Works In Progress-Big announcements coming

So 2020 has been kind of a bust. I put out two novels in my John Simon Thrillers and had a couple short stories out in anthologies (Surviving Tomorrow, Weird World War III) but one of those was a reprint. I also edited Surviving Tomorrow, a charity anthology funding COVID-19 test kits, but beyond that I have written two other novels that will appear in 2021 or 2022. And that’s where I stand.

However, some stuff has started happening I can’t yet reveal but that is going to happen for 2021 and 2022. Let’s just say I should have one anthology out in each year, and I expect to have three novels out in 2021 and at least one in 2022 with more to come. This is good news because with parental health issues, my own medical situation, and general depression of living under an ominous pandemic and disappointing political situation, I have struggled to stay up and productive more than usual.

That said, I also expect to have at least three short stories out in 2021 (two in anthologies) and will probably do at least two more John Simon Thrillers before starting a new series. Who knows what else will develop, but it’s been so long since I updated you all, I felt I should at least say something. Hopefully, I will be back next week or the week after with big announcements of the anthologies. Just waiting on contracts to be finalized before I can announce.

Meanwhile, I hope you all had a pleasant and safe Thanksgiving and that your holiday season is joyful despite the circumstances and limitations we all face in the COVID era. Be careful, wear your masks, social distance, and keep your heads up.

For what it’s worth…

If you’ve read and enjoyed my books, please give me two minutes of your time for an anonymous survey to help me better identify my audience.https://forms.gle/r525DJsYipNZeChj6

WriteTip: No Deal is Always Better Than a Bad Deal

DISCLAIMER: I am no lawyer. And I am not an agent. So I am not one to give legal advice. This counts more as common sense so keep that in mind. I want to say this about contracts, and it’s learned from experience:

No deal is always better than a bad deal.

Recently, I’ve spent a lot of time negotiating contracts, and it’s got me thinking back ten years to when I first started out as a writer. For the first two or three years especially, it seemed like I was never going to get a sale, let alone a pro sale. And that made me feel like my legitimacy as a writer was very much in question. So one day, when a deal came along that paid pro rates and offered me that opportunity, I faced a real delimma. See, they were paying me ten cents per word. And that was at a time when 6 cents per word was the pro standard, so this was great pay. But in exchange they wanted my copyright and along with it the right to rewrite me however they chose without my involvement if they decided to do so.

Man, I really liked everything about that project. I really wanted to be a part of it. Until I heard the deal points. It’s evidence of my desperation that I spent a few days actually weighing it before turning them down. Now a days, it would be a nonstarter, and, in fact, a sign that I should never do business with those people again. That’s outrageous. Writers are not slaves. Our intellectual property is our most valuable commodity, and if our name goes on it, you shouldn’t change a word we don’t agree to. It doesn’t matter how much you pay us—that’s nonegotiable. But as it was, I really wanted to be seen as a pro with a sale to prove it, so I did spend a few days considering what to do before I made the decision to decline. And just to prove what shitty people they were, the editor told me how I’d regret my decision and what a fool I was being—clear signs, I now know, of sharks and jerks I should never go near. But at the time, I had a lot to learn, so I wondered for a period if I should have taken the deal.

Seven years or so later, I have zero regrets about that decision. In fact, I have found myself in the position on occasion as anthologist defending my writers against that very type of rights grab. To me, it’s a nonstarter. And it should be for you and any creative. Unless the work is an exiting IP work for hire situation, you should never be asked to relinquish control of it by anyone. Now, if you are unreasonable about reasonable edits and copy edits and style changes, then they have every right not to publish you. And you should expect as much. So don’t be a dick. Be reasonable. But that’s not the same as rewriting someone’s work without them. I would never want my name on work that was not entirely my own, would you? In work for hire, you might not have a choice but with your own original work, you always should and do.

So, again, I advise you to remember this one thing when it comes to selling your work or negotiating any contract:

no deal is always better than a bad deal.

Of course, I also advise you to seek advice of knowledgeable people so you know what is reasonable and what to expect. After all, some deal points are standard, and you may not understand or like all of them, but that’s part of the business and there are reasons for them. Publishers are in the business to make money, and the goal of each side in any contract negotiation is to negotiate terms most favorable to them. There’s always some give and take involved. But when you know industry standard terms, you can tell when you are being treated fairly and reasonably within bounds and when people step over the line, and to me, that is the difference between a bad deal and a good one. The thing is that the industry standard terms have been negotiated or hard fought by writers organizations, writers, agents, and publishers over a number of years and represent the most reasonable compromise between both groups’ expectations. You are never going to get a deal with a publisher that is not at least somewhat more favorable toward the publisher because they are the ones putting out the money and assuming the financial risk, and they also have more overhead than you do on a number of levels. But over time, writers and their representatives have worked hard to work out terms everyone can live with in regards to not only royalties but exclusivity clauses, options, reversion rights, and so on. So familiarizing yourself with what the standards are can ease your mind and reassure you that you are making the best deal possible, all things considered. (Hint: The boiler plate almost never reflects these standards, so never take the first thing offered. Always  expect to negotiate a bit. The exception may be contracts with magazine and such, but most of the time, negotiation is expected.)

In the end, a bad deal is very hard to live with. It will haunt you and come back to make you hurt over it and regret it many times over. Whereas the deal you thought you regretted passing up, will disappear with time. That deal I mentioned that could have been my first pro sale? This is the first time I’ve thought of it in several years. Why? Because I long ago moved past it and had successes and learned what is and isn’t fair and reasonable, and that gave me perspective that I had done the right thing.  But bad deals cannot be undone, or at least, they are very hard to undo—and very expensive. So never let yourself be talked into a deal that doesn’t feel comfortable. Because it’s far easier to wonder over and over “what if” than to ask yourself over and over “how could I have been such a fool.”

And that’s why no deal is always better than a bad deal. For what it’s worth.

WriteTip: Using The Rule of Threes To Up Humor, Tension, and Nuance

Today, we’re going to talk about The Rule of Threes, or rule of three, as some call it. It is a technique where you set up gags or bits so that they recur three times in a story, each time successively bigger and funnier or more dramatic. Wikipedia defines it as follows:
The rule of three is a writing principle that suggests that a trio of events or characters is more humorous, satisfying, or effective than other numbers in execution of the story and engaging the reader. The reader or audience of this form of text is also thereby more likely to remember the information conveyed. This is because having three entities combines both brevity and rhythm with having the smallest amount of information to create a pattern.

The repetition makes the payoff greater. In comedy writing, the first occurrence tends to be a smaller laugh. The second, medium. The third is hopefully a real guffaw. The actual events of the joke don’t recur each time. For example, if a banana peel were the joke, you might start by having someone fall on one. The second time they might dodge a banana peel because they expected to fall and someone else falls instead. The third time they find banana peels falling from a truck and everyone is slipping and sliding. A lame, silly example and a cliché, but it illustrates the point. Each successive recurrence gets bigger with a twist, until the third recurrence is much bigger and much funnier. The payoff breaks the pattern enough that it surprises us but not so much that it is a non sequitur. It is about something unexpected that breaks the pattern yet is connected to it enough so that we recognize it. Hence, the first two times, someone drops a banana peel. The third time, a truck full of banana peels breaks the pattern.

Using the rule of threes is a great way to plant humor in stories and pay them off over time for bigger laughs. The catch is that it must be familiar enough for the audience to understand, and it must be specific. The more specific, the better for comedy. As comedian Simon Taylor explains:

The rule of three creates an assumption by listing two similar items, then a third one that differs in a fundamental way: I like red wine, classical music, and committing brutal homicides. They then become more elaborate by having introductions to the items: I didn’t have time to pack much for the weekend, just: socks, undies … my ninja sword. To add to these, you can reiterate the assumption at the end of the joke by using what comedians call a “tag”: Man, I love the horse races: the big winnings, the fashion, the woman collapsing in a pool of their own vomit. It’s all fun.
(https://mrsimontaylor.wordpress.com/2010/ 12/03/the-psychology-of-comedy-rule-of- threes/)

The extra elements of introductions and tags act to reinforce the assumptions created by the first two items in the list. To take the second joke as an example, we hear the word “socks” and subconsciously associate it with categories such as “clothing,” “basic,” and “essential.” When we hear that “undies” is the next item, those categories are reinforced. In comes the “ninja sword” to contradict those categories, which is what causes some nice little chuckles.
In comedy movies and sitcoms, we see this rule applied time and again. Sometimes it occurs so often that audiences can see it coming and have come to expect it.

The same principle of repetition can be used to increase dramatic effect in more serious works because audiences pick up on the pattern and remember. Take “The Three Little Pigs,” the three ghosts of A Christmas Carol, or “Three Billy Goats Gruff,” even Goldilocks and her three bears. The three encounters each play out differently with different emotional and dramatic effects to raise the stakes and challenge the character, each adding to the one(s) before and forcing the character to confront something. In the end, they leave the character changed—usually for the better.

The first occurrence is a setup with a milder dramatic impact but an impact nonetheless. However, each successive recurrence increases in dramatic effect because the stakes go up with the repetition as the audience connects the character’s emotional and physical experience (nuance) dealing with the original occurrence and then each successive recurrence to up the tension of having to deal with a similar situation yet again. The ultimate result is increased drama and audience investment and a deeper emotional resonance and sense of nuance throughout your story.

If you haven’t employed this method before on purpose, chances are you have on instinct. Go back and look at some of your previous works if you’re not sure and see if that’s the case. If not, now you have a tool, but even if it is, being able to understand it allows you to use The Rule Of Threes to greater impact and effect.

[NOTE: Portions of this post were repurposed from my nonfiction book HOW TO WRITE A NOVEL: The Fundamentals of Fiction, which you can download for free on ebook here.]

Interview: Live From the Bunker (SciFi4Me)-Bryan Thomas Schmidt

I’ve had a crazy but very good week, with several projections in heavy negotiations and lots of prep, etc. so I did not have time for my usual WriteTip. So in lieu of that, here’s an interview I did with Sci4Me talking about my upcoming projects and so on. It runs about an hour. If you’re wondering what I’m up to, this should catch you up.

I’ll be back next Wednesday with a new WriteTip. Have a great week!

WriteTip: Don’t Forget To Read

This week’s WriteTip is a bit of a departure from usual form. No craft tips or lists. Just a passionate statement about something many writers often fail to do: keep up with reading.

It happens to all of us as we become writers—we get so involved in writing and craft and everything surrounding it (promotion, social media, etc.) that we slowly see our reading time disappearing or eroding to almost nil. And soon, there just isn’t time to read. Or so we tell ourselves. But it’s a lie, a big lie, and it is a dire one.

I once fell into this trap, and I can tell ya, my happiness suffered, but more importantly, my writing suffered. When I started reading again, my writing productivity and satisfaction with the results climbed. I now regularly read two novels a week, and still write an average of 1800 words a day when on project (there are breaks for edits, polishing, and so forth from time to time). And I am so glad I rediscovered the joy of reading.

For me, the challenge came from reading too many books in the same genres or sub genres. When I started writing science fiction  and fantasy in 2009, for example, I had not been regularly reading in those genres as I had during childhood, so I found myself out of touch and behind and wanted to catch up and get a sense of the field. Because I enjoy such things, soon I was devouring everything I could find in those sub genres, and because when I write, reading in the genre I am writing is helpful, it was fine. I am not one of those writers who is prone to copying plot and characters from what I am reading, so my stories were not negatively effected by reading in the same genre I write. Instead, I was inspired and reading helped me create the feel I wanted. When I wrote my Saga of Davi Rhii books, I wanted them to feel like Star Wars: A New Hope, so I rewatched the original trilogy and reread the Zahn tie-ins and mission accomplished. I realize not every writer can do this, but I can, absorbing a feel and elements that I incorporate into my own voice and style to enhance my book. If you can’t do that, I am sorry. I really am, so you may have to try a different approach, but this works great for me.

But after about 8 years of nonstop science fiction  and fantasy with rare breaks to read anything else, I started to burn out. Not only did my ideas dry up, but my enthusiasm waned greatly, and so I found myself slugging through books and reading half the usual number if that. Deciding that perhaps it was time for a break, I started reading other genres, with particular focus on procedural thrillers—which I have always loved on TV but had not read much—and boom, I was off and running again. The best part of reading outside my genre was I didn’t find myself interrupting my reading constantly with subconscious literary analysis or craft breakdowns. Instead, I could just enjoy the reads. Now that I write thrillers, I let myself entertain such thoughts a bit more but I have disciplined my mind so it usually occurs when I am not reading so as to avoid spoiling the experience.

An additional benefit is that I have learned new vocabulary and turns of phrase I can then incorporate into my own arsenal to enhance and expand my voice. We sometimes forget our limits. And it is good to see how other writers use words in masterful and interesting ways to remind us, even show us, how we might use them better and more interestingly moving forward. In the process, we can gain not only useful insights but words and phrases that expand our palate and reinforce our craft.

To me, reading is one of life’s joys, and by losing it, I lost something important. After all, reading is what made me want to write and helped me decide what stories I wanted to tell. Now, I read a variety of genres and some nonfiction (not always research related though often it is with a few writing books thrown in), and I really find I write better, I feel better, and I am more creative as a result.

So this week’s write tip is a bit of a departure from the usual craft how tos, but I just wanted to encourage and remind my readers that reading is still important and probably an activity that was a large part of why you write, so please don’t let yourself lose touch with that experience. Finding time for it will be one of the best gifts you give yourself all year.

For what it’s worth…

SURVIVING TOMORROW AND ME IN THE NEWS!!

So, the local Kansas City ABC affiliate did a nice piece on Surviving Tomorrow that ran on three prime time newscasts yesterday. It’s my first time on local news (bucket list, check!) and I thought it’s be fun to share it with you. So here it is.

To read the text, click here. KMBC Reports on Surviving Tomorrow

To order your copy of Surviving Tomorrow please visit https://survivingtomorrowanthology.com.

Apology For My Blog Absence

When I decided to take a brief blogging break in May, I started posting reruns of classic WriteTips every Wednesday, my most popular feature. The intent was to give me time to write some new WriteTips and get ahead of my posting schedule, but unfortunately, instead, I wound up in oral surgery while dealing with a major car repair, release details of an anthology and novel, and many other deadlines converging to a point of great stress and exhaustion and then I wound up in quarantine with a COVID-19 scare. Needless to say, I never got posts written and I have yet to fully resume blogging. On top of that my host tech has had some health issues and the site has been spotty due to server issues. I want to apologize for my signal silence and promise that I am well and will resume my website duties soon.

In the meantime, I will be posting a news interview I did about Surviving Tomorrow, my COVID-19 fundraising anthology created with a bunch of awesome friends and colleagues. It’s my first time on the local news, so I hope you enjoy! You can find that here.

You can also check out the sneak peak of my forthcoming novel Milk Run here, which will be book 4 in my John Simon Thrillers.

Milk Run Preview (John Simon 4)

Coming in Fall 2020, a brand new adventure for John Simon and Lucas George! Here’s a sneak peek. [Update: Unfortunately, due to some illness in Boralis Books’ staff, we are behind on getting this book ready. We are trying to get it out by December, but it may be January before it appears. With apologies.] 

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WriteTip Classic: 9 Tools For Character Development

Character Development is core to good storytelling. After all, characters are whom readers connect to and if they are stagnant and unchanging, the story can fail to hold reader’s interest. Growth of characters creates drama and propels the story. So what tools can you use to develop characters well? Here’s ten suggestions:

1) Treat Your Characters As Individuals–People are unique, no two the same, and so should it be with your characters. So each character should respond differently to a situation as any other character. In particular, fight scenes, for example, can often be a place where characters blend into one, as they all react the same. Instead try treating such common scenes as opportunities to reveal character through uniqueness. How would one character fight differently than another? Work this in and your story will be richer, your characters stronger. There are many other common scene types where you can similarly emphasize the uniqueness. Look for them.

2) Vary The Vocabulary–People use words differently, so your characters should as well. One of the best ways to distinguish and develop characters is through dialogue. Educated people use more sophisticated words, while less educated structure sentences  differently. Think of this as you develop each character’s voice and use it to set them apart, create conflict and develop them throughout your story. Vocabulary, in fact, is far more effective than attempting to create accents. Phonetically, accents already pose problems and can even devolve into silly or, far worse, confusing dialogue styles which detract from the story.

3) Scene Point Of View–Another way to develop character is by choosing the protagonist whose point of view will tell particular scenes. I tend to consider who has the most at stake in a particular scene and make the scene happen in that POV but there are varied theories. Whatever your method, your characters can be developed well through use of POV. For example, I had a scene where a couple are fighting. At the same time, an old enemy is stalking them, intent to do them harm. I told the scene from the enemy’s POV, even though he never interacts with the couple because it allowed me to further both the romantic storyline and the antagonist’s storyline in one scene through his internal monologue as he witnesses their discussion. Three character arcs and two plotlines were thus furthered in one short scene.

4) Sartorial Style–People’s tastes vary, and so should characters’. What they wear, how they choose it, etc. can be a part of characterization. Everything from color to fabric choices to scale, formality, and even clothing cost can be used to establish character. We use such things daily as we observe others to determine things about them, and readers will use such details as clues to define characters if you include them.

5) Naming–Names say a lot about who we are, and so choosing character names is another way to develop them or establish particular impressions almost immediately in reader’s minds. Someone named ‘Timothy’ and someone named ‘Theodore’ will be considered differently by readers. The first sounds more common and less formal, while the second sounds a bit more haughty and implies a different educational level or even class level. Now that’s stereotyping, of course, so sometimes naming a character contrary to the impression the name gives can also be a tool you use. But whatever the tactic, character naming is a very important tool in their development. In addition to formal names, nicknames can also be employed as well. Whether a character has a nickname, uses it or likes it, can say a lot about who they are.

6) Props–We all have our favorite do-dads, don’t we? Things we take with us everywhere we go. The cliches for women are purses and for men, perhaps, favorite hats, but we all have something. Sometimes it’s small enough to fit in a pocket. Other times, it’s carried around for all to see. Props are a great tool for revealing character. Spend time observing people around you. What props does each person have? Keep a spreadsheet or list of potential props for characters. Yes, when writing fantasy or science fiction you might have to be more inventive than just copying from a list you made at the mall. That’s called writing, dears. In any case, props can add great flavor and speak volumes about characters.

7) Companions–Fellow characters, animal or otherwise, can be great for revealing character. We see how they interact with each other and we learn volumes about who they are. Think about it: what would the Lone Ranger have been without Silver or Tonto? What about Batman without Robin? There’s a reason Michael Keaton quit after two movies: he was lonely (Ok, that might be just a guess). Who a person spends his or her time with says a lot about them and so use it to develop your characters well.

8 ) Backstory–It seems obvious but sometimes it’s easy to forget to dig deeply into a character’s past for material to develop the character. Even things you know about them but don’t include in your narrative can be of value. All the experiences of that character’s past serve to shape who he or she is becoming, from determining responses to various stimuli to emotional hotpoints from happy to fearful. When your character seems to become stagnant, review what you know about his or her past, then ask yourself if maybe there might be more to uncover which would help you as you write. You can only have too little backstory, never too much. It’s core to the internal battles all people face and will enrich your ability to write your characters with depth and broadness that stretches outside the boundaries and limitations of your story itself.

9) Traits–Another that seems obvious but developing your character’s likes and dislikes can take you all kinds of places, especially when you examine how they might clash with those of the characters around them and even the attributes of the world around them. All kinds of instances will soon arise where you can reveal more of the character through actions resulting from these traits. In the process, your story will have built in conflict and drama and perhaps even humor you might not have thought of before. Character traits are a great way to add spicy detail to your story, surprising and entertaining readers at the same time. And don’t just limit yourself to personal preferences either. Character traits can also include physical ticks like clenching hands when angry or a slight stutter or even a limp or other defect.

Okay, there you have them: 9 Tools For Character Development. Have more? Please add them in the comments. I’d love to hear what tools and tricks you employ. Let’s learn from each other.

For what it’s worth…


For more tips, come back next Wednesday. For previous WriteTips, click here.

Bryan Thomas Schmidt is a national bestselling author/editor and Hugo-nominee who’s edited over a dozen anthologies and hundreds of novels, including the international phenomenon The Martian by Andy Weir and books by Alan Dean Foster, Frank Herbert, Mike Resnick, Angie Fox, and Tracy Hickman as well as official entries in The X-Files, Predator, Joe Ledger, Monster Hunter International, and Decipher’s Wars. His debut novel, The Worker Prince, earned honorable mention on Barnes and Noble’s Year’s Best Science Fiction. His adult and children’s fiction and nonfiction books have been published by publishers such as St. Martins Press, Baen Books, Titan Books, IDW, and more. Find him online at his website bryanthomasschmidt.net or Twitter and Facebook as BryanThomasS.

To download How To Write A Novel: The Fundamentals of Fiction free one book, click here.

To check out Bryan’s latest novels, click here.

WriteTip Classic: 10 Tips For Writing Better Dialogue

Writing dialogue can be a challenge for some writers more than others, but it’s an extremely important part of good fiction. There are many tools and techniques one can use, the most important being to use your powers of observation. By listening to dialogue of the real people around you, you can learn how people talk, especially people of different socioeconomic, educational and age groups. But there are craft elements involved as well. Here’s 10 Tips For Writing Better Dialogue:

1) Use Simple Tags Sparingly. Fancy tags like “he expostulated” or “she espoused” are less clear and more distracting than anything. So keep the tags simple when you absolutely must use them. Instead, convey the manner in which a character speaks instead. Make it obvious from what is said.

2) Instead Of Tags, Use Actions. People talk while actively engaging in activities. So should your characters. Giving them business to do during dialogue allows you to identify who’s speaking without resorting to overused tags. Some can come in the form of characterizing the speaker: “His eyebrows lifted with menace,” for example. “Bob’s fist clenched as he spoke.” “Tears rolled down her cheek with every word.”

3)  Avoid Expositional Dialogue When Possible. We’ve all violated this rule, but especially when two characters should already know the information being imparted, it seems unnatural and distracting. In such cases, internal monologue is a better tool and more natural. Characters may think about stuff they already know but they wouldn’t tell each other stuff each of them knows.

4) Keep It Short. People talk in choppy sentences. Long soliloquies are rare. So in dialogue, use a combination of short sentences to make it flow and feel like real people talking. Let them interrupt each other, too. People do that in real life. It adds to the pace, tension and drama of it.

5) Avoid Phonetic Spellings For Accents. They are difficult to read. Indications of dialect can be used instead to get the reader to do the rest.  Overuse of a dialect becomes distracting to readers and can actually take them out of the story. Keep the words your characters say as unobtrusive as possible so your story flows seamlessly.

6) Dialogue Is Conflict. Conflict keeps the story moving. People talk like they’re playing table tennis–back and forth. This moves the story forward. Lace your dialogue with conflict. It adds dramatic urgency to every line the characters say and keeps the story’s pace.

 7) Use Other Characters. Let a character imply who’s speaking to them by saying something specific to only that person. If you use business well (see number 2 above), having a character refer to something the other character is doing is a great way to do this.

8 ) Give Each Character A Distinctive Voice. Overdo it and its caricature but we all have our own speech tics. Create some for your characters and sprinkle them throughout. Readers will learn them and know who’s speaking. For example, Captain Jack Sparrow loves the term of affection: “love” and uses that a lot. He also says “Savvy?” a great deal as well. He has others you can probably remember, too. Study characterization and see what other writers have done.

9) Speak It Aloud. Talk it out. Get inside the heads of your characters and say the lines. Play out the conversation you’ve written. Does it sound natural? Does it flow? Your ear is often a better judge than your eyes and hearing it will give you an idea how readers will hear it.

10) Remember What Medium You’re Writing For. TV and Film dialogue and novel dialogue are not necessarily the same.  There is no third party to use intonation, facial expressions and/or body language to bring it to life. Your words alone are the conduit between yourself and the reader and your prose skills and the readers’ imaginations make it work.

Well, those are my 10 Tips of the moment for writing better dialogue. Do you have any others? We’d love for you to share them in the comments.


For more tips, come back next Wednesday. For previous WriteTips, click here.

Bryan Thomas Schmidt is a national bestselling author/editor and Hugo-nominee who’s edited over a dozen anthologies and hundreds of novels, including the international phenomenon The Martian by Andy Weir and books by Alan Dean Foster, Frank Herbert, Mike Resnick, Angie Fox, and Tracy Hickman as well as official entries in The X-Files, Predator, Joe Ledger, Monster Hunter International, and Decipher’s Wars. His debut novel, The Worker Prince, earned honorable mention on Barnes and Noble’s Year’s Best Science Fiction. His adult and children’s fiction and nonfiction books have been published by publishers such as St. Martins Press, Baen Books, Titan Books, IDW, and more. Find him online at his website bryanthomasschmidt.net or Twitter and Facebook as BryanThomasS.

To download How To Write A Novel: The Fundamentals of Fiction free one book, click here.

To check out Bryan’s latest novels, click here.