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 --> 00:00:24,480 Foody Paradise on aerow dot net a R R o 8 00:00:24,640 --> 00:00:29,280 E dot net. Enjoy your exploration. Hello, and good morning, Steve. 9 00:00:29,320 --> 00:00:30,079 How are you doing? 10 00:00:30,480 --> 00:00:32,359 Speaker 2: Do it fine? Dude? 11 00:00:32,399 --> 00:00:34,840 Speaker 1: I gotta tell you if I do believe in perfection. 12 00:00:34,960 --> 00:00:37,439 And this is the one. I don't know what it 13 00:00:37,640 --> 00:00:40,560 is about the Devil's Bible, your new book. The thing 14 00:00:40,640 --> 00:00:43,759 is is that it really has my attention to the 15 00:00:43,759 --> 00:00:45,119 point to where I don't want to put it down. 16 00:00:45,119 --> 00:00:47,399 I don't want to put it aside. It's it's walking 17 00:00:47,479 --> 00:00:49,759 with me. How how did you do it this time? 18 00:00:49,960 --> 00:00:50,039 Speaker 2: That? 19 00:00:50,159 --> 00:00:52,119 Speaker 1: Really I've got that vibration and I can't be the 20 00:00:52,119 --> 00:00:52,719 only one. 21 00:00:53,960 --> 00:00:58,000 Speaker 2: Well, I hope you're not the only one. You know. 22 00:00:58,079 --> 00:01:00,359 You just try to you just try to keep the 23 00:01:00,359 --> 00:01:02,520 suspense going. You try to keep everything going, keep it 24 00:01:02,560 --> 00:01:04,920 clipping along. This is this is I think what you're 25 00:01:04,959 --> 00:01:07,200 reflecting on is something you may not realize. This is 26 00:01:07,239 --> 00:01:12,239 the shortest book I've ever written. It's ninety one thousand 27 00:01:12,359 --> 00:01:15,359 It's ninety one thousand words. Normally my books are one 28 00:01:15,439 --> 00:01:18,560 hundred and five to one ten. Now you might think, 29 00:01:18,599 --> 00:01:23,000 well it's shorter. No, writing shorter is harder, much much 30 00:01:23,040 --> 00:01:26,040 harder to write. And so what happens is you got 31 00:01:26,079 --> 00:01:28,280 to keep it tight. You got to keep everything in there, 32 00:01:28,280 --> 00:01:31,079 nothing wasted. Everything has to have a meaning to it. 33 00:01:31,319 --> 00:01:34,359 And so I think you're you're seeing a reflection of that. 34 00:01:34,400 --> 00:01:36,719 This is the tightest novel I've ever written. 35 00:01:36,719 --> 00:01:39,120 Speaker 1: Well, you know what I'm feeling also, Steve, is I 36 00:01:39,120 --> 00:01:41,680 feel like that you know exactly where we are. Because 37 00:01:41,879 --> 00:01:44,239 I'm gonna be honest with you. I loved the time 38 00:01:44,319 --> 00:01:47,599 stamps right there in the very beginning because it told me, 39 00:01:47,920 --> 00:01:50,959 as the reader, this is where we are, this is 40 00:01:50,959 --> 00:01:53,680 how the story's going to go. Really, you made me 41 00:01:53,719 --> 00:01:55,840 feel like that I was part of this story. 42 00:01:56,840 --> 00:01:59,359 Speaker 2: Well, thank you appreciate that. That's what I try to do. 43 00:01:59,400 --> 00:02:01,719 I want you to become the protagonist. I want you 44 00:02:01,760 --> 00:02:03,920 to get into Cotton. I want you to be part 45 00:02:03,959 --> 00:02:06,680 of him. And I said This whole book takes place 46 00:02:06,680 --> 00:02:08,840 over're about a two day period, so it happens. Everything 47 00:02:08,840 --> 00:02:12,400 happens really really fast in this novel. A lot is 48 00:02:12,439 --> 00:02:15,280 going on, a lot of things are coming at you. 49 00:02:15,840 --> 00:02:18,639 They're not quite what you think they are. There's some 50 00:02:18,680 --> 00:02:21,560 surprises in the book, and all of that is on 51 00:02:21,680 --> 00:02:24,719 purpose because I wanted to kind of up in Cotton's 52 00:02:24,759 --> 00:02:25,599 world a little bit. 53 00:02:25,960 --> 00:02:28,439 Speaker 1: Well see, And that's the very reason why I would 54 00:02:28,520 --> 00:02:30,680 love to sit in some sort of focus group and 55 00:02:30,840 --> 00:02:33,919 just listen to people talk about Cotton Malone, because I 56 00:02:34,000 --> 00:02:36,960 believe that that Cotton is so effective in our personal 57 00:02:37,000 --> 00:02:40,680 lives right now, just at different areas of definition, but 58 00:02:40,960 --> 00:02:42,840 we all pull something from Cotton. 59 00:02:43,800 --> 00:02:46,159 Speaker 2: Yeah, he's an ordinary guy. That's why I think people 60 00:02:46,280 --> 00:02:49,560 like about him. He has trouble with his ex wife, 61 00:02:49,599 --> 00:02:52,120 he has trouble with his son, he has women troubles, 62 00:02:52,120 --> 00:02:54,159 he has a business to run, He has all of 63 00:02:54,199 --> 00:02:56,199 these things that all of us deal with on an 64 00:02:56,240 --> 00:02:59,639 everyday basis. But he also can rise up and do 65 00:02:59,719 --> 00:03:02,039 extra ordinary things when called upon it. I think that's 66 00:03:02,039 --> 00:03:04,879 what makes seem interesting to people as well, and that's 67 00:03:04,879 --> 00:03:08,280 how he survived. Now over twenty books, this is one. 68 00:03:08,120 --> 00:03:10,199 Speaker 1: Of those stories. I mean, first of all, it's a 69 00:03:10,240 --> 00:03:14,000 Swedish princess that is kidnapped. There's a backstory here, and 70 00:03:14,120 --> 00:03:17,879 I love backstories because I believe that before our presence 71 00:03:17,919 --> 00:03:20,319 of now, there has to be a story before it. 72 00:03:20,520 --> 00:03:23,120 And that's what you did. You totally fed into my 73 00:03:23,159 --> 00:03:25,039 imagination on this. Well. 74 00:03:25,039 --> 00:03:27,319 Speaker 2: I appreciated you. That came to me when I was 75 00:03:27,400 --> 00:03:30,560 in Stockholm because I was I had my guide that 76 00:03:30,719 --> 00:03:33,439 was taking me around. Brought me over in Wan to 77 00:03:33,840 --> 00:03:36,840 you see something. And on one of the backstreets there 78 00:03:37,120 --> 00:03:41,879 was an elderly lady walking her dog in the snow 79 00:03:42,000 --> 00:03:45,439 there and just just meandering along mine in her own business. 80 00:03:45,439 --> 00:03:49,360 And that was the daughter, I mean, the sister of 81 00:03:49,400 --> 00:03:51,639 the King of Sweden. She does it every day, my 82 00:03:51,719 --> 00:03:53,719 guy told me. And that's when the novel kind of 83 00:03:53,800 --> 00:03:55,919 hit me. I went, well, what what happened at this? 84 00:03:56,039 --> 00:03:57,919 And this and this and this and this and it 85 00:03:57,960 --> 00:04:00,439 all kind of came together when I saw that life 86 00:04:00,439 --> 00:04:01,159 thing happening. 87 00:04:01,520 --> 00:04:03,919 Speaker 1: Don't you love that, though, Steve, When when something like 88 00:04:03,960 --> 00:04:05,840 that comes to the author, Because I'll be on the 89 00:04:05,879 --> 00:04:09,479 streets and a cobblestone street in Charleston, South Carolina, and 90 00:04:09,560 --> 00:04:12,240 all of a sudden, I have this unbelievable urge to write. 91 00:04:12,280 --> 00:04:15,360 If I walk away, I'm gonna lose that vision. What 92 00:04:15,439 --> 00:04:18,040 about you, Well. 93 00:04:17,759 --> 00:04:20,920 Speaker 2: That's the same thing. I mean, I've got to see 94 00:04:21,199 --> 00:04:23,120 you got to be there, You got to be there 95 00:04:23,199 --> 00:04:25,000 on the ground. You got to see these things on 96 00:04:25,040 --> 00:04:28,680 the ground. And that was one of those moments where 97 00:04:28,720 --> 00:04:31,639 I saw something quite extraordinary. And I asked some questions, 98 00:04:31,680 --> 00:04:35,040 and she told me that the sister does not like security, 99 00:04:35,199 --> 00:04:37,000 doesn't like people around her. She didn't like to be 100 00:04:37,160 --> 00:04:38,879 you know, all of that. She likes to kind of 101 00:04:38,879 --> 00:04:41,319 stick to herself, and all that kind of occurred to me. 102 00:04:41,399 --> 00:04:43,800 I said, well, well, and of course I change it 103 00:04:43,879 --> 00:04:46,439 up quite a bit. But those are the things you 104 00:04:46,560 --> 00:04:48,839 learn on the ground that you can't learn from books 105 00:04:48,920 --> 00:04:51,240 or online. That's where you learn when you're right there 106 00:04:51,639 --> 00:04:52,160 seeing it. 107 00:04:52,639 --> 00:04:55,560 Speaker 1: What are you feeling from your focus groups and your 108 00:04:55,600 --> 00:04:58,680 gatherings in the way that this doesn't necessarily you You 109 00:04:58,680 --> 00:05:01,199 don't have to be a contin malone fan of a 110 00:05:01,199 --> 00:05:03,800 long time period. You can be brand new and still 111 00:05:03,839 --> 00:05:06,959 sit in a conversation and hold a lot of attention 112 00:05:07,199 --> 00:05:09,519 by bringing in your your perception of the book. 113 00:05:10,399 --> 00:05:13,680 Speaker 2: Yeah, absolutely, my books are not written. There's twenty Cottons, 114 00:05:13,680 --> 00:05:15,079 but you don't have to read them in order. You 115 00:05:15,120 --> 00:05:17,360 don't even have to read any of them. And in fact, 116 00:05:17,680 --> 00:05:20,199 in order to know what this one is about, you 117 00:05:20,240 --> 00:05:22,560 can start with this one and go backwards. I mean, 118 00:05:22,600 --> 00:05:25,560 that's the way I write the series. I want you 119 00:05:25,600 --> 00:05:27,600 to you know, each book in the series has to 120 00:05:27,639 --> 00:05:30,399 be the same but different, which is a tall order, 121 00:05:30,439 --> 00:05:32,399 but that's what I try to do. I try to 122 00:05:32,439 --> 00:05:34,560 keep them the same bit different, but I also keep 123 00:05:34,560 --> 00:05:36,839 them where you know you're not going to have to, 124 00:05:37,160 --> 00:05:39,160 you know, read a whole bunch of other books in 125 00:05:39,240 --> 00:05:41,680 order to get this one. Each one stands on its 126 00:05:41,720 --> 00:05:43,680 own two feet when you're when. 127 00:05:43,560 --> 00:05:46,079 Speaker 1: You're writing the thriller, though, it's got to move through 128 00:05:46,120 --> 00:05:48,600 you first. I can't imagine. I mean, because I know 129 00:05:48,680 --> 00:05:51,079 how how wild I am sitting in a chair. Do 130 00:05:51,160 --> 00:05:52,519 you get in the same way where it's no, you 131 00:05:52,560 --> 00:05:53,480 can't sit still. 132 00:05:54,759 --> 00:05:56,959 Speaker 2: There are points in a novel where that does happen, 133 00:05:56,959 --> 00:05:59,160 And that's a good thing. That's a good thing for 134 00:05:59,279 --> 00:06:02,360 me because that means the writing is coming, the words 135 00:06:02,360 --> 00:06:04,959 are coming, the plot is coming. There are times when 136 00:06:04,959 --> 00:06:07,160 it goes very very slow, when I'm kind of dead 137 00:06:07,279 --> 00:06:09,279 still and I can't figure out where to go where 138 00:06:09,319 --> 00:06:11,639 I've written myself into a corner or whatever, and I 139 00:06:11,639 --> 00:06:15,279 have to figure it out. But you want those moments 140 00:06:15,319 --> 00:06:17,920 where everything's clicking along and you go like, Okay, I 141 00:06:17,959 --> 00:06:19,800 know what's next. Yeah, I know this, now, I know 142 00:06:20,079 --> 00:06:21,680 now they're going to go here. Now we do there. 143 00:06:22,120 --> 00:06:24,720 This book was interesting because there's there's some things that 144 00:06:24,839 --> 00:06:29,079 happened later in the novel that actually never occurred to 145 00:06:29,120 --> 00:06:32,160 me till I got to that moment. I got to 146 00:06:32,279 --> 00:06:35,399 that moment and I went, Okay, this is where I 147 00:06:35,399 --> 00:06:39,160 want to go. It required some rewriting to fix earlier, 148 00:06:39,199 --> 00:06:41,959 but it was interesting in this book in that the 149 00:06:42,000 --> 00:06:47,120 plot evolved itself a little bit differently than I had envisioned. 150 00:06:47,680 --> 00:06:50,480 Speaker 1: Well, part of that vision that you hold is it 151 00:06:50,519 --> 00:06:53,399 to have shorter chapters, because the attention span of most 152 00:06:53,439 --> 00:06:56,040 readers these days is pretty much TikTok as short as 153 00:06:56,040 --> 00:06:56,360 can be. 154 00:06:56,839 --> 00:06:59,720 Speaker 2: Yeah, you got to have short chapters, short sentences, short 155 00:06:59,800 --> 00:07:03,720 work words, and now a shorter manuscript because I got 156 00:07:03,720 --> 00:07:08,079 it down to about ninety two thousand words, which again 157 00:07:08,360 --> 00:07:10,600 is much harder to write than one hundred and two 158 00:07:10,600 --> 00:07:14,800 thousand words. But you try to get it as tight 159 00:07:14,959 --> 00:07:17,800 as you can in today's world because the attention span 160 00:07:17,879 --> 00:07:21,279 of the reader is limited and they're getting tugged from 161 00:07:21,319 --> 00:07:22,040 every direction. 162 00:07:22,199 --> 00:07:25,360 Speaker 1: Yeah, please do not move. There's more with Steve Berry 163 00:07:25,439 --> 00:07:29,160 coming up next the name of his brand new book, 164 00:07:29,279 --> 00:07:32,439 The Devil's Bible. We are back with author Steve Berry. 165 00:07:32,920 --> 00:07:34,759 How do you deal with the editors in a situation 166 00:07:34,920 --> 00:07:37,959 like that, because I will I cringe inside my soul 167 00:07:38,000 --> 00:07:41,399 when it comes back saying hey, look, let's work on 168 00:07:41,439 --> 00:07:44,959 this area, and revisions just kill my soul as a 169 00:07:44,959 --> 00:07:47,480 creative person. How do you deal with the revisions? 170 00:07:48,560 --> 00:07:51,600 Speaker 2: I'm pretty open to it, I really do. I learned 171 00:07:51,600 --> 00:07:55,879 to write in a critical process where my writing was criticized. 172 00:07:55,959 --> 00:07:58,399 I can deal with that. I want to. I do 173 00:07:58,519 --> 00:08:02,120 have one rule, though, don't tell me you don't like that, 174 00:08:02,560 --> 00:08:06,800 or you hate that, or that doesn't work without telling 175 00:08:06,839 --> 00:08:10,439 me why and how would you fix it? And I 176 00:08:10,519 --> 00:08:12,079 want to I want to hear. I want to hear 177 00:08:12,120 --> 00:08:13,600 what that has to say. It's really easy to say 178 00:08:13,680 --> 00:08:16,519 I don't like that. Well, okay, I didn't really ask 179 00:08:16,560 --> 00:08:18,600 you whether you liked it or not. The question is 180 00:08:18,639 --> 00:08:21,319 does it work? You know you it may work, and 181 00:08:21,360 --> 00:08:24,160 you just don't like it. I need to know why 182 00:08:24,240 --> 00:08:27,000 and how you would fix it. And I would say, 183 00:08:27,160 --> 00:08:31,079 you know, I'm probably between my editor and Elizabeth, my wife, 184 00:08:31,079 --> 00:08:34,039 who does the first edit on it. I go with 185 00:08:34,120 --> 00:08:36,679 about ninety percent of what they suggest. 186 00:08:37,000 --> 00:08:39,639 Speaker 1: I would say, yeah, because when I when I allow 187 00:08:39,720 --> 00:08:42,159 my wife to do some editing, that's that's that to me, 188 00:08:42,279 --> 00:08:44,240 is the toughest one, even worse than me, because it's 189 00:08:44,240 --> 00:08:46,200 that fear of the one I love is the one 190 00:08:46,200 --> 00:08:47,840 that's reading what just came from me. 191 00:08:48,279 --> 00:08:51,120 Speaker 2: Oh, mine is tough. She owns your own publishing house. 192 00:08:51,519 --> 00:08:54,600 She owns a Blue Box Press, which is a publishing 193 00:08:54,600 --> 00:08:56,919 house in the romance industry. She's had three number one 194 00:08:56,960 --> 00:09:01,440 best sellers. She's tough. She's tough on me. She gives me. 195 00:09:01,559 --> 00:09:04,360 She don't cut me any slack whatsoever. So her read 196 00:09:04,519 --> 00:09:07,960 is always tough, and I want it that way. I've 197 00:09:08,039 --> 00:09:10,399 told her, I said, don't hold back, do what you 198 00:09:10,399 --> 00:09:13,080 gotta do, lay it out. And again she knows that. 199 00:09:13,200 --> 00:09:15,279 She knows that when she tells me something doesn't work, 200 00:09:15,360 --> 00:09:16,759 she's got to tell me why and how. 201 00:09:17,320 --> 00:09:21,279 Speaker 1: The book opens with two Timothy four verse seven. Amazing 202 00:09:22,120 --> 00:09:24,240 to me, that just set my heart up. Is what 203 00:09:24,279 --> 00:09:26,519 it did. I have fought the good fight. I have 204 00:09:26,639 --> 00:09:29,279 finished the race, I have kept the faith. What an 205 00:09:29,320 --> 00:09:30,960 amazing way to start a book. 206 00:09:31,559 --> 00:09:34,360 Speaker 2: It is, and it bodes what's coming down the line 207 00:09:34,399 --> 00:09:36,840 in this novel. As I said, this novel has surprises. 208 00:09:37,240 --> 00:09:40,159 Cotton's world is going to get upended a little bit. 209 00:09:40,519 --> 00:09:43,600 It's already been up ended with a possible adult daughter 210 00:09:43,720 --> 00:09:46,159 he might have, and now he's got some other things 211 00:09:46,200 --> 00:09:48,799 coming in and over the next few books, his world 212 00:09:48,840 --> 00:09:51,639 is going to change for him. That's been fun for 213 00:09:51,759 --> 00:09:54,080 me because I like to change things up and do 214 00:09:54,200 --> 00:09:56,480 something different. But I hope it'll be fun for the 215 00:09:56,519 --> 00:09:59,840 reader because just like in life, fiction has to change too. 216 00:10:00,080 --> 00:10:03,720 Speaker 1: Yeah. I am a book cover snob. I love book 217 00:10:03,720 --> 00:10:06,960 covers because my fingers love to touch book covers. I 218 00:10:07,039 --> 00:10:10,440 love the raised It's not lettering, but it's the behind 219 00:10:10,440 --> 00:10:12,960 the scenes, so there's there's two different layers here. I 220 00:10:13,000 --> 00:10:15,960 love that and my hands are just pleased because I'll 221 00:10:15,960 --> 00:10:17,559 sit there and I'll just I'll play with that while 222 00:10:17,559 --> 00:10:19,600 I'm reading. It's that got stuff it dude, stop it. 223 00:10:19,679 --> 00:10:21,399 But but you did that for a reason. 224 00:10:22,360 --> 00:10:24,799 Speaker 2: Yeah, it's a beautiful cover. It really is a mat 225 00:10:24,840 --> 00:10:27,600 It's a Matte cover. I've only had one other matt 226 00:10:27,679 --> 00:10:30,039 cover that was The Templar Legacy. All the others have 227 00:10:30,120 --> 00:10:34,120 been gloss covers. Interestingly, the Templar Legacy is my largest 228 00:10:34,159 --> 00:10:37,879 selling books, So maybe maybe there's an omen there that 229 00:10:37,960 --> 00:10:41,039 this book but will hopefully do well. But we wanted 230 00:10:41,639 --> 00:10:44,840 a feel to this book, a feel to this cover. Uh, 231 00:10:45,039 --> 00:10:47,279 and it is one of the prettiest covers I've had 232 00:10:47,279 --> 00:10:49,759 on a novel. And you're right, the texture is different 233 00:10:49,799 --> 00:10:53,480 instead of instead of the embossing coming up, it goes down, 234 00:10:53,679 --> 00:10:55,039 and that it's a little bit different. 235 00:10:55,159 --> 00:10:57,720 Speaker 1: Yeah, it really is. So can you talk about a 236 00:10:57,759 --> 00:11:00,200 twelve part series on Netflix or Hulu that you're going 237 00:11:00,240 --> 00:11:01,519 to be doing or you're going to be turning this 238 00:11:01,639 --> 00:11:04,519 into an animation? I mean, because this can't just sit here. 239 00:11:05,480 --> 00:11:08,440 Speaker 2: Well, it'd be nice. I've been optioned I don't even 240 00:11:08,480 --> 00:11:11,960 know how many times, fifteen to twenty times, but nothing yet. 241 00:11:12,240 --> 00:11:14,639 I still on the right. So if anybody out there 242 00:11:14,720 --> 00:11:17,559 is interested in making a Netflix series, they need to 243 00:11:17,559 --> 00:11:18,279 give me a call. 244 00:11:18,679 --> 00:11:22,399 Speaker 1: So now, now what becomes your learned lesson on this project? 245 00:11:22,440 --> 00:11:24,919 Because that's what I love about writing. You're always going 246 00:11:24,960 --> 00:11:27,039 to be the students, you're going to pick up something 247 00:11:27,080 --> 00:11:28,840 new along the way. 248 00:11:29,080 --> 00:11:32,039 Speaker 2: Every novel I write, I make a point to do 249 00:11:32,159 --> 00:11:36,440 something craft wise that I've never done before. I do 250 00:11:36,559 --> 00:11:38,879 that in every novel at least one thing I've never 251 00:11:38,919 --> 00:11:41,960 done before, which is learning experience. For me, this one 252 00:11:42,000 --> 00:11:45,039 was to write the shortest manuscript I've ever written, in 253 00:11:45,120 --> 00:11:48,120 ninety two thousand words. And I will say it was 254 00:11:48,120 --> 00:11:51,799 a challenge. It was a very, very tough challenge to write. 255 00:11:52,039 --> 00:11:54,559 It's the famous line from Lincoln when he was writing 256 00:11:54,759 --> 00:11:59,600 letters to the mothers of dead soldiers. He apologized, you know, 257 00:11:59,639 --> 00:12:01,919 because if he'd had more time, he would have written 258 00:12:01,919 --> 00:12:04,799 it shorter, you know, and you know, and so that's 259 00:12:04,799 --> 00:12:08,519 what he said, you know. It's that way. Writing shorter 260 00:12:08,639 --> 00:12:11,039 is harder. So this one is there. But I liked it. 261 00:12:11,360 --> 00:12:13,120 I learned from it, and I'm going to try to 262 00:12:13,200 --> 00:12:14,960 keep it going in the books of his Well. 263 00:12:14,799 --> 00:12:16,480 Speaker 1: I'm going to learn through you. And the reason why 264 00:12:16,519 --> 00:12:18,759 is because I just had a Chicago station invite me 265 00:12:18,879 --> 00:12:20,480 up to jock for him, and I said, no, I 266 00:12:20,480 --> 00:12:22,559 can't accept your job because you just want me to 267 00:12:22,600 --> 00:12:25,759 talk over song intros. I can't talk over song intros anymore. 268 00:12:25,759 --> 00:12:28,320 It's not enough so for you to be doing this. Now, 269 00:12:28,360 --> 00:12:30,559 I'm going to be watching you, Steve, to find out 270 00:12:30,639 --> 00:12:34,039 how you experience fewer words, because I think that's what 271 00:12:34,120 --> 00:12:37,519 they teach us when it comes to brevity. Use less words, 272 00:12:37,960 --> 00:12:39,000 Use less words. 273 00:12:38,720 --> 00:12:41,320 Speaker 2: And choose your words carefully. Use less words. You got 274 00:12:41,440 --> 00:12:44,080 to really pay attention. And I know this was a 275 00:12:44,159 --> 00:12:47,679 tough plot for me to write one this tight, but 276 00:12:47,759 --> 00:12:49,360 I'm glad I did it. I kind of got the 277 00:12:49,360 --> 00:12:51,519 hang of it. I think I can keep it going. Wow. 278 00:12:51,559 --> 00:12:54,559 Speaker 1: Where can people go to find out more about everything 279 00:12:54,600 --> 00:12:56,720 you're doing? Because you are in touch. 280 00:12:57,639 --> 00:13:02,000 Speaker 2: It's steveberry dot org website. All twenty nine books are there, 281 00:13:03,159 --> 00:13:06,039 the novellas are there, and everything is there. You can 282 00:13:06,120 --> 00:13:09,519 check it out. And the Devil's Bible's out in stores today. 283 00:13:09,600 --> 00:13:11,960 It's all over everywhere, so you can you can get 284 00:13:12,000 --> 00:13:13,200 it at your favorite bookstore. 285 00:13:13,360 --> 00:13:14,759 Speaker 1: Now, I know I'm going over the limit, but you 286 00:13:14,840 --> 00:13:16,360 just said Novello, and I know that we have a 287 00:13:16,440 --> 00:13:19,039 Novello festival here in Charlotte. Don't you encourage a lot 288 00:13:19,039 --> 00:13:23,080 of these unpublished authors. Please participate with the local novellos 289 00:13:23,120 --> 00:13:26,039 because it's an opportunity to be seen as well as heard. 290 00:13:26,639 --> 00:13:29,639 Speaker 2: Oh, definitely, absolutely, they should do that. And novella's are 291 00:13:29,720 --> 00:13:32,120 tough for me, yeah, because I've always been a novel writer, 292 00:13:32,320 --> 00:13:35,440 so but you know, I'm learning how to do that 293 00:13:35,519 --> 00:13:39,159 and writing the novella's helped me and writing The Devil's Bible, 294 00:13:39,240 --> 00:13:42,399 because novella's are thirty forty thousand words. One of them 295 00:13:42,480 --> 00:13:46,480 is only like twenty thousand words. Very tight, very very tight. 296 00:13:46,840 --> 00:13:48,799 Speaker 1: Yeah, you got to come back to this show anytime 297 00:13:48,799 --> 00:13:50,519 in the future, Steve. The door is always going to 298 00:13:50,600 --> 00:13:51,279 be open for you. 299 00:13:52,120 --> 00:13:53,039 Speaker 2: Thank you for having me. 300 00:13:53,159 --> 00:13:54,480 Speaker 1: Will you be brilliant today? 301 00:13:54,519 --> 00:13:58,039 Speaker 2: Okay, sir, I will, and I'll look forward to coming back. 302 00:13:58,200 --> 00:13:58,840 Speaker 1: Thank you, sir.