your voice truly shines. Recently, I had the pleasure of interviewing Samantha Ryan, an author from Tulsa, Oklahoma, whose creative journey offers valuable insights for writers at any stage.
Like many writers, Ryan's journey began in a high school English class. Her first literary "hook in the mouth" was William Faulkner's "As I Lay Dying" - particularly the famously brief chapter consisting solely of "My mother is a fish." That moment of realization—that literature could break conventions in such profound ways—sparked something within her. With the encouragement of a perceptive English teacher, Ryan pursued a degree in creative writing.
However, her path wasn't without detours. After writing her first novel and facing the challenging reality of querying, Ryan stepped away from writing altogether for nearly a decade. "I'm way too thin-skinned for this," she recalls thinking. It wasn't until after the COVID pandemic that she reconnected with her passion for writing, this time with a renewed perspective.
What's particularly fascinating about Ryan's approach is her willingness to experiment across different genres and forms. Her upcoming works include:
This variety reflects Ryan's philosophy of "taking the pressure off" and allowing herself to explore creative possibilities without limiting herself to a single genre or style. As she puts it, she and a writer friend are "collecting genres like they're infinity stones."
One of the most insightful aspects of Ryan's interview was her discussion of the disconnect between her creative writing education and the business side of publishing. While her degree provided incredible exposure to literature and honed her craft in small, focused classroom settings, it left her unprepared for the realities of querying, finding an agent, and navigating the publishing world.
"They don't teach you the business side of writing," Ryan noted, explaining how this gap contributed to her initial retreat from writing. Her experience highlights the importance of writing conferences like OWFI (Oklahoma Writers' Federation, Inc.), where writers can learn practical skills from agents, editors, and fellow authors.
Ryan's approach to generating material is refreshingly playful. For her flash fiction collection, she solicited random words from friends on social media—everything from "flabbergasted" to "defenestration"—and used these as prompts to create short pieces from various queer perspectives. This collaborative approach resulted in a cohesive collection built from words her "friends threw away."
Her current project—a novel about a husband and wife puppetry team at Comic-Con dealing with the husband's announcement that he wants a divorce—demonstrates her continuing interest in unique premises and settings.
Perhaps the most valuable takeaway from Ryan's experience is the importance of community. Writing is often solitary work, which makes connections with other writers all the more crucial. Conferences, workshops, and other gatherings offer not just professional development but also the emotional boost that comes from being among "your people."
"You go home and you have that high," Ryan says of attending writers' conferences. "I'm going to go home and write my next novel tonight!"
Like most writers today, Ryan juggles her creative work with full-time employment and other responsibilities. When asked about maintaining balance, she admitted with refreshing honesty: "My therapist would probably say I don't." But she remains motivated by her ultimate goal of becoming a full-time writer, using her evening hours (she describes herself as a "night owl") to work toward that dream.
Ryan's journey offers several valuable lessons for writers at any stage:
As writers, we're all collecting our own "infinity stones" of experience, technique, and insight. The path isn't always direct, but as Samantha Ryan's journey shows, sometimes the detours and experiments lead to the most interesting destinations.
https://open.spotify.com/episode/7LLCPUJ95BpxFisel54gHF?si=Yy2sFtDxQ22dNWM2mehQBg
Episode 41 Interview with Nick Lyon and Aleasha Wales Shelnutt
In this episode, we talk about time management for creatives and we talk about our hectic lives with Nick Lyon and Aleasha Wales Shelnutt.
Nick Lyon:
https://writernicklyon.wordpress.com/
https://www.amazon.com/stores/Nicholas-Lyon/author/B0BLT1WW4Q
Aleasha Wells Shelnut:
https://www.facebook.com/thestudiopromessa
https://thenutthousediaries.blogspot.com/
In a recent episode of Tikiman and the Viking Podcast, hosts
H.B. Berlow and William Brian Johnson assembled a roundtable discussion on a
challenge familiar to all creatives: time management. Their guests, Aleasha Wales Shelnutt and Nick Lyon, offered valuable insights into how they balance
their creative pursuits with demanding professional and personal lives.
As the hosts pointed out, most people are familiar with the
concept of work-life balance—the ongoing struggle to divide time between
professional responsibilities and personal life. For writers and other artists,
however, there's a third element at play: creative time. Finding space for
artistic expression means squeezing it into an already packed schedule of work
and family obligations.
Nick Lyon, author of the award-winning novel "The
Baptist Bootlegger" and a high school English and speech teacher,
emphasized the power of daily consistency. His approach involves writing
400-500 words every day, typically in the evening after his children are in
bed. This habit helps maintain his connection to writing regardless of where he
is—even writing from a hotel room during travels.
"I write better in the evenings than I do in the
mornings," Nick shared, highlighting the importance of identifying your
personal creative rhythm. "I just try to make sure that I do it at some
point."
Nick's approach demonstrates that consistency doesn't have
to mean rigidity. When life occasionally prevents his daily writing routine, he
simply moves forward without guilt: "I might miss one day, but I'm not
gonna miss two days."
Aleasha, who manages Studio Promessa and numerous
roles within the Oklahoma Writers' Federation, offered a different perspective
on balance. After "chasing" perfect balance for years, she realized
that life balance isn't like a weighted scale with everything perfectly
distributed at all times.
"It's more like a bear at the circus on the ball with
the spinning plates," she explained. "Nothing's ever going to be
perfectly balanced at any one given time, but the balance is over the course of
the entire act."
Aleasha emphasized the importance of scheduling but
noted that flexibility is equally crucial, especially when living with what she
humorously calls "chaos." Being forgiving with yourself and knowing
when to pivot helps prevent the metaphorical plates from falling.
Both guests stressed the importance of understanding your
personal creative cycles. Knowing when you're most productive can make a
tremendous difference in your output. As one host noted, forcing yourself to
write during non-optimal times can lead to frustration—staring at a cursor
rather than producing meaningful work.
Nick pointed out that sometimes, even when you don't feel
like writing, the act of beginning can overcome that resistance: "I come
in here and I'm like, 'God, I don't even want to do this.' And I sit down and I
just start typing away and like, you know, ten, fifteen minutes later, I look
up and I'm hitting 500 words."
A recurring theme throughout the discussion was the
importance of connecting with fellow writers. The guests emphasized how
attending the annual Oklahoma Writers' Federation conference provides both
escape and rejuvenation. Nick recalled the powerful experience of having
someone approach him at his second conference with the simple question:
"What do you write?"
"These people get me," he remembered thinking.
"I'm like this lonely dude sitting in a dark room tapping away at a
keyboard, and then I can come to something like this and these are all lonely
people too, tapping away at keyboards, and they get it."
Aleasha agreed that such events keep writing "in the
forefront of your mind" and make you "more invigorated and wanting to
do it, a little more hungry for it." She pointed out that "critique
groups, writing groups, conferences, workshops—all of these things are
instrumental in helping you carve out time for writing."
When asked whether their creative time represents an escape
or a recharging station, both guests suggested it's often both. Aleasha described
it as "escaping to it, and when I get there, I'm plugging in and
recharging," noting that writing had helped her reclaim her voice after
"a very long time silencing myself."
Nick mentioned that while he has many escapes—video games,
woodturning, guitar—writing serves a different purpose. The daily practice
helps him feel authentic in his identity as a writer: "Writing every day
makes me feel like a writer."
Both writers are continuing to grow in their craft. Nick
recently completed a 65,000-word novel and is planning to return to the sequel
of "The Baptist Bootlegger." Aleasha is spending the year pushing
herself outside her comfort zone by writing in unfamiliar categories and
genres.
Their stories remind us that the writing journey isn't about
perfection—it's about progress, consistency when possible, flexibility when
necessary, and connecting with others who understand the unique challenges of
the creative life.
Whether you write daily like Nick or focus on growth through
experimentation like Aleasha, the key is finding an approach that works for
your life and your creative process.
The Oklahoma Writers' Federation, Inc. conference
"Conjuring the Mysteries of Writing" is scheduled for May 1-3, 2025.
Information and registration details can be found at OWFI.org.
The Oklahoma Writers Federation Inc. (OWFI) stands out among writing conferences for its strong focus on writers rather than readers. As Vicki Malone Kennedy, the current OWFI president, explained on episode 40 of the TikiMan and the Viking Podcast, "OWFI is a writer's conference. Most of the people that attend are writers... We cater primarily to the writers."
OWFI has cultivated a reputation for being structured yet flexible. The conference has sessions from 9 to 5 on Friday and Saturday, but each president and conference coordinator chooses a unique theme that carries through everything from sessions to decorations and parties. This year's theme is 1930s-40s detective noir.
The organization boasts approximately 30 affiliate groups across multiple states including Oklahoma, Texas, Arkansas, and Kansas. While about 20 of these groups are very active, OWFI's reach extends far beyond these states, with members from across the country and even internationally.
One of the most valuable aspects of OWFI is the opportunity to connect with agents, publishers, and fellow writers. Host Brian "The Viking" Johnson shared his own success story from last year's conference, where he pitched his book "Middle-aged Man in a Trash Can" and connected with a publisher.
"If you're a writer... you got to go to a conference, you got to get out there, you got to do that face-to-face thing," the viking said.
Kennedy agreed, noting that many writers have launched their careers through connections made at OWFI: "You can meet your agent. You can meet your publisher. You can meet your next big deal right there at the conference."
Beyond formal pitching sessions, many valuable connections happen during meals, late-night drinks, and casual conversations. As Kennedy pointed out, "Rising tides lift all ships" in the writing community.
This year's OWFI conference will be on May 1-3, 2025, at the Embassy Suites in Oklahoma City. Notable highlights include:
Kennedy secured Butcher as the keynote speaker in a surprisingly straightforward manner—through Facebook. After initial contact, Butcher directed her to his manager to make the arrangements, which is not always the case. In previous years, securing keynote speakers has sometimes come down to the wire.
At its core, OWFI is about helping writers develop their careers through mentorship and community. "We're all about mentoring people. We want people to come in and ask us whatever they want to know," Kennedy said.
For writers looking to connect with fellow writers, learn from experienced professionals, and potentially meet agents or publishers, OWFI offers a welcoming environment. Registration for this year's conference is still open at owfi.org.
In the novel "Middle-Aged Man with a Trashcan," Joe travels through the multiverse via a peculiar portal—a trashcan that opens into a void within six-dimensional space. While this might seem like pure fantasy, the concept of higher dimensions as gateways between universes has fascinating roots in theoretical physics.
Most of us are comfortable thinking in three spatial dimensions—height, width, and depth—plus time as a fourth dimension. But theoretical physicists have long proposed that our universe might contain additional dimensions that remain hidden from our everyday experience.
These extra dimensions aren't necessarily "elsewhere"—they could be all around us, just imperceptible because they're curled up into incredibly tiny spaces (a concept known as "compactification" in string theory) or because our biological senses simply didn't evolve to detect them.
What makes the sixth dimension particularly special when it comes to multiverse travel? Let's build our understanding step by step:
In Joe's story, the trashcan operates as a portal that allows him to navigate this sixth-dimensional space, which appears as a "void" from which he can access any reality in the multiverse. This void serves not just as transportation but as a healing space—"it heals all physical wounds," though the mental ones remain.
While obviously speculative, the idea of accessing other universes through higher-dimensional space does have some basis in theoretical physics:
In "Middle-Aged Man with a Trashcan," Joe can't fully control his navigation through the multiverse—he's caught in "a current he can't control." This reflects an important theoretical challenge: if we could somehow access higher dimensions, the complexity would be overwhelming.