Mission Statement

To develop and promote quality artists who are overlooked by the traditional business models of their respective industries and who are currently lost among the unfiltered mass media distribution channels.



Whenever we meet new clients, we get two questions. One is: What the heck is an Oghma? The other, and more important one, is: What is Oghma exactly?

So what are we? Are we a graphic design firm? Web designers? Social media marketers? Editors? Are we an advertising agency or a marketing firm? Are we event planners? The answer to these questions is simple: no. While we offer these and other services, they are not who and what Oghma, excuse me, who we are. That answer is much more complex.

Above all other things, Oghma is about creativity. We are purveyors of imagination and inspiration. Of culture. We are writers, musicians, photographers, designers, painters, poets — the small portion of the population that turns our collective human experience into things that can be perceived by the senses, rather than just the brain. So we are artists, first and foremost. And yes, sometimes we’re even starving. But there’s far more to it than that.

Throughout history – or at least since we developed past nomadic hunting and gathering to form static, complex hierarchical societies – the artist has almost never been able to stand and live on the product of their craft alone. Rather, to have any success or widespread appeal, most have had to turn to a sponsor or benefactor, turning over ownership of the creative process and the art itself to someone else for that person’s entertainment, prestige, and profit. For those fortunate to be deemed worthy of this kind of arrangement, sometimes it turns out to be a blessing, where both parties benefit from the symbiotic relationship. Other times it doesn’t, and the artist ends up being exploited, then discarded. Ask artists if they’ve heard of this kind of thing, and they can tell you a dozen different horror stories about themselves or someone they know being used, lied to, or betrayed by an agent or manager, publisher or record label. That being said, though, at least they were fortunate enough for the opportunity. For every artist given such a chance, there are scores who never are. And those artists are forced to fight and bleed for the opportunity to keep their dream of living by their art alone alive somehow. To catch the eye or ear of a potential benefactor or be one of the very few to transcend the need for one and become household names all on their own.

In this day, potential patrons are a dime a dozen. Some are legit, truly desiring to foster art and take care of those who make it. Many others are not and seek only to exploit the artists for their own profit. Right or wrong, these people and companies shape the cultural marketplace. They decide who gets a chance, who becomes famous, and who does not.

And this is where we come in. Why? Because we’re artists. We’ve been there.

Oghma is here to level the playing field, using our talents and skills, our network and platform, to give every artist a fair shot at living the dream. It doesn’t matter if you’re famous and well-established or unknown and seeking your first opportunity to gain notice in the wider world. We’re ready to roll up our sleeves and help out. Whether you are seeking a contract or prefer to blaze your own path, we’re here to assist you in reaching your artistic goals.

As for what an Oghma is? That’s easy. Oghma is the Celtic god of communication, writing, and eloquence. Now do you get it?


Casey W. Cowan
Creative Director

Casey has worked in and around the journalism, artistic, and literary fields for fifteen years. He’s worked as a reporter, photographer and graphic designer for a variety of local newspapers, and recently co-founded Oghma Creative Media, a rapidly-growing publishing and promotion firm based in Northwest Arkansas. As Creative Director, he helps brand, publish, and promote authors nationwide. Casey is the father of six rowdy teenagers and enjoys reading, swimming, and target-shooting in his spare time. He is also currently writing his first novel, Tarleton’s Quarter, the first of an epic four-book series telling the story of a near-future world war in the style of Herman Wouk and Anton Myrer.”

Venessa Cerasale
Business Manager

“Venessa has had a varied career as an artist, administrator, retail analyst, and police officer. Today, she has turned her considerable talents to her writing and art, and serves as Business Manager for Oghma Creative Media, the publisher that owns Saddlebag Dispatches. A mother of three and grandmother of two, she enjoys hiking, kayaking, and anything to do with rocks, trees, water, and the outdoors, and is hard at work on her first novel.”



Amy Howk
Deputy Business Manager


Gil Miller
Editorial Director
“Gil is an author and member of both the Northwest Arkansas Writers’ Workshop and the Old Wire Pen & Poison Writers’ Group, and makes his home just outside Fayetteville, where he is at work on the first of his Rural Empires novels. He had a normal upbringing, which means his parents aren’t to blame for him going into crime (fiction). Instead, he blames a steady diet of movies, shows, and books, from Miami Vice andScarface in the ’80s to Breaking Bad and Justified (a good example of a modern western) in the ’00s. Some of his greatest influences include authors such as Michael Connelly, Robert Crais, Don Winslow, and the late, great Elmore Leonard. His novels to date in include Spree, A Temporary Thing, Startup, and Franchise.”

Gordon Bonnet
Publishing Director

“Gordon Bonnet has been writing fiction for decades. Encouraged when his story Crazy Bird Bends His Beak won critical acclaim in Mrs. Moore’s 1st grade class at Central Elementary School in St. Albans, West Virginia, he embarked on a long love affair with the written word. His interest in the paranormal goes back almost that far, although it has always been tempered by Gordon’s scientific training. This has led to a strange duality; his work as a skeptic and debunker on the popular blog Skeptophilia, while simultaneously writing paranormal and speculative novels, novellas, and short stories. He blogs daily, but is never without a piece of fiction in progress—driven to continue, as he puts it, “because I want to find out how the story ends.”

Michael Frizell
Deputy Publishing Director

Michael Frizell is an educator, writer, public speaker, and performer. He holds a BA in Theatre from College of the Ozarks, an MA in Theatre from Southwest Missouri State University, an MA in Creative Writing from Missouri State University, and an MFA in Creative Writing – Nonfiction from the University of Arkansas – Monticello. He was the writer of Buffy the Vampire Slayer: A Reader’s Theatre Parody (with A Class Act Productions), for two seasons. For Harvest Moon Productions, he is the writer of Star Trek: Live in Springfield and Star Trek: The Next Generation Live in Springfield.

George “Clay” Mitchell
Director of Development

Kelly Henkins
Marketing Director

Kelly is a full-time writer and artist. She is the trusted on-line voice of Texas music and spends most of her daytime networking with singers and songwriters all over the country. She lives in the rural Ozarks.


Velda Brotherton
Marketing Director

Velda Brotherton writes from her home perched on the side of a mountain against the Ozark National Forest. Branded as Sexy, Dark and Gritty, her work embraces the lives of gutsy women and heroes who are strong enough to deserve them. After a stint writing for a New York publisher, she’s settled comfortably in with small publishers to produce novels in several genres.

While known for her successful series work—the Twist of Poe romantic mysteries, as well as her signature Western Historical Romance Victorians and Montana series—her publishing resume also includes numerous standalone novels like Remembrance, Once There Were Sad Songs, A Savage Grace, Wolf Song, Stoneheart’s Woman, and her magnum opus, Beyond the Moon.


David A. Frizell
Deputy Publishing Director

Degreed in both graphics (Bachelor of Science in Technology in Commercial Graphics) and fine arts (Bachelor of Fine Art in Art ), Frizell has practiced professionally since graduation. He became Smithsonian certified in 2007 as a judge for the Sedona Arts Festival and has participated as a mentor to many art field aspirants. His partnerships with production firm TwentyFourCore, Devco Entertainment and Bluewater Productions has fueled a recent onslaught of new and creative material.

Frizell has had art shows in a variety of states nationally and is internationally known for his work with producer TwentyFourCore for Avenged Sevenfold, Sevendust and Disturbed and also Devco Entertainment’s Wednesday 13.

Few artists can demonstrate the biomechanical combination of fantasy and reality that DA Frizell represents in his wide range of work. Adept in media ranging from clay and multimedia sculpture to digital and graphite illustrations, he has developed his craft to an esteemed level of skill and proficiency. Frizell’s illustrative methods stretch the imagination to a nearly abhorrent level without crossing the line to tastelessness, yet he attributes his work to childhood imagery and reflection. Fortunately, the associated memories are from monster movies like Frankenstein, Wolfman and the Creature from the Black Lagoon that he enjoyed with his family. His father, an artist himself, would often bring home books like Conan or novels by Edgar Rice Burroughs that stimulated Frizell’s imagination. Aside from the most influential person in his life, his father, Michael Frizell, his biggest Art inspirations are: Frank Frazetta, H.R.Giger, Berni Wrightson, Basil Gogos, Al Williamson, Boris Vallejo, Luis Royo, Hajime Sorayama and Olivia.

Frizell’s art emulates the styles that He grew up with. He utilizes an extensive media base to ensure the development of the illustration fits the project at hand. “When I see my planning, research and imagination transform into a well-defined piece of work, the pride and satisfaction I feel from putting my imagination on paper accelerates my convictions to become a more recognizable fixture in the illustrative community.”