Jack Danger Cross

Novelist · Screenwriter · Seattle

Jack Danger Cross

Stories about what we're made into, and what we make of ourselves.

1novel, ready to query
1novel, in progress
3screenplays, finished
4essays, finished
1memoir, in development
The Collected Work
written by
Jack Danger Cross
Jack Danger Cross
Seattle, WA
Draft: ongoing

INT. THE DESK — BOUND AND UNBOUND

Novels

One finished manuscript ready to query, and one novel being drafted now.

Honor & Grace

  • T4T dystopian romantasy
  • Complete
  • Ready to query

A soldier whose soul was stolen as a child discovers he can feel, and disobey, only near a trans woman raised wild in the forest, and together they must bring down the Tower that runs on stolen souls.

Content note: explicit sex, violence, cannibalism.

Available on request: query letter, synopsis, sample pages and full manuscript.

Request materials →

— Honor —

When it was over, Honor turned, chest heaving, and saw her properly for the first time.

She was tall, taller than him, and built like someone who hauled her own water. Her hair was so black it went blue in the lantern light. There was bone in her face, little hoops and posts of it at her nose and ears and lips and brow, carved by hand; he’d have bet his axes it was by her own.

In the Regime, nobody chose their own appearance. This woman had made every inch of hers unique.

She was looking right back at him with eyes as big and brown as a doe’s, and she did not look away.

— from the opening —

Big Mountain

  • Ensemble gothic
  • Literary suspense
  • Drafting

One week at a Montana ski resort, told by eight narrators who are each lying about something. The building was put up cheap, the snow is coming, and the reader sees it before anyone in the story does.

Content note: sexual violence, drugging, death.

Scene 1 — Friday

The punch cups. Thirty, forty, sixty, too many to count, each near an unconscious attendee.

She looked down at her own cup, untouched, tucked behind the table leg. She never drank anything a rich person handed her.

— from the cold open —

INT. THE DESK — FINISHED PAGES

Screenplays

A feature and two short films, written to be shot. All three scripts are complete and available for production, option or festival consideration.

Journeys End in Lovers Meeting

  • Feature
  • Historical romance
  • 106 pages
  • Complete

Stratford, 1582. An eighteen-year-old glover’s son locks eyes with a farmer’s daughter eight years his senior at a harvest dance, and the collision produces a secret forty-year writing partnership. He becomes William Shakespeare. She is the reason.

Also available: beat sheet and director’s statement.

Request the full script →
1.

EXT. SHOTTERY GREEN - EVENING

The music, the crowd, the birds — all of it fades under a low hum. We are inside William's skull now, and there is nothing in it but her.

WILLIAM

Who is that?

SADLER

That is Anne Hathaway of Hewlands Farm, and no.

WILLIAM

No what?

SADLER

Whatever's happening in your face. No.

Trauma Breeds

  • Short drama
  • 14 pages
  • Draft v.2
  • Complete

On the same Montana night, decades apart, a father and his daughter each run from the doorway that changed them. Years later they meet in a diner booth to decide whether the cycle ends with them.

Content note: sexual assault, child sexual abuse (not graphic).

Request the full script →
12.

INT. DINER BOOTH - NIGHT

Two people moving through time at different speeds, meeting at the same table.

MELISSA

Let me tell you something that changed how I see my past. I hope it changes the way you see yours.

(beat)

Acceptance doesn't mean approval.

She lets it land. David turns the words over.

MELISSA (CONT'D)

I accept that we belong to each other. I don't have to approve of it. But I can make peace with it.

Dancing Lights

  • Romance / magical realism
  • 24 pages
  • Third draft
  • Complete

After closing, a Seattle arcade wakes itself up. The girl from the dance game and the soldier from the war game fall in love, knowing the lights come back on at dawn.

Production note: written for a single arcade location.

Request the full script →
1.

INT. GAMEWORKS - DUSK

An HOURLY EMPLOYEE in a company shirt and black slacks ushers the last family out the front door. Waves them off. Locks it behind them.

Row by row, the machines die. Screens to black. The hum drains out of the room.

Silence. Darkness. A long beat.

Then -- deep in the dark -- a single machine flickers back to life on its own.

SLAM TO:

INT. THE DESK — NONFICTION

Essays

Nonfiction on rape culture, sex work and survival, written from inside the experience.

Series: On Conversion

← All essays

On Conversion

The Meta Is the Message

What gets staged becomes what gets done.

Content note: porn industry as a cultural mechanism, depictions of sexual violence in mass media.

The cultural meta of porn is a conversion machine.

Let me say what I actually mean before someone misreads me. I am not on team scrub-porn-from-the-internet. Anti-porn lobbying is conversion-practice sex-denial wearing a child-protection coat. It does not work. It has never worked. It makes things worse for the people most at risk — sex workers, queer people, trans people, survivors of abuse, the kids the lobby claims to be protecting. I’d like to write about FOSTA-SESTA in a future essay; the short version is that I am not interested in helping the lobby succeed.

What I want to talk about is the meta.

Not any specific scene. Not any specific creator. Not whether a particular clip on a particular tube site is consensual staging or not. The global meta of porn — the dominant pattern, the thing the industry has decided is the default frame for what makes content hot. And that meta, almost universally, is rape culture.

I do not believe every clip on Pornhub is actual rape. Most of it is staged by consenting adult performers. But what are they staging? Rape. Or as close to rape as they can get without it technically being rape, because that is the meta. The pattern is: she did not want it, but he got it anyway. Or: she said no, but he made her say yes. Or: she was unconscious, and he did it anyway. The frame is conquest. The reward is the moment she stops resisting.

That is the meta.

That meta is also not consistent fiction. Interspersed with the staged stuff is actual rape on the same platforms. I have seen it. Plenty of times. Men penetrating barely conscious women. Men beating women while fucking them. Real footage uploaded by people who faced no consequences for uploading it. Sometimes the rape is labeled as fiction; sometimes the fiction is labeled as documentary. The viewer has no way to tell.

This is what I mean by the meta is the message. The aggregate pattern is the lesson. The viewer learns what sex is by watching what is presented as sex, and the cultural meta is teaching them that sex is a thing one person does to another person, ideally without that other person’s full consent.

And then those viewers go out into the world and do what they learned.

This is the conversion machine. The meta converts mutually-attracted bodies into rapist-and-victim by setting the cultural default for what hot looks like. It is an effective machine because it operates through what feels like the most consensual surface there is — entertainment, individual choice, taste. No one is forcing anyone to watch porn. No one is forcing anyone to imitate porn. And yet the imitation happens, generation after generation, because the meta is doing its work in the background of every consumer’s erotic imagination.

I do not want to scrub the internet. I want to change the meta.

I want a meta where intimacy is what is hot. Where loving and caring about the person you are with is what is hot. Where woman-empowered love is hotter than violence. Where wanting and being wanted is hotter than power. Where real orgasms and real connection beat the theater of conquest every time.

This is not a sanitized vision. It is not vanilla. There are bottoms — I am one of them — who like high stimulus and who like it rough. But rough and consensual are not opposites. Hard and loving are not opposites. Nasty and caring are not opposites. The assumption that they ARE opposites is the meta’s biggest lie. It is the lie that allows the meta to keep working — because as long as readers believe that intensity requires violation, the meta gets to keep selling violation as intensity.

You do not have to violate anyone to get good hot content. You really do not. Consent is hotter. Woman-empowered love is hotter. Loving and caring about the people you are fucking is hotter. I spent the last few years trying to make work that proves this, and I made some of it and failed at some of it. What I learned is that the industry resists this on every front. The platforms reward conquest. The algorithms reward conquest. The men who pay for the content reward conquest. Trying to make work where the meta is consent is harder than trying to make work that complies with the meta — which tells you everything you need to know about what the meta is for.

Changing the meta is a generational project. It will not be solved by my writing or by any single creator’s work. It will be solved by enough writers, performers, artists, and ordinary people refusing the meta in their own work and in their own beds until the cultural default shifts.

The next two essays land what this argument means in two registers. Next week is Marked. — the personal cost of the meta, written from inside it. Then after that is Both Sides Got It Wrong, about the 62-million-men hoax and what survivors know that the journalists who covered the story did not.

For now I will leave you with this: the meta is the message. What gets staged becomes what gets done. And the answer to that is not censorship and not denial. It is the long, hard work of changing what we are staging.

— Jack

← All essays
← All essays

On Conversion

Marked.

I humanize myself like my life depends on it. Because it does.

Content note: childhood sexual abuse, conversion practices, rape, marriage as economic survival. Survived-and-here-now perspective.

I have been marked as a sex object since birth.

Some of my earliest memories are sexual. One of them is watching my first porn at around two years old — my brother was four; we were in a hotel room in Canada; we were left in the room with the television on while my father was abusing my mother in the other room; the rest is what you would expect. Other earliest memories are sexual assault. My father molesting me when I was around four, out of the conversion-practice-induced pedophilia he was sitting on. Then a friend of my brother’s, a few years later — a boy my mother thought was so cute he had a crush on me, encouraged his attentions toward me to the point that he felt it was completely within his right to come into my bedroom while sleeping over with my brother and rape me in my sleep.

These are the things you are not supposed to say anywhere, ever, really. I am saying them anyway. Because for as long as I have been alive, this country has been throwing me against the knives of all this before I ever got a chance to do or be anything else — and then refusing to talk about it on any level.

So as the complex person living this experience, what I have done — the only real act of self-rescue I had access to — is to try to stake my claim as a sexual being rather than a sexual object. I cannot stand being dehumanized, so I humanize myself like my life depends on it. Because it does. If I had not been humanizing myself sexually this entire time, I would be dead.

That is the life this world handed me. And the same world does not want to talk about it or address it on any level.

I was made into a sex worker as a child just because I was born autistic and gay and female, and no one wants to address it. Everyone wants to go into a kind of sex denial in response to the mere mention of the kinds of horrors I have known nothing but in life. And here I am living by the skin of my teeth, gasping for a shot at life like I have been ever since I was born into this country with its godforsaken rape culture.

I have been a gay woman born into femininity as sexual subjugation, trapped inside a criminally sexualized body, trying to claw my way to womanhood and dignity and basic human rights.

And one of the ways I tried to do that, before I had other options, was to make myself into a woman for sale to the highest bidder. The kind of marriage so many women are left in the predicament of arranging for themselves for survival — signing up for a lifetime of sex work, among other labors, for one man, in the hopes of escaping the indignities of sex work as it exists under a sex-denying culture. A culture that refuses to confer any respect onto a type of labor that has always been expected of women, queer people, trans people, neurodivergent people, people of color — and that now expects them to continue doing it invisibly, in silence, with no rights or protections of any kind. A refusal to even acknowledge that the labor exists.

It is psychological warfare of the highest order.

Silencing the people who try to speak openly about what they have experienced — the things that implicate the deadly or torturous flaws in our systems — is what helps those systems perpetuate themselves.

So I am refusing to be silent. That is part of why I write essays. It is part of why I have spent the last several years documenting the sex work I do, that I have always done, that is supposed to be done in silence. I have made porn and done sex work — on my own terms, with as much control as a worker without labor rights ever has, and learned how far that can get you. Not far at all.

I do not know how to communicate all of this understanding to readers without sitting them down and walking them through every event of my life and every thought I have ever had. I am trying to get better at articulating it, documenting it and delivering it in a way that can confer righteous confidence to women and minorities affected by this and hold the men responsible accountable. This is one of those tries, and I will endeavor to keep trying.

I am still here. I have love in my life and breath in my lungs despite it all, which makes me keep working toward a better ecosystem that I feel positive we can cultivate. The work now is figuring out how to do that and finding the other people doing it too.

Next week is Both Sides Got It Wrong — about a public debate where the testimony of people who carry the mark got set aside by both sides at once, and what survivors know that the journalists who covered the story did not.

— Jack

← All essays
← All essays

On Conversion

Both Sides Got It Wrong

What survivors know that journalists don’t.

Content note: rape, sexual assault, the FOSTA-SESTA debate, anti-porn discourse, the 62-million-men hoax. Survived-and-here-now perspective.

Last week I wrote about being marked. This week, I want to apply that knowledge to a public debate where the testimony of people who carry the mark got set aside by both sides at once.

A while ago now, I watched a video by Taylor Lorenz and Kat Tenbarge about the 62-million-men hoax — the bad journalism that got written about a supposed online rape academy attended by 62 million men, which turned out to be lobbying material for repealing Section 230 dressed up as reporting. Taylor and Kat were right about the bad journalism part. They were also right that repealing FOSTA-SESTA would harm sex workers and adult performers, making it harder to get protections or justice when actual crimes happen, sweeping it all under the rug with no legal recourse or record of wrongdoing.

On those points, we agree.

What I need to say is what they missed. Specifically, what I know that journalists outside my position do not seem to.

Their framing was: yes, rape is bad, but adult performers staging consensual “sleep” content — a guy having sex with a supposedly asleep woman — does not mean they are televising rape. And while that is technically true, they wanted to take the next step and imply that staging that content online does not lead to anything in real life either.

Well, yes it fucking does.

You read about my story in my last essay. I know exactly where my rapist got the idea. And that is not unusual. That is how this works. Content shapes expectation, expectation shapes behavior — that is what a meta IS. The meta is the message. What gets staged becomes what gets done.

So when journalists who do not share my history want to cover this debate as well, none of this is actually rape, so what is the problem? I would like to say: yeah, right.

I also want to name what is on the clip sites alongside the staged stuff. Actual rape. I have seen it plenty of times. Men penetrating barely conscious women — definitely not consenting adult performers. Men beating women while fucking them. Real footage uploaded by people who faced no consequences for uploading it. Saying this is not happening because the journalists could not find a literal sixty-two-million-member rape academy is a strange and self-serving conclusion. The crime does not have to be advertised as a class to be a crime.

Now — I still do not think the answer is Laila Mickelwaite or Exodus Cry. I am not on team scrub-porn-from-the-internet. That is far-right conversion-practice sex-denial dressed up as protection. And I agree with Taylor and Kat that repealing Section 230 hurts sex workers more than it helps anyone. But the position that, since porn is mostly staged, none of this content shapes real-world behavior is also wrong. It is a different kind of denial.

Both sides of this debate are doing a version of the same conversion: converting the testimony of survivors into something inconvenient to either argument, and therefore something to be set aside.

So what IS the answer?

Sexual realness. Transparency. Information. Education. Law enforcement that actually pursues actual crimes. Legal protections. Labor rights.

Agreeing that sex work is real work. And — this is the part that surprises people — agreeing that sex workers are not the only ones doing sex work. Every fucking wife out there is doing sex work and deserves labor rights and legal protections. Some children out there are doing sex work and deserve labor rights and legal protections. The conversion regime that reroutes women and queer people and trans people into spouses, parents, and minor laborers is the same regime that refuses to recognize the labor inside those arrangements as labor.

People seem to think there is no dignity in sex work. I ask them how the fuck they think each human life is made.

I am trying to make work that does not run on the rape-culture meta. That has been the project for the last few years, and it will keep being part of the project. Consent is hotter. Loving and caring about the people you are with is hotter. You do not have to violate anyone to get good hot content. And you do not have to get anywhere close to simulating violation either.

But the writing — the publication you are reading — is also part of that project. Because silencing people who try to speak openly about what they have experienced—the things that implicate the deadly or torturous flaws in our systems—is what helps those systems perpetuate themselves. The conversion machinery survives by making sure no one who has been through it gets to describe its interior on terms they choose.

Educated discourse and frank lived-experience honesty are not opposites. You need both. The journalists who covered the 62-million-men story did the educated part well and the lived-experience part not at all. The lobby they were trying to discredit does the opposite — runs entirely on lived-experience pain repackaged as policy demand, without structural analysis underneath. Neither half on its own gets you to the answer.

I am trying to do both with my essays. Some weeks one will be louder than the other. Both are always working.

— Jack

← All essays
← All essays

On Conversion

Porn

Content note: childhood sexual abuse referenced, early sexual development, mother as conversion enforcer, marriage as sex work. Survived-and-here-now perspective.

I believe that conversion reroutes people into shapes someone else needs them to occupy. That is one half of the work conversion does. The other half — the one I have not named yet — is that the same regime converts people away from shapes that were already authentically theirs. Some of what gets converted is who someone is becoming. Some of what gets converted is who someone already was.

This essay is about the second kind. It is the part of my own history that the “trauma made her a sex worker” narrative cannot account for, because in my case, the desire to do this work was there before the trauma was.

I watched my first porn when I was probably about two years old. I think it is actually one of my first memories. I referenced it briefly in Marked. a few weeks ago. Here is the longer version.

We were in Canada as a family on a trip when my brother and I were really young and my parents were still married. Mom and Dad were off in the other room, screaming — my father at her, my mother for her life. I was just old enough to start developing the PTSD I would carry forward. Old enough to wonder when the screaming would turn into violence, and what my two-year-old self was going to do about it when it did.

I was sitting on the king-size bed in front of the huge flat-screen TV in the hotel room while the rest of the family unraveled in the other room. My brother, next to me, was about four. He was flipping through channels.

It landed on porn. And what a porn it was. A group orgy with about eight people in some kind of brick hallway — almost like a school or government building shot in the 1970s. They were going at it. Sucking and fucking of all kinds. A beautiful mass of bodies.

It is a bummer that I was two and my brother was four and we were watching porn together. We are going to be talking about that and what it did to the two of us for the rest of our lives.

But here is what no one who tries to write me into the “sex worker because of trauma” narrative gets to factor in.

You sometimes know, watching something, that this is what I want to be. People know it the first time they see a violin played. They know it the first time they see a chemistry experiment. They know it the first time they see a courtroom in session. I knew it watching that orgy. Whatever those people were doing, that was the thing I wanted to do when I grew up.

Some people insist that I just had my wires crossed by seeing something too mature for my young mind, and that this is what made me want to do sex work. But that argument only works if you agree that wanting to be a sex worker is inherently villainous — and I do not agree.

Because do you know what I actually saw in that scene? What impressed itself on a two-year-old me, in a hotel room where the adults in my life had failed every single test of basic human decency by sunset? Joy. They were having a fucking blast. I knew I wanted to have fun in that way.

I am not naive. I know much of the “joy” in porn is simulated. I’ve talked about that. But it does not have to be. I have felt that joy every time I have cum in my life. I have spent the last several years trying to make porn where the joy was actually present. It is chemical. The orgasm releases what it releases, and the result is one of the better things I have access to as a human being. I think it is beautiful. It is part of my health and well-being. Part of my humanity. I want to capture and share it. In some ways, I cannot think of a more meaningful art to make.

Here is what came next, after I had the realization on that hotel bed at two.

I spent the entire rest of my childhood being routed away from the path I had just identified.

I hated being a child. I never identified with children. I was vulnerable, powerless, treated without respect, surrounded by adults whose intellectual world I had outgrown by the time I could speak.

While all of that is interesting on its own, it is all the more interesting because of who was running the conversion apparatus that kept me from the path I wanted.

My mother.

She literally acted like it was her job to stop me from experiencing the horrors of sex work, while at the same time being the central reason my early sexual life was made horrific. She paraded me as marriage-bait in front of older boys in my community, encouraged their attentions, and treated their interest as my future. She thought she was protecting me from one kind of sex work by aiming me at another. She did not realize, or did not care, that her vision of safety — getting me married off into someone’s permanent sexual property — was the more dangerous version of the labor she claimed she was saving me from.

Marriage is sex work. The labor of being someone’s wife, in the kind of arrangement my mother had in mind for me, is sex work performed in private, for one client, without labor rights, for life. The pretense that this is something other than sex work is the central conversion my mother was trying to enforce. She had been converted to that pretense in her own marriage to my father, which had destroyed her, and she could not imagine any other vision for me than the one that had already cost her everything.

You think people do not experience sexual assault inside marriages? Most of it happens inside marriages. Who is more likely to be having sex with a person they choose, someone doing porn, or someone in a marriage? Who is experiencing sexual autonomy? The answer is mutual attraction and mutual consent, which is the idea we are sold on in marriages and porn, but often not the reality. I am no sex doll, to wait in chains while some husband comes for his daily pump and then drops me back in isolation. I am a performer of eroticism, I want to capture the art of sex in front of cameras I control, with partners I choose who choose me back. It is seemingly too much to ask, and I want that to change.

That is the actual frame. Sex work was the identity. The trauma was the apparatus the regime used to try to convert me out of it.

The first conversion attempt failed. They sexualized me before I had words for what was happening, and the people doing it thought they were ruining sex for me — when what they were actually doing was making sure I would associate sex with violence and fear in ways I would have to spend the rest of my life undoing. I am still undoing it.

The second conversion attempt was marriage. I got married. To a man I loved as a brother and not a husband, which is what we eventually figured out and named. The marriage was a survival arrangement, the way most marriages are for women and queer people raised the way I was. The kind of marriage I’d like to write about in a future essay titled Comp Het as Survival Strategy.

Both conversion attempts shaped me. Neither finished the job. Here I am, writing this from the apartment in Cap Hill where I live with my wife and the man I used to be married to and now consider my brother. The identity that survived two attempted conversions is the same one that recognized itself at two years old, sitting on a hotel bed in Canada, watching an orgy in a brick hallway and thinking this is what I want to do when I grow up.

That identity is still here. The publication you are reading is one of the things it engages in. The actual porn is paused until the meta gets vaccinated.

Stay tuned for a future essay, Comp Het as Survival Strategy — about the marriage I named above, about what it means when sex work becomes the only legible path to survival for women and queer people, and about why so many of the marriages we are taught to celebrate are conversion arrangements with paperwork.

— Jack

← All essays

INT. THE DESK — NOT YET WRITTEN

In development

Untitled memoir

  • Memoir
  • In development

The true story behind the fiction.

About

Jack Danger Cross

Jack Danger Cross is a Seattle writer, filmmaker and visual artist. She holds a BA in French literature and a BFA in fine art. She writes gothic fiction, queer romance, screenplays and personal essays, and much of her work is inspired by her upbringing in Montana.

In partnership with her wife, as J.J. Cross, she has written, produced and directed a documentary and a short film. She also makes laser-cut wood and acrylic art as Jack Danger Designs.

Some of what she writes has happened to her literally, some figuratively. She draws creatively on the real events of her life.

FADE OUT.

Agents, editors, producers and festivals: manuscripts and scripts on request.

jackdangercross@gmail.com