Category: insomnia

When I was twelve, I began dreaming of being hunted.

It wasn’t the kind of nightmare that dissolves with morning light. These dreams followed me—in hallways, in car rides, in the spaces between waking and sleep. In them, I was always running. Sometimes, I saw who chased me; in others, there were only the shadows gathering at the edges, the sound of breath too close behind.

Therapists would later call it trauma’s echo, the body remembering what the mind couldn’t articulate. But at the time, I just called it fear. It clung to my ribs for decades, shapeshifting—into insomnia, perfectionism, silence. When I finally began therapy as an adult, my sessions became less about remembering events and more about re-entering the emotional rooms I’d locked shut. Those rooms were crowded with ghosts, but also with stories waiting to be told.

That’s where Long Since Buried was born—not as a thriller at first, but as a reckoning.

The Fiction That Remembered Me

I didn’t sit down to write a murder mystery. I sat down to write about a feeling I couldn’t escape—the sense of being watched, pursued, never quite safe in my own skin.

In Long Since Buried, twelve-year-old Sydney dies during what should have been an ordinary spring day in South Dakota. Thirty years later, her newly discovered twin, Laci, returns to the same town to unravel what happened. Two women, two timelines—one silenced, one searching.

When I began, I didn’t realize how closely those sisters mirrored the split inside me. Sydney became the self that never got to speak, the child frozen in that recurring nightmare. Laci became the adult voice, trying to rewrite what the dream refused to release.

I remember writing late into the night, hands trembling, feeling the same chill I had as a child. The words felt like digging—not for a plot twist, but for buried truth. I didn’t outline the story. It unfolded the way memory does—fragmented, looping, unreliable. Each chapter was a séance, calling forth pieces of the past I’d long since buried under survival instinct.

When Therapy Meets the Page

Over the years, therapy taught me how to sit with the body’s reactions—the quickened pulse, the tightening throat—without letting them drown me. Writing taught me how to translate those sensations into language. Between the two, I found a strange kind of balance: psychology as scaffold, story as sanctuary.

The sessions and the drafts often overlapped. One week, I’d describe the recurring dream to my therapist—the smell of dirt and spent ammo with its sulfurous, metallic odor, the sound of footsteps, the desperate wish to turn and face what chased me. The next week, I’d find that same image emerging in the manuscript—but this time, under my control. I could decide what happened when I turned around.

That was yet another time I realized that fiction could be a survival tool—not a means of escape, but a way to return to the site of the wound with agency. In writing, I was both hunted and hunter, both lost girl and adult author mapping the terrain of her own memory.

In this way, Long Since Buried became an act of reclamation disguised as suspense.

The Town as Mirror

The fictionalized setting—Watertown, South Dakota—is more than a backdrop. It’s a possible mirror of containment and repression. On the surface, it’s idyllic: lakeside weddings, small-town gossip, the scent of lilacs after rain. But underneath, everyone knows something they won’t say out loud. Everyone carries their own secret version of the truth.

That, too, came from life. The unspoken rules of small communities. The polite silences that can hide harm. The way a family can appear whole from the outside while cracking beneath the weight of what’s unsaid.

When I described the town, I was also describing the psychological landscape of trauma—beautiful, familiar, and haunted. The serenity of the lake juxtaposed against the violence beneath its reflection. The wedding festivities standing as fragile rituals of denial.

Readers often tell me the book feels cinematic—as if the town itself were breathing. I think that’s because every building, every echo, every whispered conversation was built from memory’s architecture.

The Child Who Was Hunted

During therapy, I realized that the nightmares of being hunted were never about literal pursuit. They were metaphors for the feeling of being unsafe in my own story. The faceless hunter was every force—societal, familial, internal—that told me to stay small, quiet, compliant.

When I wrote Sydney, I gave that hunted girl a name, a world, and eventually, a voice that transcended death. Her chapters are written from the past, but they hum with an afterlife’s awareness. Through her, I could finally face the forest—not as prey, but as witness.

The process wasn’t easy. Writing Long Since Buried often meant reliving the old panic. I’d have to step away, breathe, ground myself in the present—feeling my feet, naming five blue things in the room. But each time I returned to the keyboard, I felt a little stronger. The page became a threshold: on one side, fear; on the other, creation.

The Adult Who Returns

Laci’s sections—the modern-day timeline—are my love letter to persistence. She’s not fearless; she’s relentless. Her investigation isn’t just about uncovering who killed her twin. It’s about confronting the emotional debris that lingers when truth has been buried too long.

Writing her reminded me that healing is never about erasing what happened; it’s about learning to carry it differently.

I gave Laci my own instincts—her tendency to overanalyze, her compulsion to observe, her need to understand why. I also gave her what I wish I’d had sooner: a sense of permission to look, even when others warned her not to.

Through her, I could finally answer the question the nightmare always posed: What happens if I stop running?

The Silence After the Gunshot

There’s a moment in the first draft—quiet, almost imperceptible—where time seems to stop. A gunshot echoes. The scene goes still. My first readers describe it as eerie, cinematic. For me, it was cathartic.

That silence after the shot became symbolic: the stillness that follows a trauma before the mind rushes to fill in the blanks. In that pause, the reader and I share the same breath—both of us listening for what comes next.

And what comes next, in fiction and in life, is always the same: choice. Do we remain buried in the narrative others wrote for us, or do we dig our way toward our own version of truth?

Writing as Resurrection

I used to think writing about pain would make it permanent. But I’ve learned it can do the opposite. When we give shape to what haunts us, we reclaim it. We define it before it defines us.

In that way, Long Since Buried became both elegy and resurrection. It honored the frightened twelve-year-old who couldn’t wake herself from the dream, while allowing the adult me to finish the story on her own terms.

The nightmares still visit sometimes, though less frequently now. When they do, I no longer wake in panic. I reach for a notebook. I listen. I write. Because I’ve learned that every dream, even the terrifying ones, contains a fragment of language waiting to be set free.

Why I Still Write the Dark

Readers often ask why I continue to write thrillers—why I linger in the dark when I’ve already survived it. The answer is simple: because the dark is where I found my voice.

The shadows aren’t just where fear lives; they’re also where empathy grows. In exploring human darkness—greed, guilt, survival, grief—I’ve learned to honor the complexity of being alive.

For me, Long Since Buried isn’t just a story of murder or revenge. It’s a story of reclamation—of what happens when a girl who once dreamed of being hunted becomes the woman who writes the ending.

That’s the true closure fiction gives us: not a perfect resolution, but a language for what once felt unspeakable.

Sometimes the stories that terrify us are the ones that most need to be written.
Sometimes the only way out of a nightmare is through the page.

And when we finally reach the end—when the words fall quiet and the ghosts rest easy—we realize we were never being hunted by monsters.
We were being pursued by our own courage, waiting for us to stop running and turn toward it.