Some books fly off the shelves while others languish in obscurity. Some books get rave reviews while others disappoint. How can you ensure that your book will hold readers’ rapt attention?
To help answer that question, we brought bestselling military thriller and science-fiction author James Rosone to First Draft Friday, where he took us behind the scenes in his editing process and showed us how he uses Marlowe, the artificial intelligence book analysis tool from Authors A.I.
If you’d like to browse a Marlowe report as you watch our chat, you can see samples at authors.ai/marlowe (just scroll down to the Sample covers and click on one).
Click below to watch our 30-minute discussion. If you’re interested in running your own book through Marlowe, you can explore our plans and purchase options.
More info:
Try out Marlowe, our A.I., who can critique your novel: authors.ai/marlowe/
Check out James’s books on BingeBooks: https://bingebooks.com/author/james-rosone
Enjoy the show? Check out our upcoming and past First Draft Friday episodes.
TRANSCRIPT:
Alessandra: Hi everyone. This is First Draft Friday. I am your host Alessandra Torre, and I am joined today by James Rosone. We’re going to be talking all about how to use artificial intelligence in the writing and marketing of your novels. I am so excited about this topic. This is something that’s a big passion of Authors AI and me as a writer. And I know James feels the same, so welcome James. It’s so great to have you; do you want to introduce yourself to the group?
James: Sure. My name is James Rosone. I’ve been a self-published author now for seven years. I’ve been doing this full-time though for a little over four and you know; I never started out as a writer. I had a few careers in the military and government contracting and then worked in the private sector and just fell into writing and just really started as a hobby and loved it. And it’s just grown into an incredible career and passion ever since.
Alessandra: And how many books have you written?
James: I think at this point we have 26 published. And then I’ve got another three more that are written that are in various stages of editing right now.
Alessandra: Fantastic. And if they can’t tell from your background and literally the background behind you, you write military, thrillers, military sci-fi is espionage.
James: They say write what you know and know what you write, and having worked in the military for 10 years and then worked in intelligence for another seven years and doing all that different aspects of things, I just really liked it. And I figured, well, I’m not seeing the kind of books I want to read, so why don’t I start writing the kind of books I want to read? And that’s how we started it. And from there it just took off because lo and behold, there were a lot of people who really wanted that kind of book.
Alessandra: Absolutely. Great! And today we’re going to specifically be talking about Marlowe. So for the audience who doesn’t know, I mentioned Marlowe briefly, oftentimes at the end of our First Draft Friday, but Marlowe is an artificial intelligence that was created by Dr. Matthew Jockers, who’s one of our co-founders at Authors AI. Marlowe can do a lot of really cool things, but one of the things we’re going to really be talking about today is her manuscript analysis and feedback. James has been involved in Marlowe from the very beginning, and I know you’ve seen her grow as she’s added on functionalities and different pieces of her report. But can you kind of introduce us? I think you have a Marlowe report, you can show us, so you can give us sort of a quick tour of the report. And for those of you who know, you go to authors.ai, you upload your manuscript, and she’s really fast. Within just a few minutes, you’ll get it in your email and you can also download it from the dashboard there in Authors AI. So that’s the URL there if you want to check her out, she has a free report so you can try her for free, but what we’re going to be showing you today is the pro report, which is her Mac daddy product.
James: So I’ll kind of briefly explain some different parts of the report and how I specifically use it. So as a writer, one of the challenges we have is how do you craft a compelling book that people want to read and continue to turn the pages constantly? And then once they finish the book, how do you get them to buy the next book? And a lot of that comes down to the craft, but there’s also a science behind the craft. And when we look at the historical bestsellers or what are books that have gone viral and done well, there’s almost always a consistent theme that caused it to happen like that. And one of the first things I look at when I run the report is the narrative beats. And so what we’re looking at with the beats is, how often are we having that – seeing them.
Basically, it kind of comes down to like an EKG where you have your positive and negative, positive and negative. It’s like a constant up and down or emotional roller coaster that you’re trying to put the reader on. And when I was listening to David Baldacci talk about crafting your book. One of the things that he had mentioned, as well as Dan Brown, was cracking the first couple paragraphs of a chapter. You have to just grab a reader and draw them in. But then as you get closer to the end of that chapter, you have to create some sort of sense that causes them to want to read the next chapter and it draws them into the next one. So it’s not about creating a satisfactory end of the chapter where they, “Oh, okay. I can pause now and just go do something else.” No, you want them to go, “Oh my God, I got to find what happens next.” And that’s how you create beats, and that’s how you create that EKG, so to speak of up, down, up, down, up, down where they’re constantly having to find out what’s happening next. So that’s one of the main things.
Alessandra: I want to jump in just real quick and clarify for someone who’s watching. What James is showing you right now on his screen is, this is actually when you upload your manuscript; you will get this EKG of your novel. So every book will look different; these beats might be really close together. They might be close together and then spread out. So what you’re seeing here is his actual beats from – what is this book?
James: This is Monroe Doctrine Volume Five. This is the book we are currently finalizing in edits right now. So we’re looking to release this book either in a few weeks – we’re trying to figure out it’s going to be the end of the month, or it’s going to be the first part of next month. But we use this report before we send the book off to the editor to make sure that we have crafted the kind of pacing and beats we want. And if we don’t see that, then we will go back into the manuscript and we will look at it and say, okay, where are we falling short? And that comes down to taking the chapters and saying, okay, is this chapter a dialogue scene or an action chapter? And if the chapter has three scenes in it, okay, of the three scenes, are they all dialogue, or are they dialogue, action, action. And that’s really important to figure out, because once you know those pieces, then you can start to engineer the beats. If your first three chapters of your book are just narrative, there’s no action, there’s no oomph; you’re going to have a very low pace or beat in the front part of the book, and that’s going to be hard to draw the reader in. So, that’s why you’ll see sometimes a lot of heavy action in the very first chapter for the very first scene because it grabs the reader, and then it gives you the time and the ability to then do more of that world-building because now you have them hooked. You don’t always want to do that right at the front because otherwise, it’s very hard to keep them entertained.
Alessandra: So when you look at this chart here, are you happy with these results?
James: Personally, I’d want to see a little more pacing right here in the front, if I’m being honest. Probably more like right here, and maybe right here is what I would try to do. We haven’t run this manuscript through a second time just yet. We’re still finalizing the first round of edits from the editor and we had to make any structural changes based on current events that had to be woven in or addressed in the manuscript. So once that’s finalized and done, we’ll run another report and look at a much better assessment of what the final product’s actually going to be. So right now initially, I’d say this is really good. It is going to come down to how can I make it slightly better?
Alessandra: Yeah. Are you able to zoom in, I don’t know the functionalities, we should have tested this in advance. Are you able to zoom in at all so that we can, if not it’s okay.
James: Yes, I think we can.
Alessandra: And this looks like it’s page five of the report. I can’t tell.
James: Yeah, this is page five. So yeah, is that good enough for you or do you want to use another?
Alessandra: Yeah, it’s a little bit better. That’s fine. And you can see, it does show the percentages at the top and bottom of each.
James: 12, 25, 36, 44.
Alessandra: Perfect.
James: Yeah. And once we’ve gone through there, you know, what else is helpful here is, it’ll kind of tell you what are your positive beats and what are your conflict beats. And what’s great about is when they show you this, you know, this gives you the ability to do a control find in the manuscript to find that spot. And that allows you to know where that’s at instead of having to like search through the whole book. And then you can use that as a means of being able to change things around if you want to or change different words that you’ve used to maybe change the meaning or change how it’s going to look. So, this is another piece that is really helpful when you’re trying to find the specific locations inside the manuscript where these beats are actually showing up, so that’s an important piece right there.
Alessandra: I just want to answer… go ahead. We have a question, but did you want to finish?
James: We’ll deal with the question first, because we can always come back to Marlowe.
Alessandra: From Facebook, someone said, “How do the narrative beats align with a genre story beat such as in romance, the meet-cute, et cetera?”
James: So I think you would probably be better on the romance side because you write more in that. I know on the thriller side, people like action fast. They like action and fast-paced books. You can get away with some slower pacing things when you’re doing specific world-building parts of that, but you need to have some quick beats to it or some quick action basically.
Alessandra: Yeah. And I can jump in on the romance side and other things – tip, you know, best sellers they say you should really kind of have something happening with action every 10% of the story – 10, 15% of the story. And so with romance, a lot of times it’s has some, have you had a beat happen? It’s not necessarily your meet-cute might happen super early. You know, it might happen at the 10% mark, but when I’m looking at my manuscripts, I’m mainly trying to make sure that something is happening that is moving forward that book. And we don’t have, you know, in romance, we’re not typically having an action scene or something like that, but you can still have a moment of conflict or something interesting that happens or a faster-paced moment.
So I normally just focus… I don’t focus as much on the arc, which we will go into in a minute because that is a lot of times where you would say, okay, here’s the meet-cute, here’s the climax, here’s that sort of thing. It’s more about making sure that… it’s not necessarily genre-specific, but making sure that there is a moment of action. And action doesn’t necessarily mean a car chase, but action means something that is propelling that story forward and making sure the reader is continuing to read every 10, 15% of the book.
James: Yeah, and that’s very true. It’s not always about like a physical action. There could be dialogue of a big reveal that is really propelling the story forward, and that’s also important to keep in mind too. It’s like this next section and this actually a good segue. So when you have the story pacing here – so for me with what I write, because I write series, and typically they’re anywhere from five to seven book series in length. So for me, this would be a little more important if you are writing a standalone book than necessarily a part of a series because on a standalone you want to just be a rip-roaring from the beginning to the end. Whereas, in a series, it’s about unraveling layers and layers of an onion to create this whole big picture that at the end of your series, it’s going to be revealed.
And so it’s not necessarily about having it just fast-paced the entire time because there are lots of different ups and downs and values and layers. So there are different ways to look at and utilize this particular segment depending on the type of story it is you’re writing, the type of series you’re in. So for me, you can look at where some of the faster and slower paces are, this can help you when you’re trying to manipulate this to change what you’re seeing. What I look at a little bit more is actually I actually skipped through this. I don’t really rely quite on this as much. I look partially at the narrative versus the dialogue, and I want to make sure it’s not all narrative or it’s not all dialogue. If it’s too much dialogue, you’re not giving enough of an overview or picture of what’s going on. So that’s another piece to kind of consider, and it really depends on the genre that you’re in as well.
This is actually much more, more important to look at subjects really, really, really, really important to look at this because what’ll happen is, a lot of books will have their entire book will be scattered along this. And when your book is all over the place like this, it’s very scattershot. It’s not very focused. It’s not very concise on what the book is about. And you’re trying to introduce too many subjects, too many different threads that it’s very hard for a reader to piece it all together. So what you want – what I like to do is have the book be very focused and narrowed.
This is a military espionage thriller, you know, very big on the technology side. So obviously, there’s a lot of focus on, you know, I don’t know why they list planes and helicopters, but it’s military action, you know, guns and war soldiers and army in technology, so these first three are really big. The first two in fact are almost 40% of the subject matter of the book, which is really, really tight. It’s very focused and you know exactly what it is you’re reading and what you’re getting. And so for me, this is a big one. Especially when I’m working with other authors that I’m mentoring or helping along; when I see their books are really on here, going along this line here, instead of having any subject areas out here, that’s when I tell them, you got to figure out what is your book about. Because right now you’re not giving a clear picture of what the book and the story is about; you’re kind of all over the map.
Alessandra: And just to clarify, for those of you watching if you’ve never seen a report, what James is talking about is this – content or I’m sorry, what’s the header – subject.
James: It’s your subject matter. Your subjects in your novel basically.
Alessandra: Yeah, major subject. So this is where she, Marlowe is identifying kind of like James said, what your book is about and that’s what this breakdown is.
James: Yeah. And it’s really critical because I’m sure we’ve all read books where you’re a quarter the way through the book or you’re even halfway through the book, and you’re just like, what is this about? I mean, I don’t know where I’m at, I’m lost, it’s just totally scattered. Or you hit the end of the book and you’re like, well, that was kind of a disappointing ending. There’s no resolution, there’s no continuation, it’s just you’re like, what was this, what did I just read? And that happens when your subjects in the book are just too scattered; there’s not enough of a focus on your theme or your plot that you’re trying to portray.
Alessandra: And this can also come into play when people, we talk about having like a fuzzy setting or a fuzzy environment. If you write legal thrillers, but really, you just wrote a thriller and you’re calling it a legal thriller, and you’re kind of sticking maybe a couple of references in but it’s not really firmly entrenched in, you know, the legal environment and the legal setting, you might disappoint true readers of illegal thrillers that are looking for that whole experience, not just a thriller that happens to have a court case somewhere that’s fuzzy in nature.
James: And that’ll start to hurt you or impact you when it comes to both sales and then reviews and then buy through into the rest of your series. Because the fact is, you’re just not delivering on what you’re telling the reader you’re going to deliver on, and they don’t particularly like that, especially when we’re in an environment where they have an enormous amount of content to choose from, and they don’t have to pick you. And so, it’s really incumbent on you as the author to give them a compelling reason why they have to pick you and why they need to stick with you. And that’s where controlling your beats, your subject matter, and making sure that you really are knowing what you’re doing in the book is important. And to stay on time with our stuff here, one of the pieces I want to go down to, you know, there’s a lot of aspects of this report that are really, really helpful, but some of the pieces I want to focus on more is one of the aspects of the report that most people don’t think about or don’t realize they can use, and this is the subject matter book comps.
So this is saying that – this is basically looking at your book, Marlowe is looking at your book, Monroe reduction here, and it is saying, what are their books based on its Corpus that is very similar to. And so, one of the things we’re seeing is that this book is very similar to, honestly, a lot of the Clancy type books. But it’s also giving you, you know, good information that you can use for your marketing and target. Because at the end of the day, as authors, we’re trying to identify who’s going to be most likely to read a book. Now, I can say, oh, my book is really close to author X or it’s this or that. But the fact is, that’s my opinion, and my opinion’s going to be biased and Marlowe is removing my biased opinion and just giving a straight-up data comparison of styles or comps and saying, okay, well, your book actually matches really close to these authors and these books, so maybe this is who you should look at targeting.
And if your book is in front of that type of reader and they see it, they’re probably more likely to actually click on the detailed page view to see if you can catch them with your ad copy, which is really important as well. And then once you’ve done that, you know, if they read it, they’re going to be substantially more likely to actually like the book and want to read the rest of your series or the rest of your books. And that’s how you find long-term readers, because most authors, most people can sell a book once. The craft and the real skill is being able to sell the amount books, 2, 3, 4, 5 into a series and retain them as a long-term reader of yours going forward. And that’s where this is a tool that does help a lot.
Alessandra: And when you’re looking at this, the closer the blue – each of those blue balls is a book. You probably can’t read it unless your screen’s bigger than mine, but the closer one of those blue books is to the purple book, which is your book, the more similar it’s. So the further spread out the less similar. These are still the closest out of our Corpus. So the Corpus includes 250 bestselling – longstanding bestselling books, so those are the books that your book is being compared to. So these are the seven titles out of those 250 that were most similar to his book in subject matter. So that’s very important because if he scrolls down, I’m guessing it’s down, you can see the books that are most similar to yours in writing style with subject matter.
James: Yeah. And this is also really important because if I’m trying to say that my writing style and my book is similar to David Baldacci, the fact is when you just peel away all the bias and you look at the actual data, it’s not. And trying to push my book into David Baldacci’s reader base is going to cost me more money, likely lead to a lower conversion rate for sales, and likely lead to a potentially negative review or just people who aren’t going to be predisposed to like it. But if I can get my book in front of individuals who are predisposed to like that style of writing, then I have a much higher likelihood of maintaining that person as a long-term reader and someone who will read through the remainder of the series. And that’s really, really important because, at the end of the day, we all only have so much money to spend on marketing and so much time to devote to that. So what we do have, we have to really maximize it for our benefit, or we’re just throwing stuff against the wall and seeing what sticks, and that’s not how I would want to grow and build my business long-term, if that makes sense.
Alessandra: It makes perfect sense. And this is also just really interesting for me as an author, because it’s like, oh, even though I might not write in the genre of Dean Koontz, maybe I tell a story in a very similar way as him. It won’t help you as much in the marketing, because you don’t want to go after Dean Koontz readers, if I write, I don’t know, steamy romance or something. But it is very, just interesting to me as an author to see whose writing style I am similar to. These charts and these comparisons are made up of so many different variables. As a reader when you read a book, you don’t know why you like it, but what’s cool about Marlowe is she can figure that out and she can figure out the different ways in which, whether it’s pacing, word choice, story beats – there are so many different factors that go into these comparisons.
James: Yeah. What I like is because I do cross genres, you know, I’m in the military espionage world, and I’m also into the military sci-fi world. I’ve got two different series in there. So for me, you know, John Scalzi is one of the top guys in the sci-fi world for my trad pub audience. So, my strategy is, I’m in Kindle Unlimited, but I’m not a KU whale. KU still actually only represents 48% or 46% of my revenue. And that’s intentional by design because when I develop my marketing targets, I don’t target fellow indie authors. I actually target trad pub authors. So for my sci-fi, I specifically target the trad pub sci-fi authors. And my books are at 6.99 and the covers and the descriptions look usually as good or better than most of those, and my book is slightly cheaper. So it’s an easier conversion for me to make, and I’m making a straight sale as opposed to chasing a Kindle Unlimited reader in that audience of people who just like to buy, you know, these 99c box sets and go that particular route.
And that works really, really well on the thriller side too when you’re trying to target the thriller audience. You know, if you’re focused on going after fellow Indie authors, particularly ones who are in Kindle Unlimited, then it shouldn’t be a surprise that the majority of your sales and your revenue comes from Kindle Unlimited because you by design targeted that audience. Whereas if you are targeting a trad pub audience, then you’re going to naturally lean towards having more physical sales, whether it’s ebook or a physical book than you will Kindle Unlimited.
And the best part about that strategy is you’re still going to get the Kindle Unlimited readers regardless, but you’re just going to minimize the less pay that we get as a KU book than you would from a per purchase book. And that’s important to consider long-term as you go to your business, because as we’ve all seen, if you’ve been in this business long enough, the KU page reads are not something that’s going up every month or every year. There’s been a steady, consistent decline over the last three or four years. And I don’t really see that changing, given the number of authors that are joining every month and the number of books being published and the rate of growth in the Kindle Unlimited membership pool is just not keeping up with the pace of the content being put in. So, it’s important to have a strategy for how do you maintain physical sales at a certain price point that is commensurate with your quality, your skill, and just being able to maintain your business.
Alessandra: That’s such fantastic advice. I did want to show this comment from a Facebook user, “the book comp tool looks amazing – definitely useful for marketing and advertising.” And we have some really exciting developments that are coming and that area soon. Marina asked a great question. She said, do you need the finished book to use Marlowe. James, do you mind scrolling up and showing the plot arc graph? So to answer your question, Marina, first of all, Marlowe works best with manuscripts that are at least 20,000 words.
James: This one here, or are we talking…?
Alessandra: Like the narrative arc, so it’s probably fairly high up, fairly early on.
James: You’re talking about this, the beats aspect?
Alessandra: No, keep going. Keep going higher.
James: Oh, right here. Got you.
Alessandra: Yeah, these two. So to answer your question, Marina, a lot of the charts do not need the finished book. You can tell maybe your character’s personality traits without the whole book. You could see what your current breakdown of dialogue versus narrative is without the whole book. You know, your adverb used, that sort of thing if you’re using cliches, your sexuality level, that’s in your book. But where Marlowe really… and can see how your beats are progressing so far in the book.
James: This changes if you add 10,000 new words to your book, it’s going to diametrically change. I’ve seen it many times happen that way. So you can use it as an editing tool going forward. But, you know, it’s good to have a final one.
Alessandra: Yeah. And especially some of the coolest things, and you could even have some comps maybe, but at some point, you need to run the entire book through, because certain charts, like this plot structure, will not make sense. If you don’t have the whole book; it’ll give you something that doesn’t make sense. And what this plot structure is, this is your story’s archetype. They say that they’re like seven main archetype. James’s book is most similar to Rags to Riches. And there’s language that describes this. We have a whole article that goes into the different archetypes, but you can see here, the purple line is his book. And the typical plot line of rags to riches is the green line. So, you can see kind of how closely those, you know, he follows along that. If you submit a half-completed book, your plot arc is going to be useless because it’s not going to make any sense.
And if you scroll down this next one is the plot turns and conflicts. This is really kind of where you see your twist and turns in your book. And what’s cool here is it will compare it to one of our bestsellers, so it will match whatever your book is closest to. So Monroe Doctrine was closest to the book American Wife, and you can kind of see Monroe Doctrine has a much higher, you know, kind of spike in conflict where that purple spike is. That’s also just very interesting because it right turned out that your book is very similar, kind of in flow and feel to another book, even if it’s a different subject matter.
James: Yeah, this is where you have it going up and down. So when you’re constantly, you want to try… if I was trying to engineer this better, I would look to try to engineer this to dip down further, just to dip a little higher, this to go a little lower, this to go a little higher. If I really wanted to go into the specifics of the book itself, one of the ways you can do that is when you find where those spots are. Some of it literally comes down to looking at what are the word choices you’re using in the sentence itself. Is it passive? Is it active? You can change some of those pieces to essentially manipulate the data into giving you a different view or a different way it’s going to turn out different readability. And that’s how you ultimately use AI as a tool to craft a better book long-term. And the more you can craft better books, the better it’s going to do for your business long-term.
Alessandra: Everything else is much easier. And Marina said, what about a trilogy book one, two and three? So in trilogies, I mean, they normally have a story, right? Like each book is a story, but a lot of times on that plot arc, you’ll see either a cliffhanger or you’ll see kind of a sharp drop near the end, oftentimes. But if you’re having a trilogy, by all means, run book one, run book two, run them each separate books because they each should have their own, complete story.
James: It’s really cool to see the whole thing as a story arc. That would be really neat to look at. But at the end of the day, if you’re just using that, what you’re going to fail to see is how this is set up in book one. Because what if there are structural problems or errors in book one, and you don’t know that, and then you just run with it? Then you’re going to run into the problem of, okay, you sold a lot of copies of book one, but the conversion from book one to book two is abysmal. And that tells you instantly what something’s going on. It’s the same thing. Like when you look at book reviews on Amazon, okay. So when you see a book that has say 4,200 reviews, but book two has 1800 reviews, and then book three has 600 reviews and the rest of them have 600 reviews.
So visually right off the bat, without even reading the book, just from that one little piece of metadata right there, I can tell you right off the bat, book one has a serious series structural problem towards the end that doesn’t come give the reader a compelling enough reason to buy the subsequent book, because they succeed in selling the first one, but they failed to convert and sell them the second one. And that’s a result of something that went wrong in the last chapter or two chapters of the book. And then you had the exact same problem in book two, where they managed to get into book two. But again, you replicated the same problem from the first book and you didn’t grab them in the first part of book two. And you certainly didn’t give them a compelling reason with book three to give you… or at the end of book two, to give them a reason to buy book three. And so even without running a report, just visually, you can see that. And that’s really easy to spot on Amazon across a whole host of authors and things that you look at is when you don’t see a high level of conversion with reviews in the subsequent books, that tells you there’s something that happened in the first one.
Alessandra: And we need to upload an entire trilogy so we can see the full story arc and how it changes. But what you just said, a lot of times, even a four or five book series, someone will be like, man, like I just lose a lot of readers after book three. Well, if you actually look at the Marlowe report, a lot of times, I mean, we’re at different places in our life when we’re writing different books, we might not realize that book three might have a completely different feel or pacing or plot structure than book one and book two. And that might be where you’ve lost them, so that’s important too.
James: The deeper you get into a series, like I’m right now in book five of my Monroe Doctrine series, book five of the sci-fi series is done, I’m working on book six of the sci-fi series. So, I’m in a really, really critical spot right now in the series where one book has got to be better than the previous one to keep them interested. Then the end of the book has to have an ending that’s leading to something that’s so amazing and incredible they’ve got to buy the next book, but then the onus is on you as the author to make sure that the subsequent books you keep creating are just better than the previous books, every time.
Alessandra: No pressure.
James: Yeah, you know, but if you can do this, if you can really make yourself do this, the rewards for you and your business, thus your family, are really, really good. But at the end of the day, it comes down to, are you willing to put in the work and the effort to make that happen? And that’s literally what separates the difference between those five and six figure authors is that little bit of difference right there. But then the authors that are, you know, in the hundred to 200,000 range compared to the authors who are in the 350 to 500 range or more, it’s that little bit of extra effort right there at the end, that makes all the difference.
Alessandra: And on that note, we are out of time. Thank you guys so much for everyone who joined us. For those of you watching the replay, if you enjoyed this broadcast, we have lots of more First Draft Fridays, and I encourage you to go through our YouTube channel or visit the website and scroll through the past episodes. And if you’re interested in trying out Marlowe, she does have the basic report, which is free. You can upload your manuscript and give her a try. But if you want a lot of the really cool features that we talked about today, those are part of the pro report which is very inexpensive, and you can check out all of those details at authors.ai. James, if they’re interested in reading your books, where would you suggest they start? And what’s your website or where can they find you?
James: Well, you can find all of our books on Amazon. So if you are interested in the sci-fi, obviously start with book one. If you’re interested in thrillers, I’d look at the Monroe Doctrine. It’s a very interesting techno-thriller based on looking at artificial intelligence and machine learning and how we really think that machine learning is going to be the future of modern warfare, especially with autonomous warfare and drones, and how that’s really going to shape things going forward. Especially we’re seeing in Ukraine, how the drones are being used there, and that’s just an indication of where things are headed.
Alessandra: Thank you so much for joining us. Thank you, guys. It’s been a fantastic episode, and we will see you back in two weeks at another First Draft Friday. Thank you all.
James: Bye.
