What goes into making a book a bestseller? - Authors A.I.

James Rosone
July 10, 2020

Our First Draft Friday video chat covered how authors can now use A.I. in their fiction writing.

New A.I. tool takes a lot of the mystery out of creating popular fiction

If you’ve been writing long enough, you may have released a book that became a bestseller; maybe it caught fire, went viral and everyone raved about it. Congratulations. But that glory may have been followed by a sinking low. You released a new book, and there were no accolades, no singing praises, and most importantly for your wallet — few sales.

What happened? The two books were written by the same author, probably in the same genre. You used the same voice. You would think that if you were a bestselling author one day, the next book should also go through the roof, but that is unfortunately not always the case.

What makes a book a bestseller, anyway?

Well, as Matt Jockers, one of the founders of Authors A.I. and co-author of The Bestseller Code discovered, there actually are patterns that exist in the books that make it to the top. By plugging your manuscript into the Authors A.I. tool called Marlowe, you can generate a report that will give you a pretty good idea of where your novel stands before it gets released to the public. This allows you to make adjustments and potentially create multiple bestsellers in a row instead of living in the land of feast or famine.

plot structure graph
The plot structure and narrative arc of “Into the Stars” by James Rosone.

Using the A.I. tool for story beats

I’ve been using this tool for several books now, particularly in my new military sci-fi series. The features that I find most useful in creating my drafts are the graphs of pacing and beats. By looking at the charts, I can clearly identify where there might be a lull in my book so I can incorporate more action there. Alternatively, I can see where I have created too many fast-paced scenes one right on top of the other, without giving the reader a chance to digest what has just happened.

I tend to write intuitively as the story leads me, but even authors who outline their works extensively may get the pacing wrong without realizing it. Not only does the Authors A.I. tool give you a visual representation of the highs and lows of your novel; it actually provides some level of explanation of what could make it better. And because this information comes from an impartial analysis, you won’t get misled by a beta reader that has optimism bias about everything you create.

narrative beats
The major narrative beats of “Into the Stars.”

Dialogue, subject matter and overused words

What else can the tool do? It provides feedback about how much dialogue you have versus narrative, identifies overused words, pinpoints likely misspellings, and helps you make sure you have the appropriate amount of focus on your subject themes. Did you know that books that have no more than three themes taking up 30% of the manuscript tend to be more successful? I have used the A.I. tool to identify in a visual representation what the focuses of my novel are and determine when I tend to spend more time writing about a particular topic.

By plugging my manuscripts into this tool, making adjustments and then using the tool again, I can visually see when I have been successful at making a novel better. We can all take classes on better writing until we are blue in the face, but no other method currently exists to receive this level of analysis and unbiased feedback of one of your novels.

The Authors A.I. tool — which comes with an introductory free tier and a pro version — has taken a lot of the mystery out of creating a bestseller. With enough time and effort, and by using this tool, you too can replicate bestsellers over and over.


Transcript of our conversation

Alessandra: Okay, we are live. This is First Draft Friday. Thank you for joining Authors AI for another edition. We are talking craft as always, and I’m really excited to have with us today JD Lasica and James Rosone

Alessandra: They are masters in the Thriller and Military and Sci-Fi arena. And we’re really going to be talking today about story beats; story beat and using Marlowe and the AI technology in your rewrites. So, I hope that was an accurate description of what we’re going to be talking about. I’m going to turn over the mic to these guys and let them take it away. But as always, please say hello in the comment section, please ask any questions and we’ll be interacting with you guys as we go.

JD: Thank you Alessandra. James, very nice to see you again.

James: Thank you.

JD: You were one of them that was there at the beginning of Authors AI. So, I appreciate all your help along the way. For those who aren’t familiar with your background, you’ve got a really interesting background in the Military. You want to tell us about it a little bit?

James: Sure, I spent about 10 years in the Military and then another eight years working as a DOD contractor and also with the State Department. Most of my job what a lot of people don’t know about me and I’m a very unassuming person is, I was actually an interrogator and a terrorist hunter. So, my job was to sit down with no shit Al Qaeda terrorists, and actually questioned these guys day-in and day-out and hunt these guys all over the world. So, I have traveled to about 50 add countries, been to a lot of off-the-beaten-path places you’ve never heard of seen a lot of weird stuff, but you know what; it all gives me some exceptionally great content to write about. And so, I like to incorporate a lot of that stuff, you know, into the different spy, military thriller type books.

JD: One of your earliest books was Interview with a Terrorist; was that right?

James: Yeah, that was our earliest book. For me, I got into writing originally as PTSD therapy that one of my counselors at the DA says why don’t you to try this out, so I started doing that. And part of the therapy was doing CBT or cognitive therapy. Basically, what it is, you sit down and you talk about the scenarios, you talk about the situation over and over kind of desensitize yourself and decompress, so I did that. I started going through all my cases and I was like, man, why don’t I just turn it into a book? And so, that’s exactly what we did. We turned it into a book called “Interview With a Terrorist” and published it and it was a flop, it did terribly. Nobody really bought it, but that’s because we didn’t know anything about marketing, we didn’t have varied covers, we didn’t know about squat in this business.

So, we got better with it and eventually the book was reviewed by Fireborn Studios, who decided to option it and starting in another couple of weeks, they’re actually moving forward finally with actually turning it into a screenplay, so then it can be presented and pitched to Hulu, Amazon, Netflix and we’ll kind of see how that shakes out. And if it doesn’t shake out with one of those you know, Jerry Angela plans on moving forward and producing it himself with around a million-and-a-half-dollar budget. So, we’ll kind of see how that shakes out. I’m excited to kind of see how that turns out, but it really led us to our entire writing career because we’ve gone on to write and publish 18 other books since then and have another four more in the works right now.

JD: Wow. Yeah, great background research for your books, but I wouldn’t recommend that for everybody if you go to the Middle East. So, you started out writing Military Thrillers, and you’ve moved into a Military Sci-Fi a little bit, so tell us about that journey.

James: Sure, so as a marketer, one of the things you want to do is you want to saturate the space with your books, and you want to try and get as much of the audience as you can. You want to grab them all in, but when you’ve grabbed all your audience; you have to find a new audience or a very similar audience. And so, what I looked at as people who like to read current Military affairs, Military Thrillers also tend to like Military Sci-Fi. And so, part of what I’m trying to do and branch into that is to write a series near term 2090s, and kind of rope that audience into my portfolio of military inspired thrillers that I already have, and then try to get an audience for this new set of books and this new series as well. So, that’s kind of what I’m trying to do right now. I’m not giving up the Military Thriller space. I’ve kind of designed it where I have three military thrillers that I’m known for and then three Sci-Fi and then I’ll go back and forth between three and three and continue to build out the future brand that way.

JD: And they should be closely related enough so you’re not really hopping into a completely different genre, right?

James: No, not really. I’m not writing space opera where we’re just… I’m not writing “The Expanse” or anything like that. It’s a lot more like “Battlestar Galactica,” so it’s very relatable to a normal military thriller.

JD: Tell us how because I’m not all that familiar with the Military Thriller Sci-Fi genre. Can you tell us the changes you had to make when you’re writing your books when you moved into that subgenre?

James: Well, I think that in all reality, every book needs to have the same kind of story beats, no matter what the genre is. You need to be able to have some kind of action or hook in the beginning to capture the reader and then you have to have them pace throughout the book so they’re constantly turning the pages and continuing to read it. So whether it’s Military Sci-Fi or a Military Thriller, I think some of those basics remain the same. It’s about telling a really good story that captivates the reader and causes them to want to read through the chapter and then turn the page to read the next chapter. So, there wasn’t a lot of nuance that had to be changed in that respect to be fair. I think that military Sci-Fi is a lot easier to write. It is not nearly as technical when it comes to the research when you’re writing Military Thrillers. So, you are talking about a Chinese aircraft, fighting an American aircraft. You have to spend a lot of time reading up on both of those planes to really understand the terminology, how they’re used, how they work. In Sci-Fi when they’re battling in space, you’re making it all up on the fly; there are some physics involved. But, you’re not having to understand the technology of an F16 or an F22 compared to a Chinese aircraft or a Russian aircraft because those things haven’t been invented yet.

JD: Yeah. So, just last question on that, where did you start with your new series? Did you have to invent you know, I assume you started by inventing a new main character from scratch and then based it on what…

James: I tend to write series. So, when we write a series it’s four or five books, so I have to world build essentially every time I restarted a new series. So, the unique thing and fun thing about Sci-Fi is I write the world once; then I just have to live within it and continue to have stories inside of it. That makes it significantly easier than doing a Military Thriller, where it’s a new world every time you create a new series. So far, I’ve had to create four worlds in my Military Thriller genre, which is tough, the Sci-Fi it’s one. So, I chose to do near-term. So, 2090 is an estimate of when it kind of takes place. So, technology and companies that are around now is still somewhat prevalent in that period, so it’s relatable to my current audience. And then, what we’re going to do is we’re going to go back in time to talk about this AI war that took place in the 2040s that really led to the creation of the countries and regions that are governing our society in 2090. And so, that’d be another way to kind of tie the two genres firmly together and really move the audience together in the new series.

Alessandra: And does everything stay on Earth?

James: No, we start out on earth, but you know, right now there’s obviously expeditions they’re planning and wanting to go out to Alpha Centauri once they establish the Mars base, the first establishing lunar because then when traveling lunar, you have the launch pad to go to Mars. So, that’s already taking place in our series. The colonies on Mars, we’ve got some explorations in the belts and different things like that, but now humanity is developing faster light travel for the first time. And they say, we’re going to put together this expedition to go out to Alpha Centauri. Now, the Americans, of course, will send out probes everywhere. And America no longer exists in this world; it’s the Republic. It comprises of North and South America, as well as Great Britain because you know, their whole Brexit thing, they said come with us instead of the creator European union.

So, what they decided to do is have they have probes all over the place and they ended up discovering this brand-new planet that’s not that far away from Alpha Centauri as far as time difference just in a different direction. And they decided to go off on their own, but when they go on their own, they ended up discovering a very unique presence already on there and that kicks off this whole new conflict. And that’s where it’s like, what the heck, if you just stuck to the plan and gone with us to Alpha Centauri, we’d never would have known about these people and known about this. We wouldn’t have kicked up this whole hornet’s nest, but now you drag whole worlds into this thing. And now, we all have to put aside our animosities and come together to actually defend humanity and make sure we survive. So, I think it’s going to be kind of a fun little twist.

JD: I think we found talking to the folks who joined our startup the most in the authors writing series. So, for those who aren’t familiar with the concept, you know, what is the first book of the series? When is it coming out and what’s your strategy about unlocking books two and three?

James: Sure. So, I have two new series essentially launching this year. The first one is Into the Stars, which is our Rise of the Republic Sci-Fi series. That one comes out on August 11th and then we got Discover Sci-Fi Deal for the 15th. I’ll be glad that that audience will also get to have an opportunity to buy it as well. The subsequent series or the next series is going to be a Monroe Doctrine that comes out on November 30th. Now, one of the key strategies for these though is when you… because Amazon opened up the aperture, so you can now do pre-orders and beyond 90 days. So what we do is, we have book one of the Sci-Fi series, book two is already up for pre-order, and book three will be up probably in a week or so once the cover designer is done with the cover. And then, we’ll be able to put that one up. And our goal with that series is to release these about six weeks apart. Because those books have been done now for probably three months; they’re just making their way through different layers of editing. So once we’re all done, that series will start getting released. And while that’s happening, I’m already hard at work on book two now, the Monroe Doctrine, and continue to push through that series and get that series out.

Alessandra: For any new authors, especially who are watching this, what James said is really important, I think in when you’re writing a series and especially if they’re connected series, not spinoffs, you know, standalones. It’s really powerful to write everything before you release the first one because you’re going to wish you could go back in time and change things and book one, otherwise once you’re halfway through book three.

James: And I’ve already done that, I’ve already done that too, where I wrote three books, three, one, Whoa, we need to go back and make some major changes. And then Jasper Scott was kind enough to lend me several of his beta readers and they read book one, and they were hooked on it right away, which was a great sign, but they had some very good critiques of it too. So, I was able to go in and make a lot of changes to it. But those changes required me to make substantial changes to book two and book three to get the consistency and make sure that it worked. So, I highly encourage anyone to have at least two, maybe three of the books done in your series before you even launched the first one. It allows you to have time to get them through proper editing. It also allows you to develop a really good pre-order strategy because the pre-orders are a way to crush it. You can nail those three, 4,000 pre-orders every time a book comes out, that’s a 15 to $18,000 payday depending upon your price scheme and how you price these things.

JD: Let’s talk about artificial intelligence for a moment. So, you’re at the cutting edge of this whole movement of using AI for long-form fiction. So, why don’t you just tell us a little bit about how you’re using Marlowe and explain to the audience how that works?

James: Sure. So, I believe as an author, you need to use whatever tools are available to you to advance your career to become more successful. That ranges from, like say joining SPF, you know, Mark Dawson’s group and learning as much as you can from them. It also includes, you know, mastery.com and being able to learn from some of the legends in the field of writing how they go about doing that. So, that’s mentoring and learning from people, but technology is also available too. And now we have this tool, Marlowe, that you can feed your manuscript into and you can get a visual representation of where your manuscript is strong and where your manuscript is weak and how it stacks up to historical best sellers. If you want to create, there are two types of writers; there’s hobbyists who just want to write and have a book out and then there are career writers who want to make money, who want to pay off their student loans and support of their families. Those folks really want to learn the craft, and Marlowe is a great tool to allow you to do that. You can visually see where your writer beats are, where it’s strong, where it’s weak, where it’s slow, or it’s too fast. And you could start to go in there and deconstruct the manuscript to pace it and figure out how you want this thing to really look before you actually publish or pay to send it to an editor. And I think that’s really important for authors to get involved in leveraging and using.

JD: Yeah. One of the handouts that we’re giving out as part of this First Draft Friday is a handout on story beats story elements. Alessandra would you like quickly put the URL in the chat. God, you’re way ahead of me as usual. So, tell us a little bit about… I mean, people define story beats in different ways. How are you using them?

James: So, what I look for is, before Marlowe, what my wife and I would do because we coauthor everything together, we’re a writing team like that. What we would do is we will look at chapter one through however many chapters of us. Then my wife would look at every scene and inside of that chapter and she’d write dialogue or action, dialogue or action. And what we would do then is, we would look and see how many dialogue sections there were before there was an action scene or how many action scenes there were before there was a dialogue. And when there was too much of one, we would go in there and we would manually move some of those things around to pace it out better. So, we were unwittingly doing exactly what Marlowe is doing. Just because we didn’t know the technology was there, we know these things were actually created because I think even when we first talked with Matt back probably was right around this time last year, they had just started testing this and started getting into this. And it really has evolved a lot over the last nine months, you know, with more testing.

And so, that’s what we would do, we look to find, create the beats for every nine to 13% throughout the book, it’s either going high or low beat, high or low beat, almost like an EKG or it’s going up and down, up and down. And it doesn’t need to all stay above the pace that the narrative arc there; it doesn’t need to all be positive. It can be negative; it can be largely negative. It really depends on the type of story that you’re telling. And if this is book one of a series and there’s a lot of world-building involved and of course, you’re going to have a lot of negative towards the end because it’s that suspense that you’re building that’s going to cause people to go, “oh my God, I can’t believe the book ended,” there and low and behold, I have a snippet chapter in a pre-order link right there waiting for you. And that’s how I crushed it with the pre-orders is because we’ve designed the end of every book to lead you to have to make that decision.

JD: Let’s encourage folks who are listening to ask some questions in the panel.

James: Ask away, we can tell you all that we’ve done.

JD: You mentioned Matt so, that’s Dr. Matthew Jockers the co-author of the Bestseller Code and co-founder of Authors AI. He’s actually going to be our next guest on First Draft Friday in two weeks from today. Come back everybody. So, tell us a little more about story beats. You’re sort of using these beats that are basically like action points, right? They could be reversals; they could be turns, different kinds of high points that are going to be made into a movie. So, how do you find that useful?

James: Well, I find it useful because… alright, so when I was listening to masterclass, I’ll use another example here. When I was listening to David Baldacci speak, he says that the first couple of paragraphs in every chapter have to just grab the reader’s attention because it needs to get the reader to want the concept to read further into the chapter. But he said equally important is the last several paragraphs in the chapter have to grab the reader by the throat and make them go, “Oh my God, I can’t believe this happened, I have to turn the page.” And when they turn the page to the next chapter, they go, “Oh my God. Now they have to finish reading through the rest of it” so those are your story beats.

Some authors are just natural at writing those and being able to make that happen. But even those who are, you still want to use a tool. I still recommend using a tool to help you refine that, to make sure they are where you want them to be. Because you can have the front half of your book being super-fast paced and lots of beats, but then the back half of your book is just dry as paint and boring. And you don’t see it because you just went through all that action or vice versa. The front part is so detail-oriented with the world-building that there’s no action to cause someone to get to that halfway point or that one-third of the point of the book where the pace actually picks up. And then what happens is, sure, you sell a ton of books, but your read-through is absolutely atrocious on a series. You know, our worst selling series… you know, one of our worst-selling series has a read-through of 63% our next one is at 74% and the current series just finished out at 92%. So, really leveraged Marlowe’s reports to engineer and create these books in a compelling manner that caused people to have to constantly turn the page and read the next scene.

Alessandra: And just to clarify, for someone who’s listening to us, who may not know who Marlowe is or what we’re talking about when we talk about the AI report. So, Marlowe is like a developmental editor of sorts that is powered by Artificial Intelligence. You can submit your manuscript and you’re going to get back a report on a ton of different things, but one of the things is beats. So, when James ran through his manuscript, what it does is it kind of charts out chronologically your story and shows you where those major beats are so, you can see. And I was looking at the one for Girl on The Train the other day, in the first half of the book, those beats were really spread out and I know when I read that book, it was really slow for me to get started. It’s a great way, you can submit your manuscript, you can get a report and you can kind of see, okay, have I been evenly spaced?

Or like James said, is all my action at the beginning and then it kind of dies out. So, there’s that chart on Marlowe, but there’s also one on pacing. And the pacing is interesting because I get a lot of customers reach out and they’re like, there’s no way my pacing is so slow in the beginning because I have all of this action happening. And I talked to Matt about that and action and pacing are two different things in the way Marlowe views pacing. It’s how absorbed is that reader or how quickly are they reading. And just because you might have your character doing a lot of action, it doesn’t necessarily mean that that reader is really devouring that content and reading quickly through it. So, those are two really interesting things that I think directly affect what you’re talking about James.

James: And part of it is also looking at what type of word choices are you using. Sometimes you’re using the wrong type of word to convey the actions you want to convey or to convey the speed at which you’re trying to move the book through. And we don’t always recognize that you can use the word quickly too often, or you use another word too often, but the Marlowe report breaks all of that down for you and allows you to see that. So essentially, this is the kind of service you get when you pay three to $5,000 for really good developmental editor, but the problem is a lot of folks can’t always afford to do that. And this is an exceptional tool that new authors and even veteran authors can use.

And I think as a veteran author, I will always use a tool like this because what it does is help me craft not just a really good book and manuscript, but when I turn that into my editor, I’m turning in a substantially better manuscript to her, so then she’s able to help us turn that into an even better book. So, it’s kind of that same, you know, garbage in garbage out. If you hand your editor a poorly written book, they’re only going to be able to improve it so much, but if you have an outstanding manuscript already, they’re only going to make it better for you.

JD: I think when I was starting out, one of the struggles I was having as a new fiction author was trying to figure it out how to space out different kinds of action scenes versus more relaxed kind of scenes or the world-building that you mentioned the character building. What a lot of, I think, newcomers to the writing space really haven’t mastered yet is the idea that you actually have to give your reader some breathing room between some of these big scenes. So, you can’t have like… Marlowe will show you in a report if you’re pacing is like all the way over here, and that’s not good, you actually do want to have those valleys and peak to give like a rhythm to your novel, right?

James: Correct, otherwise, it’s too fast or it’s too slow. It’s like what Alessandra was talking about how you read that book and it was good, but it was just a tough slog to get through, whereas, if the book is so fast paced, it’s just overwhelming. And then honestly those books don’t always end up with the best read through because it’s just so fast too much; there’s not enough time to absorb what was just said, people just end up putting it down because they need a break. And then suddenly, they forget about it or another book comes along and takes its place and you don’t want to have happen.

Alessandra: They call it skimming, you know, it’s funny, like you think the more action you have, the less somebody would skim, but at some point, like I think it’s just brain overload and they just need a break, a mental break.

JD: Yeah, you run out of adrenaline at some point. I was seeing some of the research into this, there was an interesting book written by Dwight Swain, I think in the 1960s. And he was talking about this concept of scene and sequel. So, you have to like space out your big scenes and then give the readers a little bit of a relaxation. I don’t like the word sequel because it has other connotations, but the concept is really applicable to a lot of what we’re trying to achieve here. One of the things, it’s probably worth mentioning before we run out of time here is, today a big day for us in a few hours, we’re going to have a freemium model on Author AI, so anybody can sort of see at least the basics of what we’re talking about and then say reports by coming to authors.ai for free and registering. For that part of it it’s basically James, we’re going to be renaming the author light reports Marlowe basic and kind of like Grammarly on steroids. So, it’s a lot of the same kinds of things on as Grammarly program are running a little bit better. And then beyond that is the Marlowe-pro reports where you can actually see a lot of the pacing, analysis, applied structure, the subject matter, the character traits, all that stuff. Do you use the character traits piece at all to sort of compare your main characters?

James: To be honest with you, I don’t use the character traits as much. I think I just really kind of focus a lot more on the pacing, the story beats and then words that I’m overusing. If I’m using a word too much, I want to try to get better about that because I don’t always catch that. And then it’s really, for me, it’s a lot more on the pacing and the story beats because when you write in series, you live and die on your read-through. If your series isn’t doing well, you’re going to be spinning your wheels. And frankly, you know, my books between, you know, editing for each book is give or take around 3500 to $4,000 a book, so I need to earn a certain ROI back on that to make that profitable. And you want to focus on the things that are actually going to generate revenue.

JD: So, you actually run your drafts through… you select three or four or five different iterations of your book before it’s finished.

James: Yeah, when I really finish it, I run it through and I look at it, and go, okay, this is it. Then what I look at is I go in and say, okay, now I need to go back in, I need to edit and make changes and I’ll go in and out and make changes based on the first report. Once I’ve integrated in the changes that I think needed to be done from the first report, then I’ll run it one more time. Then what I do is I take that refined report as long as it looks the way I think it needs to look, then I take that report with the manuscript and I send that to our professional editor, and she looks at it and she can take what that report is saying, and she can hone in and make this even better. So when it comes back to me, then we go through, we make the changes, I send it through one more time, and I compare what that third report looks like compared to the second report.

So, now it’s final version before it gets published, I want to see how it looks and how it changed from the first two reports. And if it really is the way we think it needs to look before it gets published, then we’re good to go with publishing. If we still see something that’s questionable, then we may go back in and we still may make another change before we publish. And by making sure we have three books out before the first one gets done and we set a long enough pre-order; we’re able to give ourselves enough time to actually do those kinds of things because you want book one of any serious to just knock it out of the park. Book One is super important when it comes through for buyer’s review because we immediately have Book Two up for pre-order right there. And Book Two is just as important as book one because if they bought book one and loved it, you got to crush it with book two. Because if they buy Book One, they pre-order Book Two and they don’t like it; they will tank you on reviews and that will destroy your buyer’s review. I’m not saying books three outward aren’t as important, but they are not nearly as important as the first two.

Alessandra: And are yours cliffhanger endings or they’re standalone?

James: No, absolutely cliffhanger endings. We make everything an absolute cliffhanger so you’re left going to holy cow, what the heck happened? I got to buy the next book and the pre-order link is right there with the little snippet, and that way you have to go, you got to get it.

Alessandra: Have you ever run the entire three books through Marlowe, like combined them into one document and run them through? I’d be curious how it looks.

James: Honestly, I haven’t yet, but that’s not a bad idea. Maybe I could do that, they’re all on like different stages of editing and stuff.

Alessandra: I know it’s not a simple thing to do.

James: It’s all over, so it just takes a little bit of work to delete all that stuff out, except all changes, put it into one document. I probably should do that, maybe I will do that [inaudible29:54].

Alessandra: When you have time, right?

JD: And there are a lot of different kinds of authors who could use this report. So, one is the aspiring author, people are just starting out, I think they can learn more than a few tricks from Marlowe. But even for veteran authors like yourself, it’s interesting to see, you know, the kinds of things that you can actually go back and use it over and over again for.

James: It’s all about building your brand and staying ahead of the curve. You know, you’ve got to leverage the technology and the tools that are available. So, whether it’s marketing on a new platform or it’s a new writing tool like this, it’d be woos of you to stay abreast of the changes and try to figure out is this a technology worth integrating into my writing. Personally, I think this is because this is only going to improve your craft to make your books better. So, it’s one of those tools that’s worth investing in and being a part of and doing.

JD: Alessandra, are there any questions yet?

Alessandra: We don’t have any questions that you all, haven’t already answered. So, we’re good on the questions we are, unfortunately out of time, if there’s anything final you want to say, James, please, we’ll give you a minute to do that. And I do want to announce the winners. So, we have five winners of a book on craft which is The Art of Writing, and so, congratulations to Felicia, Patricia, Rebecca, Pescal and Lizzie. So, congratulations to you guys. We’ll reach out to you via email, and if you want to be in our future giveaways, be sure to follow us here in the group and join it if you haven’t already, and follow us at authors.ai, our website. Anything else you wanted to add before we said goodbye, James.

James: I would just tell readers to take a chance and try it. You’re not going to know what you’re missing out on until you’ve tried it once. If you’re really serious about writing and want to make this a living and earn a lot of money; then I would encourage you to try this because we all invest a lot of time and money and effort into creating a good book. This is a good tool to help you make sure that it is where you want it to be.

JD: Those are wise parting words. So, anybody who’s interested in taking your writing to the next level or turning your hobby into a career; this is a good place to start. And yeah, James you’re willing to stick around you know, after the chat and sort of interact with people. So if you have any other additional questions, you know, James has been more than kind in sharing his time and wisdom with fellow authors. So, thank you for doing that James.

James: Yep.

Alessandra: Thank you guys. Thank you both for joining us. Thank you to everyone who joined and everyone who watches the replay. So, we’ll see you guys in the group.

James: Thanks, Alessandra.

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