1
00:00:00,120 --> 00:00:01,960
Speaker 1: Hey, there's something I want you to check out. It's

2
00:00:02,000 --> 00:00:07,160
aero dot Net. Not just one podcast, it's twenty different explorations,

3
00:00:07,280 --> 00:00:10,359
one of them being Foody Paradise. I am talking to

4
00:00:10,400 --> 00:00:13,000
the big name chefs and even those that are at

5
00:00:13,039 --> 00:00:16,679
home creating their own cookbooks. See, there is hope for

6
00:00:16,760 --> 00:00:21,160
you because the love for cooking is amazing. Share it

7
00:00:21,480 --> 00:00:24,719
Foody Paradise on aerow dot net a R r oe

8
00:00:24,920 --> 00:00:29,280
dot Net. Enjoy your exploration. Hello, mister Mark, how are

9
00:00:29,280 --> 00:00:32,560
you doing now? Are you fantastic? Always looking forward to

10
00:00:32,560 --> 00:00:35,640
sharing a conversation with you because you totally get it. Dude,

11
00:00:36,280 --> 00:00:39,920
Thank you man for you to be putting this book together.

12
00:00:39,960 --> 00:00:42,079
I mean, I mean, the whole world right now has

13
00:00:42,079 --> 00:00:44,640
got to be a blizzard white canvas for you because

14
00:00:44,719 --> 00:00:47,079
there's got to be story ideas just floating through that

15
00:00:47,159 --> 00:00:48,799
imagination of yours left and right.

16
00:00:50,119 --> 00:00:51,840
Speaker 2: Well, I mean there's a lot going on in the world,

17
00:00:51,840 --> 00:00:54,000
that's for sure, and I really like to pull from

18
00:00:54,159 --> 00:00:57,399
you know, what's happening. But you know, also things have

19
00:00:57,439 --> 00:00:59,799
to make sense, and sometimes the world feels like it

20
00:00:59,799 --> 00:01:00,679
does it makes sense.

21
00:01:00,719 --> 00:01:03,479
Speaker 3: So it's a hard time to pull from the world,

22
00:01:03,520 --> 00:01:03,880
isn't it.

23
00:01:04,319 --> 00:01:06,640
Speaker 1: But isn't that the art of thrill when it comes

24
00:01:06,640 --> 00:01:08,920
to writing, because you're able to take things that are

25
00:01:08,920 --> 00:01:11,319
happening in the real world, and in all honesty, it's

26
00:01:11,319 --> 00:01:14,959
almost like you become our informer, not not necessarily a newspaper,

27
00:01:14,959 --> 00:01:17,400
but are an informer to pay attention and to be

28
00:01:17,439 --> 00:01:19,480
aware of Yeah.

29
00:01:19,519 --> 00:01:22,000
Speaker 2: So, I mean, my first job is to entertain, and

30
00:01:22,239 --> 00:01:24,480
I never lose sight of that. But at the same time,

31
00:01:24,879 --> 00:01:27,719
when I'm doing research on whatever contemporary issue.

32
00:01:27,359 --> 00:01:29,120
Speaker 3: That I want to write about or whatever I.

33
00:01:29,079 --> 00:01:32,560
Speaker 2: Want to put my hero in the middle of, you know,

34
00:01:32,640 --> 00:01:36,120
I like to not simplify it, but at least get

35
00:01:36,120 --> 00:01:39,359
it in a palatable, you know, bite sized piece here

36
00:01:39,400 --> 00:01:42,400
and there to where people can understand it. And you know,

37
00:01:43,079 --> 00:01:45,840
one of my favorite things is to learn something and

38
00:01:45,959 --> 00:01:48,359
just be fascinated with it and just want to scream

39
00:01:48,359 --> 00:01:50,719
it from the mountaintops. And I go, Okay, it's going

40
00:01:50,799 --> 00:01:52,400
to be a year before this book comes out, but

41
00:01:52,480 --> 00:01:55,359
eventually people will get to hear, you know, my take

42
00:01:55,439 --> 00:01:58,439
on this or what little tidbit of information I found out.

43
00:01:58,680 --> 00:02:01,000
Speaker 1: All right, So from one author to another author, what

44
00:02:01,040 --> 00:02:03,239
do you do with that time? Because one of those

45
00:02:03,280 --> 00:02:05,840
things that happens is is that you and I sacrifice

46
00:02:05,840 --> 00:02:08,479
so much time in putting words in motion, But then

47
00:02:08,520 --> 00:02:10,919
when people say, what's your favorite song? Oh, well, I

48
00:02:10,960 --> 00:02:12,759
was writing a book at that time. I mean, is

49
00:02:12,800 --> 00:02:14,319
that how you base your life too? Is that on

50
00:02:14,400 --> 00:02:18,039
the books that you write that sets up the tone?

51
00:02:18,599 --> 00:02:19,719
Speaker 3: Yeah? Pretty much? I mean.

52
00:02:19,719 --> 00:02:22,879
Speaker 2: And I have sort of a product cycle for each book,

53
00:02:22,919 --> 00:02:27,039
and they're you know, here I am in February when

54
00:02:27,039 --> 00:02:29,560
the last book comes out, and so it's kind of

55
00:02:29,599 --> 00:02:31,680
a happy time because that book is done, but I'm

56
00:02:31,719 --> 00:02:34,840
already stressing about next year's book. And in the middle

57
00:02:34,879 --> 00:02:36,919
of the summer is when I'm sitting alone in the

58
00:02:37,039 --> 00:02:39,639
dark day and night, pulling my hair out, going this

59
00:02:39,719 --> 00:02:42,879
is a mess. And usually by the end of the summer,

60
00:02:43,000 --> 00:02:45,039
I'm into my second edit and I'm like.

61
00:02:45,000 --> 00:02:47,919
Speaker 3: Oh, okay, I've I've found the book in this big mess.

62
00:02:48,039 --> 00:02:49,919
Speaker 2: You know, It's like I've I've gotten rid of the

63
00:02:49,919 --> 00:02:51,879
stuff that doesn't belong and now it's starting to look

64
00:02:51,919 --> 00:02:52,400
like a book.

65
00:02:52,479 --> 00:02:54,879
Speaker 3: So I kind of go through the same thing every year,

66
00:02:54,879 --> 00:02:56,479
and all my friends and family.

67
00:02:56,360 --> 00:02:59,879
Speaker 2: Hear the same lamentations from me in the summertime when

68
00:02:59,919 --> 00:03:01,439
I say it's not working and.

69
00:03:01,479 --> 00:03:04,439
Speaker 3: Uh, yeah, it's every year field the same Groundhog Day.

70
00:03:04,639 --> 00:03:06,479
Speaker 1: Well, it's it's And the thing about it is, though

71
00:03:06,479 --> 00:03:09,639
it becomes eye to eye contact, it's not necessarily always words.

72
00:03:09,639 --> 00:03:11,719
It's just that somebody around you that knows you will

73
00:03:11,759 --> 00:03:13,919
you just give them the look. They know exactly where

74
00:03:13,960 --> 00:03:14,319
you are.

75
00:03:15,560 --> 00:03:17,240
Speaker 3: Yeah, that's exactly it.

76
00:03:17,319 --> 00:03:19,560
Speaker 2: And you know, people always tell me like, you know,

77
00:03:19,639 --> 00:03:22,680
you said this last year, and which is true, but.

78
00:03:22,599 --> 00:03:25,199
Speaker 3: That doesn't that doesn't make that doesn't make me less,

79
00:03:25,319 --> 00:03:25,759
doesn't you know?

80
00:03:25,759 --> 00:03:28,479
Speaker 2: And I'm always like, yeah, but I'm always pushing the

81
00:03:28,560 --> 00:03:30,680
envelope and this is the year where it's tough.

82
00:03:30,919 --> 00:03:31,080
Speaker 3: Now.

83
00:03:31,080 --> 00:03:34,039
Speaker 2: I was doing a book signing yesterday and somebody said,

84
00:03:34,039 --> 00:03:35,919
you're a very humble author. You talk a lot about

85
00:03:35,919 --> 00:03:38,000
the struggles of writing. And I was like, well, that

86
00:03:38,000 --> 00:03:40,680
doesn't sound like it was a very interesting conversation I

87
00:03:40,800 --> 00:03:42,280
just had with these people.

88
00:03:42,520 --> 00:03:44,479
Speaker 3: They're like, no, we enjoyed it. I'm like, right, that's good.

89
00:03:44,520 --> 00:03:46,680
It sounds like I was talking to a therapist or something.

90
00:03:46,719 --> 00:03:49,759
Speaker 2: But no, it's it's it's a tough slog and then

91
00:03:49,800 --> 00:03:51,520
when you finally have it the way you want it,

92
00:03:51,520 --> 00:03:54,039
it's a huge elite and then you start over and.

93
00:03:54,360 --> 00:03:55,159
Speaker 3: I'm not complaining.

94
00:03:55,159 --> 00:03:56,879
Speaker 2: I wanted, you know, I tried for twenty years to

95
00:03:56,879 --> 00:03:58,639
be an author before I got published, so I'm happy

96
00:03:58,639 --> 00:03:59,080
to be here.

97
00:03:59,280 --> 00:04:01,360
Speaker 1: So then when you do the research, which you do

98
00:04:01,479 --> 00:04:03,520
and listeners that are just discovering, you need to know

99
00:04:03,560 --> 00:04:06,319
that you do the research. Do you know what you're

100
00:04:06,360 --> 00:04:08,479
looking for in Ireland? Or are you going over there

101
00:04:08,520 --> 00:04:09,560
to locate your meuse?

102
00:04:10,800 --> 00:04:13,879
Speaker 2: You know, it's both. All those things have happened. I

103
00:04:13,919 --> 00:04:17,079
have gone on research trips for almost every one of

104
00:04:17,079 --> 00:04:18,800
my books, at least one, and I did go to

105
00:04:18,839 --> 00:04:23,360
Northern Ireland for this book. But when I went to

106
00:04:23,439 --> 00:04:26,360
Northern Ireland, I already had completed a draft of the book,

107
00:04:26,439 --> 00:04:28,560
so I sort of knew what I was looking for.

108
00:04:28,600 --> 00:04:31,079
I had written entire scenes about these towns that I

109
00:04:31,079 --> 00:04:35,319
hadn't visited, in these roads and churches and things, and

110
00:04:35,360 --> 00:04:37,800
then I went there and really kind of solidified things.

111
00:04:37,839 --> 00:04:40,079
Speaker 3: There's been other times I went to.

112
00:04:40,000 --> 00:04:43,079
Speaker 2: Mexico for a book very early in the writing process,

113
00:04:43,120 --> 00:04:46,040
and I literally was just wandering downstreets trying to get ideas,

114
00:04:46,560 --> 00:04:47,319
and I did.

115
00:04:47,879 --> 00:04:51,199
Speaker 3: So It's always like, when you can fit your research

116
00:04:51,399 --> 00:04:52,160
trips into.

117
00:04:52,000 --> 00:04:55,240
Speaker 2: Your schedule, you make the best out of it and like,

118
00:04:55,319 --> 00:04:57,360
I just got that from the Austrian Alps for next

119
00:04:57,439 --> 00:04:57,959
year's book.

120
00:04:58,079 --> 00:04:59,959
Speaker 3: I got back like two weeks.

121
00:04:59,680 --> 00:05:02,360
Speaker 2: Ago, and I had an idea and I was like,

122
00:05:02,399 --> 00:05:04,759
I have to get over there while it's still you know,

123
00:05:05,079 --> 00:05:08,759
alpine weather and not in August like I usually, you know,

124
00:05:08,839 --> 00:05:10,759
I just usually go in the wrong season.

125
00:05:11,079 --> 00:05:12,680
Speaker 3: But I got over there in the right season. It

126
00:05:12,720 --> 00:05:13,480
was super helpful.

127
00:05:13,560 --> 00:05:15,800
Speaker 2: So it's a huge part of my writing is to

128
00:05:16,120 --> 00:05:18,600
get away and get those research trips in and it

129
00:05:18,639 --> 00:05:20,560
really lets you locked into the story.

130
00:05:20,839 --> 00:05:23,959
Speaker 1: Are you doing verbal you know, a note taking, because

131
00:05:23,959 --> 00:05:25,839
I mean, I know how I am when it comes

132
00:05:25,879 --> 00:05:28,360
to my handwriting. There's many times I'm writing so quickly

133
00:05:28,439 --> 00:05:30,079
I can't read it later on. I might as well

134
00:05:30,079 --> 00:05:31,120
call myself a doctor.

135
00:05:32,160 --> 00:05:32,360
Speaker 3: Yeah.

136
00:05:32,519 --> 00:05:34,959
Speaker 2: No, I have an app on my phone and I'll

137
00:05:34,959 --> 00:05:37,000
be talking into my phone and it gets it about

138
00:05:37,240 --> 00:05:39,319
it gets it about seventy five percent right, and I

139
00:05:39,319 --> 00:05:41,560
can usually figure it out and I take it tons

140
00:05:41,639 --> 00:05:45,279
of pictures and videos, and my toblicist is asked for

141
00:05:45,319 --> 00:05:47,480
the pictures and videos because they want to put something

142
00:05:47,480 --> 00:05:50,199
together for you know, when the book comes out and

143
00:05:50,279 --> 00:05:53,839
I'm not over there trying to create a publicity material.

144
00:05:53,879 --> 00:05:57,519
You know, I'm literally photographing a bathroom or a payphone

145
00:05:57,600 --> 00:06:00,279
or you know, a mailbox and things like that, and

146
00:06:00,319 --> 00:06:02,639
they're always, I think they're always disappointed when they see.

147
00:06:02,879 --> 00:06:06,120
Speaker 3: But it's it's it's for my own use to.

148
00:06:06,079 --> 00:06:08,439
Speaker 2: Get to get home and to put that story together,

149
00:06:08,560 --> 00:06:09,800
put those locations together.

150
00:06:09,959 --> 00:06:11,959
Speaker 1: But that's so important because I know that in one

151
00:06:11,959 --> 00:06:13,800
of my books, I had the wrong paint on the

152
00:06:14,079 --> 00:06:15,959
for the color of the walls, and they called me

153
00:06:16,000 --> 00:06:17,720
out on it. They said, that's not it, that's not

154
00:06:17,839 --> 00:06:20,439
exactly how that really looked. And to say, it's like, man,

155
00:06:20,480 --> 00:06:22,759
I should have taken a picture because because you know,

156
00:06:23,040 --> 00:06:23,920
I took a guess.

157
00:06:25,040 --> 00:06:28,839
Speaker 3: Yeah, you will get called out on anything that's not right.

158
00:06:28,920 --> 00:06:32,000
Speaker 2: And at the end of the day, I have realized

159
00:06:32,000 --> 00:06:35,199
that my job is to you know, tell stories, and

160
00:06:35,399 --> 00:06:38,439
it's not to render things exactly the way they are.

161
00:06:38,519 --> 00:06:41,680
I did one of my gray Man books was there

162
00:06:41,759 --> 00:06:44,279
was a real location, but there wasn't a balcony. The

163
00:06:45,160 --> 00:06:46,920
hotel didn't have a balcony, and I just put a

164
00:06:46,920 --> 00:06:49,079
balcony there because I needed a balcony for the scene.

165
00:06:49,079 --> 00:06:51,120
Speaker 3: And you know, so I do a lot of that,

166
00:06:51,279 --> 00:06:52,560
and you just wait.

167
00:06:52,680 --> 00:06:54,879
Speaker 2: You'll get an email from somebody who's like, you know,

168
00:06:55,240 --> 00:06:57,920
those shoes aren't don't come in that size or.

169
00:06:57,759 --> 00:07:01,279
Speaker 3: Whatever specific specific thing, and you go, Okay.

170
00:07:01,079 --> 00:07:03,439
Speaker 2: That's you know, that's what they're locked into. And I

171
00:07:03,480 --> 00:07:05,560
was locked into trying to make the one hundred and

172
00:07:05,560 --> 00:07:08,959
fifty thousand words credible. Not necessarily one hundred percent I

173
00:07:09,040 --> 00:07:10,600
care it, but you do learn a lot when you

174
00:07:10,680 --> 00:07:12,839
go to these locations and you kind of get an

175
00:07:12,879 --> 00:07:16,040
idea of the atmospheric's kind of these intangible things.

176
00:07:16,079 --> 00:07:17,959
Speaker 3: It really does. It really helps me a lot.

177
00:07:18,240 --> 00:07:20,000
Speaker 1: One of the things that you did this time around

178
00:07:20,000 --> 00:07:22,639
that really caught my attention was the introduction or this

179
00:07:22,680 --> 00:07:24,279
is the first time that I've taken note of it

180
00:07:24,560 --> 00:07:26,519
ghost Town. And the reason why I bring that up

181
00:07:26,560 --> 00:07:28,199
is because we have a lot of soldiers that come

182
00:07:28,279 --> 00:07:30,800
cruising through Charlotte and you'll sit there there are you

183
00:07:30,839 --> 00:07:31,439
still serving?

184
00:07:31,560 --> 00:07:31,680
Speaker 3: No?

185
00:07:31,920 --> 00:07:32,879
Speaker 1: What are you doing these days?

186
00:07:32,920 --> 00:07:33,120
Speaker 3: Hmm?

187
00:07:33,199 --> 00:07:35,639
Speaker 1: Okay, let's talk about the birds. I'm going, whoa, you

188
00:07:35,800 --> 00:07:38,079
just switched on me, and now you make me wonder

189
00:07:38,120 --> 00:07:40,720
if people aren't working more with ghost Town and things

190
00:07:40,800 --> 00:07:43,199
like that. And I'm not supposed to know about that.

191
00:07:44,879 --> 00:07:46,319
Speaker 3: Yeah, So in this book.

192
00:07:46,560 --> 00:07:48,480
Speaker 2: You're right, this is the first time that this has

193
00:07:48,680 --> 00:07:50,920
come into play.

194
00:07:51,199 --> 00:07:52,800
Speaker 3: This is my fifteenth grade man book.

195
00:07:52,839 --> 00:07:54,800
Speaker 2: But this is the first time the Court's really been

196
00:07:54,879 --> 00:07:56,600
working with an official organization.

197
00:07:56,680 --> 00:07:58,040
Speaker 3: So he's working with a very.

198
00:07:57,839 --> 00:08:01,839
Speaker 2: Small spy shop called ghost Town that is private, but

199
00:08:02,000 --> 00:08:04,920
they are taking orders from the head of Operations for

200
00:08:04,959 --> 00:08:08,079
the CIA in this book. And so the very very

201
00:08:08,120 --> 00:08:11,279
tiny little office is run out of an old pedietary

202
00:08:11,279 --> 00:08:16,160
office in Virginia. And yeah, it was fun. It's fun

203
00:08:16,160 --> 00:08:18,240
to have Court with the little cadre of people that

204
00:08:18,279 --> 00:08:20,720
he can trust. It's taken him fifteen books to find

205
00:08:20,720 --> 00:08:22,720
a half a dozen people he can sort of trust

206
00:08:23,160 --> 00:08:27,360
enough to do something like this. But it was a

207
00:08:27,360 --> 00:08:29,800
cool thing to cook up. And you know, I know

208
00:08:29,839 --> 00:08:31,959
a lot of people who are former this and former that,

209
00:08:32,159 --> 00:08:36,159
so you know, you can draw inferences and put together something,

210
00:08:36,399 --> 00:08:38,000
you know, in a fictional basis.

211
00:08:38,240 --> 00:08:40,840
Speaker 1: So what is that like for Court? Though psychologically in

212
00:08:40,879 --> 00:08:44,000
the way of being in that small room in Virginia,

213
00:08:44,039 --> 00:08:47,480
but yet what they're doing is global. It's like there

214
00:08:47,519 --> 00:08:50,200
are no walls, there are no borders. They've got to

215
00:08:50,240 --> 00:08:52,480
be able to think way out of the box.

216
00:08:53,600 --> 00:08:55,759
Speaker 2: Yeah, and I wanted to create that kind of bizarre

217
00:08:55,879 --> 00:08:59,399
juxtapositioning that they're in this drab office park, because I

218
00:08:59,679 --> 00:09:03,120
do that myself. I'll be walking around DC or in

219
00:09:03,159 --> 00:09:06,519
the towns around d C and uh, and I'll see

220
00:09:06,519 --> 00:09:08,960
some you know, boring building and I'll try and you know,

221
00:09:09,000 --> 00:09:11,919
wonder what might be there and uh. And of course

222
00:09:12,080 --> 00:09:16,399
it's all fiction in your head. And for Court, who

223
00:09:16,480 --> 00:09:19,440
is somebody who has been betrayed many times. He's a

224
00:09:19,480 --> 00:09:21,919
former CIA officer, but he's you know, worked in the

225
00:09:21,960 --> 00:09:24,799
private sector a lot. And I will I'll tell your listeners,

226
00:09:24,799 --> 00:09:26,639
this is a standalone novel. You don't have to have

227
00:09:26,679 --> 00:09:29,120
read the first fourteen. You can enjoy you can enjoy

228
00:09:29,159 --> 00:09:33,039
this book. But it's it's very much a case of

229
00:09:33,519 --> 00:09:38,879
him wanting to get back to the country and the US.

230
00:09:38,879 --> 00:09:41,799
In this book, there is kind of an insider threat

231
00:09:41,919 --> 00:09:46,639
inside the government, that is, you know, threatening some counterintelligence professionals.

232
00:09:46,639 --> 00:09:48,080
Speaker 3: And so ghost Town.

233
00:09:47,919 --> 00:09:50,960
Speaker 2: Is sort of the only group that the head of

234
00:09:51,000 --> 00:09:54,039
the CIA knows has not really been infiltrated because they're

235
00:09:54,159 --> 00:09:56,879
brand new. They've just been stood up and this is

236
00:09:56,879 --> 00:09:59,879
sort of their first operation. So ghost Town gets this

237
00:10:00,120 --> 00:10:05,360
really outsized responsibility to find these five assassins who come

238
00:10:05,399 --> 00:10:09,480
into America to kill these counterintelligence professionals, and yeah, it

239
00:10:09,519 --> 00:10:10,840
was it was a fun story to work on.

240
00:10:11,120 --> 00:10:13,879
Speaker 1: Yeah, but how do you gain the confidence? Because if

241
00:10:13,879 --> 00:10:15,840
you if you, if you're working with ghost Town and

242
00:10:15,879 --> 00:10:18,519
your brand new how because I would be that that

243
00:10:18,519 --> 00:10:22,480
that commander or that leader and I'd be going hmmm, yeah, yeah,

244
00:10:22,519 --> 00:10:24,480
what you got going on there again? Because I mean

245
00:10:24,720 --> 00:10:27,320
it's like how because that to me is years of

246
00:10:27,360 --> 00:10:29,480
trust for something like ghost Town. How did you get

247
00:10:29,480 --> 00:10:31,440
them into it and get them to be in the

248
00:10:31,440 --> 00:10:32,200
front line like that?

249
00:10:33,120 --> 00:10:36,000
Speaker 3: Well, so they're run by Matthew Hanley, who is in

250
00:10:36,000 --> 00:10:36,399
my book.

251
00:10:36,440 --> 00:10:39,879
Speaker 2: He's the former deputy director of Operations for the CIA,

252
00:10:40,320 --> 00:10:44,440
and he was kind of banished to Papaula, New Guinea

253
00:10:44,519 --> 00:10:47,279
and some other far flung locations for things that happened

254
00:10:47,279 --> 00:10:51,720
in earlier books. And so he's trusted by the by

255
00:10:51,759 --> 00:10:56,159
the president deputy director of the CIA, and Handley trusts

256
00:10:56,279 --> 00:10:59,240
Court the gray Man and Zach high Tower, who's a

257
00:10:59,639 --> 00:11:01,679
kind of a gray Man in sidekick who's been in

258
00:11:01,720 --> 00:11:04,399
and out of several of the books. And there's another

259
00:11:04,480 --> 00:11:08,799
character named Chris Travers who is also former CIA and

260
00:11:08,840 --> 00:11:10,000
these guys are are.

261
00:11:09,919 --> 00:11:10,639
Speaker 3: Trusted by.

262
00:11:12,279 --> 00:11:15,919
Speaker 2: Hanley, and Handley's trusted by the CIA, but Hanley doesn't

263
00:11:15,919 --> 00:11:18,600
necessarily trust the CIA because there's been you know, this

264
00:11:18,720 --> 00:11:21,840
infiltration has gotten so big and so scary. I kind

265
00:11:21,840 --> 00:11:23,919
of wanted to make this book feel a little bit

266
00:11:23,960 --> 00:11:28,840
like those nineteen seventies era political Three Days of the

267
00:11:28,879 --> 00:11:32,519
Condor or the Parallax View, those type of movies where

268
00:11:32,559 --> 00:11:35,679
you really feel almost paranoid about our own government. And

269
00:11:35,720 --> 00:11:38,120
I just think this is an interesting time in our

270
00:11:38,159 --> 00:11:40,759
lives where we can kind of explore that in fiction.

271
00:11:41,120 --> 00:11:42,919
Speaker 1: Yeah, because then when you know, when you think of

272
00:11:42,919 --> 00:11:45,879
that time period, to me, the world hasn't been colorized yet.

273
00:11:45,919 --> 00:11:48,360
It's still kind of a dingy color, but it's not bright.

274
00:11:48,559 --> 00:11:50,840
So when you write, do you think of those old

275
00:11:50,919 --> 00:11:54,799
shows and those old ideas or even photographs where it's

276
00:11:54,840 --> 00:11:56,799
like it's not bright, but I know what's going on

277
00:11:56,879 --> 00:11:57,240
in this.

278
00:11:58,200 --> 00:12:00,559
Speaker 3: Yeah, a little bit. It's funny. I don't really fill

279
00:12:00,600 --> 00:12:03,000
in faces of characters. People don't used.

280
00:12:02,919 --> 00:12:05,279
Speaker 2: To always ask ask me what the Great Man looked

281
00:12:05,360 --> 00:12:07,960
like and everything, and and I've described him in the book,

282
00:12:08,000 --> 00:12:10,600
but like when I'm writing scenes, I don't fill in

283
00:12:10,679 --> 00:12:15,000
his face or Zoia who's a Russian asset in the books,

284
00:12:15,240 --> 00:12:17,200
who partners with him.

285
00:12:17,879 --> 00:12:20,120
Speaker 3: I don't really see their faces so much. I mean,

286
00:12:20,159 --> 00:12:20,840
I see all the.

287
00:12:20,799 --> 00:12:23,440
Speaker 2: Action, and I see all the movement, and I see

288
00:12:23,440 --> 00:12:26,639
the settings, and you know, more than anything, I'm thinking

289
00:12:26,679 --> 00:12:29,320
about the kind of the emotions and the energy that

290
00:12:29,360 --> 00:12:31,840
I want to get out of the reader in each

291
00:12:32,519 --> 00:12:35,960
page or scene or paragraph, and and that's I'm trying

292
00:12:36,000 --> 00:12:38,120
to think of it almost like music. You know, this

293
00:12:38,559 --> 00:12:40,600
is a this is an ebb, and this is the flow,

294
00:12:40,639 --> 00:12:42,320
and this is the high point, and this is a

295
00:12:42,320 --> 00:12:43,799
little more you know.

296
00:12:43,799 --> 00:12:45,279
Speaker 3: Exploratory and quiet.

297
00:12:45,399 --> 00:12:48,600
Speaker 2: So it's it's, it's that's kind of what I see

298
00:12:48,639 --> 00:12:51,159
in my head. Other than I don't see it like

299
00:12:51,399 --> 00:12:52,759
really like a movie as much.

300
00:12:52,960 --> 00:12:55,039
Speaker 1: Are you listening to music while you're doing that, because

301
00:12:55,080 --> 00:12:56,840
I have to if I'm looking for kind of a

302
00:12:56,960 --> 00:12:59,320
flow and you okay, you know it's like cash flow.

303
00:12:59,399 --> 00:13:01,559
What is the word flow? I got to have some

304
00:13:01,600 --> 00:13:02,840
sort of head music on.

305
00:13:04,200 --> 00:13:05,639
Speaker 3: I do not listen to music.

306
00:13:05,679 --> 00:13:08,159
Speaker 2: I find it distracting, like in a positive way, Like

307
00:13:08,200 --> 00:13:10,919
I'm distracting in a positive way, Like I like to

308
00:13:10,960 --> 00:13:11,559
listen to music.

309
00:13:11,639 --> 00:13:14,840
Speaker 3: So I listen to the sound of rain when I'm

310
00:13:15,080 --> 00:13:17,120
the whole time, the whole time I write, and that

311
00:13:17,120 --> 00:13:17,879
that blocks out.

312
00:13:17,879 --> 00:13:21,519
Speaker 2: And I like to write in coffee shops and public places,

313
00:13:21,519 --> 00:13:23,720
hotel lobbies, things like that as much as I can,

314
00:13:24,159 --> 00:13:26,600
and but I tune out the people around me, and

315
00:13:26,679 --> 00:13:29,240
I tune out the sounds, and you know, if I'm

316
00:13:29,240 --> 00:13:32,159
doing it right, sometimes it sometimes I realize I can't

317
00:13:32,200 --> 00:13:34,080
tune out the other things, and that's when I know

318
00:13:34,120 --> 00:13:35,840
I'm not in the right head space to be writing.

319
00:13:36,600 --> 00:13:38,840
Speaker 1: You know that the WDWE is going to figure out

320
00:13:38,840 --> 00:13:40,919
a way to put this this battle between Court and

321
00:13:40,960 --> 00:13:44,360
Campbell inside their ring. They're gonna somehow, some way, it's

322
00:13:44,519 --> 00:13:46,960
that the storyline is going to end up in that ring.

323
00:13:48,279 --> 00:13:52,200
Speaker 3: Well, I'm not getting cut of that. I don't know. Yeah,

324
00:13:52,240 --> 00:13:54,159
it's a it's it's two characters.

325
00:13:54,200 --> 00:13:56,759
Speaker 2: So Campbell Coyle, who is a villain in the stories,

326
00:13:56,879 --> 00:14:00,960
is Northern Iris, retired assassin who has a very personal

327
00:14:01,000 --> 00:14:02,879
reason for going after the Gray Man.

328
00:14:03,200 --> 00:14:06,559
Speaker 3: And I wanted it to be two characters who don't

329
00:14:06,679 --> 00:14:07,159
like each.

330
00:14:07,039 --> 00:14:08,960
Speaker 2: Other but realize that they have a lot in common,

331
00:14:09,000 --> 00:14:12,440
and it's almost sort of an inevitable showdown between the

332
00:14:12,440 --> 00:14:13,919
two of them. But I wanted there to be a

333
00:14:13,919 --> 00:14:16,440
lot of twists and turns in it, so it doesn't

334
00:14:16,440 --> 00:14:18,519
really go the way the reader.

335
00:14:18,320 --> 00:14:21,840
Speaker 3: Might expect it to go for like a typical action book.

336
00:14:21,960 --> 00:14:24,320
Speaker 2: So it's kind of an interesting It was a very

337
00:14:24,399 --> 00:14:26,360
nuanced story for me to write, which was fun.

338
00:14:26,919 --> 00:14:29,159
Speaker 1: Please do not Move. There's more with Mark Graney coming

339
00:14:29,240 --> 00:14:33,240
up next, the any of his brand new book, The Hardline.

340
00:14:33,320 --> 00:14:36,080
We are back with author and the head of the

341
00:14:36,120 --> 00:14:39,039
gray Man series, mister Mark Grannie. You were talking about

342
00:14:39,039 --> 00:14:41,759
the nineteen seventies for a storyline, and of course I

343
00:14:41,840 --> 00:14:45,000
know that that Court Gentry's family is from the Norfolk area.

344
00:14:45,080 --> 00:14:47,879
I know about that traffic in Norfolk, but what was

345
00:14:47,919 --> 00:14:49,720
it like in the nineteen seventies. I mean, did they

346
00:14:49,720 --> 00:14:52,399
have that army traffic or that that navy traffic at

347
00:14:52,399 --> 00:14:55,000
two o'clock in the afternoon, because how does anybody get

348
00:14:55,039 --> 00:14:55,879
around that city?

349
00:14:56,799 --> 00:14:59,759
Speaker 2: Yeah, so I did not research that time period, but yes,

350
00:15:00,120 --> 00:15:04,399
Court in my backstory for him, and when I wrote

351
00:15:04,440 --> 00:15:06,600
a lot of backstory in those first few books, I

352
00:15:06,639 --> 00:15:08,720
didn't know this was going to be a fifteen book series.

353
00:15:08,799 --> 00:15:09,279
Speaker 3: So it's fun.

354
00:15:09,919 --> 00:15:15,080
Speaker 2: It's fun slash, you know, frightening to go back and

355
00:15:15,120 --> 00:15:16,679
go like what did I say, and what did I

356
00:15:16,720 --> 00:15:20,399
mean by that? And I'm doing that because this does

357
00:15:20,960 --> 00:15:23,039
involve a lot of history in the story.

358
00:15:23,080 --> 00:15:24,480
Speaker 3: But yeah, Court worked for the.

359
00:15:24,480 --> 00:15:27,960
Speaker 2: Special Activities Division, which is like a group of CIA paramilitaries,

360
00:15:27,960 --> 00:15:30,919
which is a real group. And I say that he

361
00:15:30,960 --> 00:15:35,919
was based in Norfolk or Virginia Beach when he was living.

362
00:15:35,919 --> 00:15:38,159
Speaker 3: There previously with the CIA.

363
00:15:38,519 --> 00:15:40,919
Speaker 2: So I had written some scenes from back then, but

364
00:15:40,960 --> 00:15:43,000
that would be like ten or fifteen years ago, not

365
00:15:44,039 --> 00:15:46,360
as far back as the seventies. But I did actually

366
00:15:46,399 --> 00:15:48,320
get to go on a research trip up to Virginia

367
00:15:48,399 --> 00:15:51,840
Beach in Norfolk and McLain in DC for a couple

368
00:15:51,879 --> 00:15:53,960
of weeks. So it's great to do the research.

369
00:15:54,159 --> 00:15:56,639
Speaker 1: So how is it that Court is able to push

370
00:15:56,799 --> 00:15:58,440
through everything? I mean, that's the one thing that I

371
00:15:58,480 --> 00:16:00,879
really love about Court is that he totally believes and

372
00:16:00,960 --> 00:16:04,600
he wears it well. Perseverance. Was that taught to him

373
00:16:04,639 --> 00:16:07,399
in the early stages of building or how is it

374
00:16:07,399 --> 00:16:09,919
that he has become that person no matter what, he's

375
00:16:09,919 --> 00:16:11,039
going to move through that mountain.

376
00:16:12,200 --> 00:16:13,720
Speaker 3: Yeah, he is super relentless.

377
00:16:13,759 --> 00:16:17,360
Speaker 2: His backstory is that he was basically raised in the

378
00:16:17,399 --> 00:16:21,559
shoot house of his father's firearms school in Florida, and

379
00:16:21,639 --> 00:16:24,720
so when he was sixteen years old, he was training

380
00:16:24,879 --> 00:16:27,480
like high level slot teams and law enforcement.

381
00:16:27,679 --> 00:16:28,919
Speaker 3: And that's actually realistic.

382
00:16:28,960 --> 00:16:31,360
Speaker 2: I took a long range sniper class a few years

383
00:16:31,360 --> 00:16:34,159
ago in Virginia, and one of my instructures was sixteen

384
00:16:34,240 --> 00:16:36,960
years old, and he was phenomenal and he was the

385
00:16:36,960 --> 00:16:38,799
son of the guy that owned the place, just as

386
00:16:38,879 --> 00:16:42,120
I had created Court, you know, ten years before that.

387
00:16:42,639 --> 00:16:46,519
But then he's scooped up into the CIA when he's

388
00:16:46,559 --> 00:16:49,279
only nineteen years old, and he has put through a

389
00:16:49,279 --> 00:16:52,480
two year program to learn how to be an autonomous

390
00:16:52,480 --> 00:16:57,440
singleton asset, so just literally dropped in anywhere, live amongst

391
00:16:57,639 --> 00:17:02,120
the enemy and do operations. So he's trained very very

392
00:17:02,120 --> 00:17:05,480
hard to be incredibly relentless, never say die. He also,

393
00:17:05,680 --> 00:17:08,599
as compared to other you know, movies and books you

394
00:17:08,680 --> 00:17:11,640
read about this, these types of stories, my character does

395
00:17:11,680 --> 00:17:13,640
take a lot of battle damage, and he deals with

396
00:17:13,680 --> 00:17:17,160
the battle damage. He is seeking out medical care or

397
00:17:17,200 --> 00:17:19,799
giving himself medical care. It's like I don't shy away

398
00:17:19,839 --> 00:17:23,119
from the physical and mental tolls that just would kind

399
00:17:23,160 --> 00:17:24,119
of you know, play.

400
00:17:23,839 --> 00:17:26,000
Speaker 3: On a human body and a human brain. And that's

401
00:17:26,240 --> 00:17:28,960
another interesting, you know, fun part for me as a writer.

402
00:17:29,440 --> 00:17:32,480
Speaker 1: What about you though, as that writer, because you've got

403
00:17:32,519 --> 00:17:34,720
to go through it before court does, because it's going

404
00:17:34,759 --> 00:17:36,039
through that nogative yours.

405
00:17:37,680 --> 00:17:37,920
Speaker 3: Yeah.

406
00:17:37,960 --> 00:17:39,960
Speaker 2: I mean I always say that I can talk about it,

407
00:17:40,000 --> 00:17:43,200
you know, and I do a lot of training with

408
00:17:43,240 --> 00:17:46,720
firearms and scuba diving and you know, the fun in

409
00:17:46,720 --> 00:17:48,400
the back of a fighter jet and all these sort

410
00:17:48,400 --> 00:17:51,000
of things, and I'm like, none of this is for

411
00:17:51,039 --> 00:17:53,279
me to try to pretend like I'm this type of

412
00:17:53,279 --> 00:17:53,680
a character.

413
00:17:53,759 --> 00:17:54,359
Speaker 3: I'm really not.

414
00:17:54,519 --> 00:17:57,079
Speaker 2: I am somebody that just wants to make it as

415
00:17:57,160 --> 00:18:00,480
real as I can and on the age. I'm not

416
00:18:00,519 --> 00:18:03,039
a former Navy seal or anything like that. I'm a

417
00:18:03,039 --> 00:18:05,799
writer and so that's why I'll take you know, one

418
00:18:05,880 --> 00:18:10,200
hundred firearms classes to try and get details writer or whatever,

419
00:18:10,599 --> 00:18:12,519
battlefield medicine and that sort of thing.

420
00:18:12,559 --> 00:18:14,240
Speaker 3: So I like to learn about it. I like to

421
00:18:14,279 --> 00:18:16,559
talk about it, and you know, at the end of

422
00:18:16,559 --> 00:18:18,160
the day, I like to go home to a warm.

423
00:18:17,960 --> 00:18:22,559
Speaker 2: Bed and watch TV with my wife, you know, cook

424
00:18:22,599 --> 00:18:23,039
a steak.

425
00:18:23,160 --> 00:18:25,440
Speaker 3: So I'm not living his life, that's for sure.

426
00:18:25,559 --> 00:18:29,240
Speaker 1: There is a huge movement right now to create graphic novels.

427
00:18:29,359 --> 00:18:34,599
Would you ever grow in that direction? With just one story.

428
00:18:35,079 --> 00:18:38,000
Speaker 2: That's a good question. I mean, I've thought about short stories.

429
00:18:38,240 --> 00:18:41,119
Graphic novels are big right now. It almost came to

430
00:18:41,200 --> 00:18:43,119
pass when the gray Man film came out a few

431
00:18:43,200 --> 00:18:45,960
years ago, that we were going to do a graphic

432
00:18:46,039 --> 00:18:50,039
novel version of that, and it just it just never

433
00:18:50,079 --> 00:18:53,160
actually came through. It was just more of a time thing.

434
00:18:54,079 --> 00:18:56,920
I love graphic novels, I really do. I sort of

435
00:18:57,000 --> 00:19:01,680
didn't get it until somebody I know some and then

436
00:19:01,839 --> 00:19:03,640
I really got into it.

437
00:19:03,720 --> 00:19:04,759
Speaker 3: So I get it.

438
00:19:04,799 --> 00:19:06,680
Speaker 2: And also it's a great way for a writer to

439
00:19:06,759 --> 00:19:09,480
generate intellectual property that they can.

440
00:19:09,559 --> 00:19:11,279
Speaker 3: Sell dramatic rights to or whatever.

441
00:19:11,440 --> 00:19:17,400
Speaker 2: So the business of graphic novels is legit for people

442
00:19:17,559 --> 00:19:18,319
in the writing world.

443
00:19:18,400 --> 00:19:20,400
Speaker 1: Yeah, but what would that do to the perfectionist side

444
00:19:20,400 --> 00:19:23,119
inside of you? Because that would mean even fewer words,

445
00:19:23,119 --> 00:19:25,359
because I can't imagine what you're doing with the hard

446
00:19:25,400 --> 00:19:27,359
line and how much kind of editing you had to

447
00:19:27,359 --> 00:19:28,440
go through with just this one.

448
00:19:29,480 --> 00:19:29,680
Speaker 3: Yeah.

449
00:19:29,960 --> 00:19:32,039
Speaker 2: I cut more words out of this book than anything

450
00:19:32,079 --> 00:19:32,960
I've ever written.

451
00:19:33,079 --> 00:19:34,839
Speaker 3: And well, Eddie Grayman.

452
00:19:34,640 --> 00:19:39,160
Speaker 2: Book, and it's really hard for me. It's I don't

453
00:19:39,160 --> 00:19:43,559
ever want to be uneditable. I'm still editable, but you know,

454
00:19:43,640 --> 00:19:45,440
my editor comes back and he's like, you know, I

455
00:19:45,480 --> 00:19:47,880
feel like you've stressed this point enough or whatever, and

456
00:19:47,920 --> 00:19:50,200
I'm going like, okay, I can make this happen. And

457
00:19:50,240 --> 00:19:52,200
I always tell him. I'm like, I'm going to save

458
00:19:52,240 --> 00:19:54,240
fifteen thousand words and I'll come back and I'm like,

459
00:19:54,480 --> 00:19:58,680
I've shaved six and that almost killed me. Please let me, please,

460
00:19:58,759 --> 00:20:02,279
let's stuck the madness. Yeah, it's I don't even know

461
00:20:02,319 --> 00:20:04,400
if it's perfection. It's just like I really like to

462
00:20:04,440 --> 00:20:07,359
see other viewpoints in a scene, and I like to

463
00:20:07,400 --> 00:20:09,960
build stories. And I think it's the Tom Plancy effect

464
00:20:10,000 --> 00:20:12,680
writing books with Tom Plancy before he died, to where

465
00:20:12,720 --> 00:20:15,559
I just started getting a little bit bigger and deeper

466
00:20:15,599 --> 00:20:20,039
and going after the story from more angles, and I

467
00:20:20,079 --> 00:20:20,519
like to write.

468
00:20:20,519 --> 00:20:21,200
Speaker 3: I like to read.

469
00:20:21,039 --> 00:20:23,680
Speaker 2: Books like that, so it's no surprise I like to

470
00:20:23,680 --> 00:20:24,400
write them as well.

471
00:20:24,480 --> 00:20:27,279
Speaker 1: Speaking of Tom Clancy, do you find yourself being the

472
00:20:27,640 --> 00:20:30,079
medicine man that walks through the village that's looking for

473
00:20:30,119 --> 00:20:32,119
the next writer, because I mean I'm seeing a lot

474
00:20:32,119 --> 00:20:34,200
of bands do that with their music, is that they're

475
00:20:34,240 --> 00:20:36,480
looking for the next level of entertainer. And it's like,

476
00:20:36,519 --> 00:20:38,960
I mean, you've already become such a major part of

477
00:20:39,000 --> 00:20:41,400
our lifestyle with a gray Man series, and I always

478
00:20:41,440 --> 00:20:44,000
wonder what is Mark up to behind the scenes that

479
00:20:44,039 --> 00:20:45,559
we don't know about.

480
00:20:46,720 --> 00:20:50,000
Speaker 2: Well, I have friends who are writers who are in

481
00:20:50,079 --> 00:20:52,359
earlier stages of their career, and I do what I

482
00:20:52,400 --> 00:20:55,799
can to foster them, not really not necessarily work work

483
00:20:55,880 --> 00:20:58,279
with them specifically, but I mean, I've I've made a

484
00:20:58,319 --> 00:21:02,480
lot of introductions to my editor and agents and things

485
00:21:02,519 --> 00:21:04,599
like that of people that I like and believe in.

486
00:21:04,640 --> 00:21:08,759
And so you know that when I left the Tom

487
00:21:08,799 --> 00:21:12,960
Clancy series several years ago and my editor.

488
00:21:12,799 --> 00:21:15,599
Speaker 3: Who you know, was editing the Clancy books, He's like, yeah,

489
00:21:15,599 --> 00:21:17,839
I have any ideas for you know, who should come next?

490
00:21:17,839 --> 00:21:19,960
And I was like, you should. You should look into

491
00:21:20,000 --> 00:21:20,519
Mark Cameron.

492
00:21:20,599 --> 00:21:22,920
Speaker 2: He's been putting out books for a long time, and

493
00:21:23,000 --> 00:21:25,039
they don't they don't on the surface, they don't look

494
00:21:25,079 --> 00:21:26,160
like Tom Clancy novels.

495
00:21:26,160 --> 00:21:28,799
Speaker 3: But I'm reading his new one and he's got.

496
00:21:28,519 --> 00:21:30,720
Speaker 2: All that, you know, he has all the abilities and

497
00:21:30,720 --> 00:21:33,359
and and then Mark Cameron started doing them and uh,

498
00:21:33,440 --> 00:21:34,079
and so it's.

499
00:21:33,960 --> 00:21:35,319
Speaker 3: Funny, you know, It's it's.

500
00:21:35,200 --> 00:21:37,279
Speaker 2: Like you feel like, Wow, I've never really felt like

501
00:21:37,319 --> 00:21:40,559
a player in this business until I suggested somebody and

502
00:21:40,599 --> 00:21:41,039
they listened.

503
00:21:41,359 --> 00:21:42,519
Speaker 3: They listen to what I said.

504
00:21:42,559 --> 00:21:44,359
Speaker 2: It's one thing to sit there by yourself and write

505
00:21:44,359 --> 00:21:47,000
a book. It's something else to like see somebody else

506
00:21:47,000 --> 00:21:49,079
and go like, this guy would be right for this role.

507
00:21:49,240 --> 00:21:51,319
Speaker 1: Wow, Now you can say no comment on this one

508
00:21:51,359 --> 00:21:53,359
and move on. And and I just want to know,

509
00:21:53,640 --> 00:21:55,319
is there ever going to be a time when court

510
00:21:55,400 --> 00:21:58,279
gentry is hired to take care of the people here?

511
00:21:58,559 --> 00:22:01,200
In other words, there's a big story here because we

512
00:22:01,279 --> 00:22:03,720
know what's happening in this nation right now. My god,

513
00:22:03,960 --> 00:22:06,359
it's got to be fertile soil for you right now.

514
00:22:07,480 --> 00:22:08,359
Speaker 3: It really is.

515
00:22:08,400 --> 00:22:11,160
Speaker 2: But I go back to something Tom Clancy used to

516
00:22:11,200 --> 00:22:14,960
always say. He said, the difference between fiction and nonfiction

517
00:22:15,119 --> 00:22:16,640
is that fiction has to make sense.

518
00:22:16,759 --> 00:22:19,279
Speaker 3: Yeah, And there's so much there's so much going on

519
00:22:19,359 --> 00:22:21,440
in the world right now that like when I.

520
00:22:21,519 --> 00:22:24,160
Speaker 2: Just say it out loud to myself, you know, just

521
00:22:24,880 --> 00:22:26,759
not to get political on one side or the other,

522
00:22:26,799 --> 00:22:29,160
but just you know, like something that happens in the

523
00:22:29,160 --> 00:22:31,440
news and you say that out loud and you go like, wow.

524
00:22:31,480 --> 00:22:33,640
If I put that in a book, my editor would

525
00:22:33,640 --> 00:22:36,240
be like, Okay, You've got you have some misspellings here

526
00:22:36,240 --> 00:22:37,480
because none of this makes sense.

527
00:22:37,559 --> 00:22:39,480
Speaker 3: You know, it's like, you know.

528
00:22:41,319 --> 00:22:45,279
Speaker 2: Intelligence heads being involved in an election dispute in the

529
00:22:45,359 --> 00:22:47,680
United States in Georgia for example. You know, it's like,

530
00:22:48,240 --> 00:22:51,079
it makes no sense that that would ever be the case,

531
00:22:51,119 --> 00:22:53,640
but that's what's going on right now. And I could

532
00:22:53,400 --> 00:22:57,119
I like to, you know, be very knowledgeable by what's

533
00:22:57,119 --> 00:22:59,480
going on in the world, but I've been completely surprised

534
00:22:59,480 --> 00:23:02,839
by things. So my stories are not so close to

535
00:23:02,920 --> 00:23:05,759
what's happening day to day. But this book does involve,

536
00:23:06,240 --> 00:23:09,240
you know, people withinside the United States government, with some

537
00:23:09,559 --> 00:23:14,480
you know, different designs and just uh ways that they're

538
00:23:14,519 --> 00:23:15,720
seeking power.

539
00:23:15,519 --> 00:23:16,960
Speaker 3: That are not right.

540
00:23:17,079 --> 00:23:19,960
Speaker 2: And I think I think it plays into the paranoid

541
00:23:20,039 --> 00:23:21,559
of our times, to be honest.

542
00:23:21,440 --> 00:23:23,559
Speaker 1: In a very weird way. Do you think that when

543
00:23:23,599 --> 00:23:26,039
when people check out your books on audible, that that's

544
00:23:26,079 --> 00:23:29,240
who we think Court Gentry is. We hear that voice

545
00:23:29,279 --> 00:23:31,519
and now it's like, okay, I got it, I got

546
00:23:31,519 --> 00:23:34,160
the voice. Now, yeah, this is him. This is what

547
00:23:34,240 --> 00:23:35,079
he sounds like.

548
00:23:36,319 --> 00:23:37,960
Speaker 2: You know, I don't know what other people think, but

549
00:23:38,039 --> 00:23:40,279
I feel exactly that way because I never read my

550
00:23:40,319 --> 00:23:43,440
books after I've written them. But I always listened to

551
00:23:43,519 --> 00:23:46,480
Jay Snyder the narrating because he's done a great job.

552
00:23:46,559 --> 00:23:48,759
Jays done such a good job. So when the book

553
00:23:48,799 --> 00:23:52,119
comes out, I always, you know, listen to at least

554
00:23:52,160 --> 00:23:55,400
a huge part of it, surprisingly large for somebody to

555
00:23:55,519 --> 00:23:57,519
just spend a whole year on, you know, with the

556
00:23:57,559 --> 00:24:00,559
same the same material, because I'm fascinated how they do,

557
00:24:00,680 --> 00:24:02,920
how he how well he does it. And so I,

558
00:24:03,400 --> 00:24:05,279
you know, I'll be writing a scene and I definitely

559
00:24:05,319 --> 00:24:09,440
hear Jay Snyder's voice in courts dialogue.

560
00:24:08,880 --> 00:24:10,960
Speaker 3: Which is kind of fun, and in Zach's dialogue and

561
00:24:11,000 --> 00:24:11,799
it's kind of fun.

562
00:24:12,039 --> 00:24:14,359
Speaker 1: Where can people go to find out more about everything

563
00:24:14,359 --> 00:24:16,319
that you're doing, Mark, especially keeping up to date with

564
00:24:16,400 --> 00:24:17,559
where you're growing.

565
00:24:17,240 --> 00:24:21,920
Speaker 2: To well, I'm on all social media more than I

566
00:24:21,920 --> 00:24:25,000
want to admit, But I also have a web page.

567
00:24:25,000 --> 00:24:28,319
Speaker 3: It's my name Mark Grainy g R E A and E.

568
00:24:28,200 --> 00:24:31,400
Speaker 2: E Y Books dot com and I keep everything up

569
00:24:31,440 --> 00:24:35,079
to date there with appearances and books coming out, and

570
00:24:35,279 --> 00:24:38,240
you know, any any other thing that's happening, you can

571
00:24:38,279 --> 00:24:39,319
find it on my website.

572
00:24:39,359 --> 00:24:41,480
Speaker 1: Ah, should we book next year's interview already?

573
00:24:41,480 --> 00:24:41,599
Speaker 3: Man?

574
00:24:41,599 --> 00:24:43,039
Speaker 1: We should just put it down in the book to

575
00:24:43,039 --> 00:24:44,680
say all right, this is when we're gonna meet again.

576
00:24:45,759 --> 00:24:48,079
Speaker 2: I will have something out next year, hopefully it'll be good,

577
00:24:48,160 --> 00:24:49,599
and I'm working on it now.

578
00:24:50,000 --> 00:24:51,799
Speaker 1: Well, come on back, man. The door is always going

579
00:24:51,880 --> 00:24:53,000
to be open for you, dude.

580
00:24:53,759 --> 00:24:55,319
Speaker 3: I appreciate it. Always great talking to you.

581
00:24:55,440 --> 00:24:56,960
Speaker 1: Will you be brilliant? Okay, sir?

582
00:24:58,440 --> 00:24:59,000
Speaker 3: You see man,