Crossroads

I wrote Crossroads because I’ve seen firsthand how small towns can hold people in place with invisible threads of family, guilt, obligation, and legacy. This story began as an exploration of what it means to stand at that critical turning point in early adulthood, when staying put feels like surrender and leaving feels like betrayal. But it quickly became something bigger: a chain reaction set off by love, fear, and a single bad decision.

The three main characters are in a polyamorous relationship, not for shock value, but because it represents a rejection of the roles their town expects them to play. Their love is real, complicated, and a quiet act of rebellion. At the center of the story is a corrupt sheriff who is also one of their fathers who embodies both the protective and destructive sides of inherited power.

Crossroads isn’t just a crime drama. It’s a story about generational patterns, about what gets passed down and what it takes to break free. I wrote it because I believe in stories that take risks emotionally, structurally, and thematically and because I wanted to give voice to young people standing on the edge of everything, not sure if the leap is worth it.