What happens to faith when the miracle has a mechanism?

The property is designed to launch as a single, reinforcing event across formats. The novel introduces the world. The audio-musical adaptation extends it for audiences who experience story through sound. The interactive companion lets readers and viewers inhabit it. The television series scales it. Each format is stronger in the presence of the others.

Selling the formats separately to four different representatives fragments the brand, the rollout, and the deal economics. A single agent quarterbacking the property can pursue a unified launch arc, coordinate the formats' release sequence, and capture the brand-building value that comes from launching as one event rather than four disconnected releases. That is the deal shape this property is built for.

The author is a first-time novelist with a finished, four-format property. The pragmatic posture is openness. A single literary agent who can partner with internal TV-lit and music colleagues. A boutique multi-rights agency with all four formats under one roof. An entrepreneurial individual agent. A literary manager who can quarterback packagers. A hybrid representative with relationships in both traditional and AI-native production. Any of these can work.

What matters more than the structure is the bandwidth and the conviction. The right partner is one who treats The Bootstrap Paradox as a property worth fighting for, not as one of fifty submissions to triage. A long-term partnership suits the multi-format launch arc and the several planned novels that follow, but a single-deal arrangement is not off the table for the right opportunity.

All rights to all four formats are wholly owned by the author. No prior options. No prior agency engagements. No encumbrances. The property is clean for representation.

The author retains all music masters and publishing for the twenty-two-track adaptation, all manuscript rights for the novel, all script rights for the pilot and series bible, and the platform and IP rights for the interactive companion. Nothing has been pre-licensed.

No. The manuscript has been through editing and development with Spines, but the novel has not been published. First-publication rights are intact and available.

The lyrics were written by hand. AI was used as an editing tool: pressure-testing lines, flagging rhythm problems, confirming a phrase landed the way intended. The same role a trusted collaborator plays in a writing room. The music was generated using AI tools, then mixed, edited, and shaped into the final masters by David. Creative direction, structural decisions, and the final hand pass on every track are his.

The legal foundation is current. In March 2026, the Supreme Court denied certiorari in Thaler v. Perlmutter, settling the human-authorship requirement question for the foreseeable future: human-authored creative elements are protectable; pure machine output is not. The lyrics and the human-shaped arrangement and production decisions on every track meet that standard.

The author's company, Personata Studios, holds a patent-pending on the human-assisted AI authorship process used to produce this work. David is the named inventor and author of that patent. Counsel review of the resulting copyright filings is available on request.

The Bootstrap Paradox is a work of literary fiction that takes the most contested event in Western history and treats it the way serious fiction has always treated the contested. Not to debunk, but to explore. It is provocative by design. It is not anti-religious by intent.

The Christian readers who have read it have found it moving. The secular readers have found it equally moving. The novel does not ask either to give anything up. It asks both to consider whether the languages they have been using, science and scripture, might be describing the same territory from different sides.

It sits in the same company as The Sparrow by Mary Doria Russell, Lamb: The Gospel According to Biff by Christopher Moore, The Last Temptation of Christ by Nikos Kazantzakis, His Dark Materials by Philip Pullman, and yes, The Da Vinci Code by Dan Brown. Each one provoked. None were pulled. All sold well. Serious fiction is allowed to take serious questions seriously. That is what this is.

This is the first round of agent outreach. The property has not been pitched to publishers, networks, or studios. It has not been entered into any prior agency relationships.

The author is open to a small number of conversations and is prepared to move quickly when the right partner is identified. The intention is to commit to a single agent or agency that can shepherd all four formats, not to circulate broadly.

The Bootstrap Paradox is the author's first novel. It is not the author's first work on the property. The audio-musical drama, the television pilot, the five-season series bible, and the interactive companion world were all built, written, composed, engineered, and produced before this conversation began. The author also brings four decades of work in technology, marketing, music production, and broadcasting.

Debut novelists have been the source of many of contemporary science fiction's most commercially successful properties. Andy Weir was unrepresented when he wrote The Martian. Hugh Howey was unrepresented when he wrote Wool. Frank Herbert was rejected more than twenty times before Dune was picked up by an automotive manual publisher. What those authors had in common was not pedigree but conviction, supporting expertise, and finished work. The Bootstrap Paradox arrives with all three.

Not yet, and that was deliberate. The property was developed by a single creator across all four formats specifically to keep the voice consistent, avoid early rights complications, and present buyers with a clean, decisive IP. There is no committee dynamic, no co-author splits, no producer agreements to renegotiate, and no creative differences already baked into the work.

The right producing partners, directors, showrunners, and on-screen talent are part of what the representing agent and the eventual platform buyer will help assemble. The property is positioned to receive that attached talent, not to have been built around it.

The property is designed to land across multiple production paths.

The novel sits in the prestige hard-SF tier alongside titles by Andy Weir, Ted Chiang, Mary Doria Russell, and Emily St. John Mandel. Recent comparable debut and breakout science fiction has commanded six-figure advances and consistent six-figure print runs in the category.

The television series is designed to land in two distinct production lanes.

The first is traditional prestige networks: Apple TV+, Netflix, HBO, Amazon, AMC+. In the budget band of For All Mankind, Foundation, and The Leftovers. Character-driven and dialogue-heavy, with limited but high-impact effects sequences. It is not a CGI-budget-defining property. Designed for prestige cable and premium streaming.

The second is emerging AI-native production studios. The visual ambition of the space sequences, the ancient Jerusalem reconstruction, and the Palinode interiors is exactly the territory where AI production economics are most disruptive. The character-driven dialogue structure translates cleanly across production approaches. The Minerva storyline gives an AI-native producer a meta-resonant flagship character. And the property is production-ready now, which is what AI-native studios specifically need.

The audio-musical adaptation occupies a category currently underdeveloped at scale. The closest commercial reference is Jeff Wayne's War of the Worlds, which has generated forty-plus years of revenue across its original release and multiple touring productions. The interactive companion experience is a marketing and fan-engagement vehicle as much as a product.

The author is open to representation from agents and managers with relationships in either production lane, and ideally both.

Full commitment. The author is available for whatever shape the launch requires: book tour, podcast circuit, conference panels, interviews, and ongoing publicity. The musical adaptation can be performed live or released studio. The interactive companion is an active and maintained property. Subsequent novels are in development.

The author is not pursuing other primary projects. The Bootstrap Paradox is the work.