My fiction, screenplays, and stage plays explore idiosyncratic belief systems and geopolitical crux points, with a focus on how the large-scale clash of ideologies plays out in the lives of individuals. The protagonist of Kill the Boy, my latest novel, is a troubled kid who, after his dad commits suicide, falls under the sway of a mythology teacher who coerces him into undergoing a dangerous, violent initiation rite. My TV pilot Strange Currencies (one-hour drama) takes place in the borderless Wild West of digital gold, where utopianists and outlaws are uniting over the world’s first thermodynamically engineered currency. In another pilot, Dominoes, co-written with the playwright Rogelio Martinez, Havana is the glitzy capital of a 51st state, and a washed-up revolutionary named Fidel lives in exile in Miami, dreaming of one last shot at glory. The Implicate Order, a six-character play, portrays the rise and fall of a disinformation campaign involving two alleged “crisis actors” who purport to have faked involvement in a mass shooting. All these stories explore the genesis of doctrines and dogmas and the evolution of irrational beliefs. They do so, I hope, by means of energetic plots that put their protagonists in real danger.