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What would you do if you woke up inside the life you always wanted?
Arthur Meyersworth is twenty-seven and stuck—stuck in a mediocre advertising job, stuck in a decaying apartment in Reseda, stuck being perpetually “next in line” for a promotion that never comes. Once a promising DJ, now a cubicle fixture and break room zombie, Arthur copes the way he always has: too much alcohol, late-night television, and the quiet hope that tomorrow might feel different.
Then he wakes up in the Hollywood Hills.
Arthur is suddenly rich, famous, and successful. The career he dreamed about is real. The house is immaculate. The city opens its doors to him without hesitation. He’s become the version of himself he always believed he was supposed to be.
But something is wrong.
The woman in his bed looks at him like a stranger. Conversations feel rehearsed. Certain memories don’t belong to him. And beneath the surface of this perfect upgrade is a question Arthur can’t escape:
If he’s here… where did the other version of him go?
As Arthur settles into his dream reality, he begins to sense that this life wasn’t created for him—it was inherited. And the more comfortable he becomes, the clearer it is that success hasn’t fixed what was broken. It’s only made the emptiness quieter, cleaner, and harder to name.
Switch is a darkly comic, psychologically unsettling novella about ambition, identity, and the quiet horror of getting exactly what you asked for—only to realize the cost may never stop being collected.
Arthur Meyersworth is twenty-seven and stuck—stuck in a mediocre advertising job, stuck in a decaying apartment in Reseda, stuck being perpetually “next in line” for a promotion that never comes. Once a promising DJ, now a cubicle fixture and break room zombie, Arthur copes the way he always has: too much alcohol, late-night television, and the quiet hope that tomorrow might feel different.
Then he wakes up in the Hollywood Hills.
Arthur is suddenly rich, famous, and successful. The career he dreamed about is real. The house is immaculate. The city opens its doors to him without hesitation. He’s become the version of himself he always believed he was supposed to be.
But something is wrong.
The woman in his bed looks at him like a stranger. Conversations feel rehearsed. Certain memories don’t belong to him. And beneath the surface of this perfect upgrade is a question Arthur can’t escape:
If he’s here… where did the other version of him go?
As Arthur settles into his dream reality, he begins to sense that this life wasn’t created for him—it was inherited. And the more comfortable he becomes, the clearer it is that success hasn’t fixed what was broken. It’s only made the emptiness quieter, cleaner, and harder to name.
Switch is a darkly comic, psychologically unsettling novella about ambition, identity, and the quiet horror of getting exactly what you asked for—only to realize the cost may never stop being collected.
54 pages, Kindle Edition
Published January 19, 2026
About the author
Jack Chase
13 books3 followersJack Chase is an American novelist, short story writer, essayist, and founder of Abbycat Group & Publishing Brands (known outwardly as AGP), a rapidly growing multi-imprint small press based out of Southern California.
He started in early 2025 with a couple of digital shorts that landed well enough to keep him going. Then came the paperback release of “Overtime: The Ballad of Marcus Graves”—a sharp black comedy about a law student-turned-drug dealer for Hollywood’s elite, polished for years as a screenplay before becoming prose—which arrived to crickets. He pivoted immediately to “Violent Crimes: The Butcher of Westchester,” an Upstate murder mystery he calls an “anti-procedural”: a meditation on paternal rage, generational trauma, and true evil, built on a commitment to blending realism with cinematic precision without sacrificing class. It started as a five-minute short film screenplay in his first-period film class senior year of high school—a depiction of what would become the foundation of the 2025 novel’s devastating final act—which his teacher understandably shot down for being “literally just a guy shooting someone.” Seven years later, on Memorial Day 2025, it became his debut novel. In the definitive hardcover’s afterword, he describes the process as “either the worst or greatest experience” of his writing life, one that required him to inhabit a proximity to darkness he believes he still hasn’t fully shaken—but says was “worth it.”
After “Violent Crimes,” he returned to the beginning: “Immundus,” his first publication, remastered and expanded into a hardcover novella nearly unrecognizable from the original—a nonlinear desert fever dream blending Navajo and eldritch horror, anchored by Justin, an ostracized, self-destructive screenwriter circling the drain in the Yucca Valley as he becomes the fixation of an ancient evil. Then came the big swing: “Made in America: or The Tragedy of Billy Castle and Unexpected Absolution of Dean Willis,” a Greek tragedy disguised as a 630-page crime epic. Four years in the making, it began as a 150-page screenplay written at 21 and was drafted into prose over a scorching 2025 summer in the Coachella Valley. Somewhere between pages—probably to soothe the burnout—he quietly revisited and significantly revised “Overtime” into “one of the funniest things” he’s ever written, with a sequel planned for summer 2026 “whether anybody wants it or not.”
He’s since published a 10,000-word essay unpacking his intentions with “Made in America’s” characters and storylines, along with an intimate memoir piece framing the novel as his north star through years of tragedy and dysfunction—from his hometown to Santa Monica to Hollywood to his eventual settling in Palm Desert. Then he went straight into production on “The Bastard of Taylor’s End,” a 502-page Jacobean revenge epic about stolen lineage, power, and morality. The novel includes an original play-within-a-play entitled ‘The Dragon and the Prince,’ composed by Chase in period-accurate diction, that mirrors both the staged performance in the narrative and the arcs of its numerous characters. Similar to its predecessor, it began as a screenplay, written and completed at the age of 19—just a month before the world shut down. Almost exactly five years later, the story found life as a major novel and was released in hardcover on December 31, 2025.
Eleven books in, his catalog runs from crime to myth to the surreal—all of it built on fatalism, consequence, and people finding out who they really are when it costs them something. He has no plans to slow down and intends to expand AGP with the formation of ABBYCAT STUDIOS sometime in 2027.
He lives and works in Southern California with his tortoiseshell assistant, Mulan.
He started in early 2025 with a couple of digital shorts that landed well enough to keep him going. Then came the paperback release of “Overtime: The Ballad of Marcus Graves”—a sharp black comedy about a law student-turned-drug dealer for Hollywood’s elite, polished for years as a screenplay before becoming prose—which arrived to crickets. He pivoted immediately to “Violent Crimes: The Butcher of Westchester,” an Upstate murder mystery he calls an “anti-procedural”: a meditation on paternal rage, generational trauma, and true evil, built on a commitment to blending realism with cinematic precision without sacrificing class. It started as a five-minute short film screenplay in his first-period film class senior year of high school—a depiction of what would become the foundation of the 2025 novel’s devastating final act—which his teacher understandably shot down for being “literally just a guy shooting someone.” Seven years later, on Memorial Day 2025, it became his debut novel. In the definitive hardcover’s afterword, he describes the process as “either the worst or greatest experience” of his writing life, one that required him to inhabit a proximity to darkness he believes he still hasn’t fully shaken—but says was “worth it.”
After “Violent Crimes,” he returned to the beginning: “Immundus,” his first publication, remastered and expanded into a hardcover novella nearly unrecognizable from the original—a nonlinear desert fever dream blending Navajo and eldritch horror, anchored by Justin, an ostracized, self-destructive screenwriter circling the drain in the Yucca Valley as he becomes the fixation of an ancient evil. Then came the big swing: “Made in America: or The Tragedy of Billy Castle and Unexpected Absolution of Dean Willis,” a Greek tragedy disguised as a 630-page crime epic. Four years in the making, it began as a 150-page screenplay written at 21 and was drafted into prose over a scorching 2025 summer in the Coachella Valley. Somewhere between pages—probably to soothe the burnout—he quietly revisited and significantly revised “Overtime” into “one of the funniest things” he’s ever written, with a sequel planned for summer 2026 “whether anybody wants it or not.”
He’s since published a 10,000-word essay unpacking his intentions with “Made in America’s” characters and storylines, along with an intimate memoir piece framing the novel as his north star through years of tragedy and dysfunction—from his hometown to Santa Monica to Hollywood to his eventual settling in Palm Desert. Then he went straight into production on “The Bastard of Taylor’s End,” a 502-page Jacobean revenge epic about stolen lineage, power, and morality. The novel includes an original play-within-a-play entitled ‘The Dragon and the Prince,’ composed by Chase in period-accurate diction, that mirrors both the staged performance in the narrative and the arcs of its numerous characters. Similar to its predecessor, it began as a screenplay, written and completed at the age of 19—just a month before the world shut down. Almost exactly five years later, the story found life as a major novel and was released in hardcover on December 31, 2025.
Eleven books in, his catalog runs from crime to myth to the surreal—all of it built on fatalism, consequence, and people finding out who they really are when it costs them something. He has no plans to slow down and intends to expand AGP with the formation of ABBYCAT STUDIOS sometime in 2027.
He lives and works in Southern California with his tortoiseshell assistant, Mulan.
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