But first, let me ask you a question. Are you an outliner? How would you like to make sure that your outline is ironclad? What I’m talking about is the iron clad story outlines that I work with with authors to make sure that they are the best that they can be. This will help you accelerate your backlists, spend your valuable time writing, not rewriting, and make your best story better today because truly, your story deserves the best.
You can check those out at the book at her show. Dot com forward slash dev edit.
All right, so let’s get into this today. I want to if you listen to the Wonderwoman podcast where I went through the first act on that, this is the same kind of format.
We have these great stories that a lot of people are watching on the big screen. And the question is why? What what is it about these at work? How can you translate them into your own scriptwriting or into your own book editing and writing as well? And I think that one of the reasons why these work so well to to break them down is because they are easily accessible. It’s not like you have to go in and spend hours reading or doing a ton of research on this.
They’re fast and they can show some really good points that you can look at to add to your own work. So let’s jump into this. I love Thor Ragnarok. Unfortunately, I loved it so much that it. I don’t know, maybe not, unfortunately, but I loved it so much that I went and saw it four times in the theater, twice by myself and two times where I had to bring my boys, you know, I mean, they had to see this movie, right.
And it was at different times. So it was a good excuse to go in and watch it again and again and again. And as soon as it came out on digital, you know, I picked it up because I’m just enthralled with this movie. Almost all of the Marvel movies are great examples of commercially viable fiction that you could translate into any kind of work that you’re doing, but thought there was something about it in in the same way that.
That Captain America Winter Soldier came in and did not a superhero story with a spy element, but a spy story, an espionage thriller that happened to have a superhero in it.
This is the buddy cop almost story. You know, where these guys are on this journey together, the road trip type of journey, and we’re dropping in a road trip that happens to have superheroes in it. And it’s fantastic, right?
You know, there’s like these great elements and there’s good comedy in it. And comedy helps us break down barriers and really allows us to get into. Any type of of work, it makes it more accessible to have these elements, it doesn’t mean that it has to be a comedy and I wouldn’t classify it as a comedy, but it definitely has elements of that which I think make it more fun for people that might not be into. The superhero genre, because eventually, you know, the superhero genre is going to kind of wear itself out a little bit too much.
So Marvel taking. The initiative and making these movies, not just about the superheroes, it really can help. So let’s go through and take a look at exactly what’s going on here now and be forewarned.
These have spoilers there. Be spoilers in here. OK, so you’ve been warned. I’m going to be talking a lot about the scenes and what’s happening. So if you haven’t seen the movie yet and you want this, I want to do it without spoilers and I would suggest stopping at this point.
OK, so scene one, it starts out and we’re getting this great voiceover from Thor who’s explaining what’s been going on. And and it comes out, you know, the find out that he’s actually having this conversation of conversation while he’s chained up in this cage with with a dead skeleton on dead skeleton with the skeleton. Clearly it’s dead. Well, I guess in this world, maybe not. But at any rate, you know, he’s having this discussion.
And what this does, it’s funny. Yes. But it’s explaining and he’s explaining everything that’s happened to him up until this point and all the other movies that he’s appeared in.
And that kind of quick explanation done in a fun way that doesn’t feel like overexplaining or, hey, let me just dump all the information on you.
And instead of doing like a scroll of a paragraph scroll at the beginning of the film, you know, that says, all right, so has been here, here and here. Instead, he’s doing it in this way in his. And it’s clever. It’s done through dialogue. And it works because, again, it’s adding in some comic elements into it. You know, you get you get the cutaway with the skeleton jaw dropping open such a thing.
But what it’s really doing is catching up the viewer who especially who has never seen any of these films before. And that’s something we we really need to think about, especially as writers who are concerned with doing a series or doing, you know, either whether you’re doing script or manuscript for book, you want to be able to make sure that if a new reader or new viewer jumps in, how how confused are they? It’s, for instance. A great show on television like Lost.
Which requires the viewer to really understand what’s going on before they get to the point that they’re at, because there’s been so much information and they try to do previously on type of thing to catch people up. But the truth is, like it can feel really inaccessible to a new viewer coming in because they might feel like, oh, I’ve got to go through all of this stuff. So if you can quickly set up at the beginning of each of your books, beginning of your movie, if there’s information that, you know needs to be there, that it can be given quickly, it can be a great way to make sure again that the viewer feels accessible, that the that the reader is accessible to the information and looking for ways that you can set this up, being clever, whether it’s humor or whether it’s dramatic, this will really help set it up.
Now, what’s going on? What do we care about in Act one of anything? Act one needs to be the establishment of what is normal life. And that’s what we do right here in this scene.
We’re having this normal life. Hathor, what is Thor? Walther’s is powerful being. You know, he he is arrogant and he has a dependence on Wolmar the hammer that he uses. And he has these things when we establish it real quickly, you know, he’s he’s beating up.
He has this conversation, which, again, is also funny and sets up things that are going to happen later in the movie. But. More importantly, in the setup, you know, he breaks free of the chains, so you see that he’s strong. We see how the hammer works. We see his power. We see his arrogance. We see all of this, what he has, what his normal life is. And it’s something to remember that we don’t when we have a powerful protagonist or we can have a powerful protagonist, we don’t need to show them being weak if they’re not weak.
A normal life for Thore, normal life for James Bond, a normal life for Jack Reacher, and normal life is more exciting for them than normal life. For the first episode of Star Wars with Luke Skywalker, normal Luke Skywalker is moisture farmer.
Normal Thor is out beating up fiery demons. So we’ve seen him in his normal life. It also when they when they start this battle scene in here, it actually and the choice of music that they went with was exactly the same as the trailer that they did now.
If you’re doing movies and you make this exciting trailer a lot of times, what do people complain about with trailers is when they don’t match the movie, when they set up the wrong expectation, or perhaps they give everything away. And definitely like watching the trailer and watching the movie, like they actually changed background scenes in the trailer and different type of editing in the trailer so that they wouldn’t spoil the movie. They actually changed it. You can go through and take a look where they’ve made changes between things.
And it wasn’t it was the same scene, but like with the background. So you didn’t know when it was going to happen. And I think that was very clever.
Plus the fact that they used this great music, you know, 1980s music going on here. And they start to movie off this way now. How does that translate for books, what what’s your cover? How long does it take to get to your cover image?
You know, when is that action on the cover going to take place in the story? In your advertising for your book, advertising for your movie, it works on both when does that advertising take place? You know, when does the problem when are you delivering on that?
And the earlier we can deliver on these types of things, the that we can show portions of the world, the faster we can get into it.
Now, that might mean, hey, you need to do an epilogue. I mean, excuse me, you need to do a prologue or the first chapter needs to be about what’s going on in the cover and promise being made, because maybe you’re getting into a very serious, non exciting portion of the book, you know, that needs to set up things. But you have this little promise at the beginning, and that’s what Thor’s delivering here. He’s delivering the promise right away.
Which I think is just fantastic, you know? And so that’s a question to ask, you know, how long does it take to deliver the second scene? We get introduced to a new character scourge, and we set up one of Thor’s first problems.
And, of course, the first problem is getting away from. From the demons that he’s that he’s out in this great big monster, and of course, we’re finding out that the things have changed at Thor’s Homeworld and. These are really good setups because the setups are so important. To make sure that we’re all on the same page with it, so we’re explaining some of the of how the world works as well, you know, with. With the bridge to be able to to be able to move people from different realms, there are different realms that there’s this whole other world that’s out there, you know, Scrooge is talking about.
I go to the nine different realms and I can take what I want and and which can really help set things up for us again.
And, you know, Asgard is one of these realms. And and we find out, you know, that there’s there’s other stuff that’s going on here.
And some of the information that Thor is getting as well is this whole idea about Ragnarok. And he’s trying to stop it, right? I mean, that’s that’s what he’s trying to do here. And he’s believing in his arrogance that by defeating this demon right here and bringing back this crown, it’s going to stop Ragnarok entirely. OK, so then we we find out and also Scourge is replacing Heimdal and and this character is Heimdal is able to see everything right.
He’s got the eyes to witness everything that’s going on everywhere at the same time. And of course, this is a good guy to operate your bridge because the bridge allows people to come.
On to Asgard in and being able to have someone who’s guarding that gate is very important, right. And so we get some quick changes here that are going that are taking place. We understand that the world is not the same as it was in the last Thor movie. We’ve got some different things happening here. And of course, Thor gets away from the monster. He gets sucked up and across the bridge crosses. It comes to Asgard and we have some good humor scenes as well.
We switch to the next scene.
And this is really great because Loki, of course, we know that he’s not dead from the previous films, but Thor does not. And Thor believes that he’s dead and he believes that his father is back ruling and this is not the case, that Loki is actually taking his father’s spot, taking Odin spot there on the throne.
And bad things have happened since Odin has not been around and Loki has been up there in his glory, you know, getting all of his glory.
I really like the the movie in the movie, the play within the story.
And it’s kind of fun. Again, if you’ve ever heard me talk about your your story needs a dance scene, you know, this is this is the dance scene, right? This is theater that’s taking place.
And the Loki has. Created the image of himself and understand here, if you haven’t seen this or you have seen it, you know, you have odyn looking like we have Lokey looking like Odin and Odin look alike, is watching another actor portray Loki. So it’s got this whole great circle going on here. And if you haven’t seen it, Matt Damon is playing the character. It’s fantastic. It’s a lot of fun.
But Loki’s setting up his his own myth.
Right, of how he rescued everybody and and how important is. And of course, just with when Thor arrives and he sees this and he he finally realizes that this definitely is not my father can’t believe what’s going on, it’s got to be low key under here. And he threatens him in a way. And so Loki reveals himself. And now we’ve introduced our inciting incident.
This is this is the the the part of the story that sets us up to end everything in Act one to move forward and act. You know, this is not the end of Act one, but this is the setup for it that puts us on that path. And the path is here. Odin is gone and Odin needs to return to the throne. And that bad things have been happening since Odin hasn’t been there and Loki has hit him someplace. So we have to go and find Odin and bring him back.
Now, this is this problem is a much bigger problem, of course, than what we just had.
We had a little bit of success as Thor gets away and now we’re going to find Odin and we go to New York. Back to New York. Right. Because this is where Thor has been before. And we have some really cool stuff that’s going on here. And now, if you haven’t gone through all of the Marvel movies, that’s OK.
There are a lot of them out there. It builds a really good mythology.
And I love how it jumps characters around in different parts of this world. And so starting clear back from Iron Man when we’re first revealing that, hey, we’ve got superheroes out here coming into The Avengers where we have this cosmic problem and now the world knows about everybody that we have come to this point of coming back to New York several times now.
And here’s Thor in regular clothes, but even in regular clothes, people recognize who he is.
And they don’t just recognize who they are, who he is, he is a he is a celebrity on Earth. People know his story, I can just imagine, you know, that that if and I wish he would do this at some point in their, you know, toss in this little bit, you know, you’ve got you’ve got to have these video tabloid. Talking about these superheroes in their lives, right, and so that they know that Natalie Portman’s character, we acknowledge that that she’s not part of this story and she’s not.
And this is the third movie and she’s not in the third movie, but they talk about, hey, hey, sorry you had to because we’ve got these two people that come up to Thor and they’re like, hey, can we take a selfie with you? And we’re sorry that you broke up with your girlfriend. And he’s like, oh, it was I dumped her as a mutual. I mean, it’s it’s a lot of fun, but it’s a good way to to show how this world has changed over time for these heroes and also to be able to acknowledge because again, when you change the story, when you change stuff that’s happened off screen.
Changing characters, things, and you don’t want to have to go into a huge explanation of why this character is not there, but you also want to acknowledge that this character was there at some point. This is a good way to do it, that you have a walk on scene with with characters, one dimensional characters, unimportant characters. You don’t need to give them names or anything like that. And you deliver the information quickly that is giving service to your reader or to your viewer, who is a longtime longtime supporter of your series.
And then moving on.
And we don’t need to take a ton of time with it. In fact, it’s the only stuff we deal with with Natalie Portman character in the film.
So now. This also, if you’re building a big story world, this is key, where do these characters cross?
Now, this is one of the things that the Marvel Studios is doing so much better than everybody else is that they’re taking time to really establish characters outside singularly and their own stories, but then also crossing them over into other people’s stories.
And that’s where these really take good form and shape. Yes, they introduce new characters. Black Panther introduces great new characters. It still has Andy Circus’s our Andy Serkis character coming back into it to play a villain. I wish they would have had another superhero at some point in there for a moment like they do in Thor, where we have Dr. Strange pop in for for a quick scene.
And it’s a great scene, right? It’s a lot of fun.
And these same characters can come to different parts.
So instead of having to create a brand new character to do a small scene with, you have this huge wealth of characters that you can draw from from other films that your audience is already familiar with.
So in the same way, if you’re doing large. Story arcs, you’re doing a lot of different books, whether they’re standalone or whether they’re in a series, but they’re part of the same world, where can you draw these characters from and bring them in? Because it can really work and it can it can be more full with with these additional characters in this world. It makes the world come more alive and that these characters cross over.
It’s one of the things that that’s awesome about comics and not awesome about comics at the same time is the fact that we have this huge wealth of characters and that they can jump in and out of different stories.
In the comic book world, for a little while, Marvel had a theory or a plan, it was called Marvel Now, and the idea was, hey, we’re going to make sure that all of our stories are on line with each other so that we won’t have a story series that’s taking place that sets the world outside. You know, Thor is not appearing over in this story and also in another story that’s completely separate. So the idea was to keep everything on track, but it ran off track pretty quickly because it’s just difficult to run all these different shows at the same time or all these different.
Issues at the same time and being able to keep the story straight, because you’ve got different writers who are. Exploring different storylines, so in a book or in a movie, it’s a little bit easier as long as you’ve got a good show, who’s understanding where everything is going to be and where everything needs to line out, OK?
So with that in mind, you know, like keep keep that in mind where you can put these things in place and where things can take place. OK, so we find out that the Odan is not there in New York where he was left, the nursing home has been demolished. Dr. Stange knows where he’s at. They find him and sets up his belt to move them over to go and reach him.
And now we’re setting up major stakes. So Odan reveals the truth of what’s been going on and.
Of course, Thawra can’t believe it. He denies it, you know, that he’s like he again reiterates his overconfidence is arrogance.
You know, I’ve stopped Ragnarok.
You know, it’s not going to happen, Dad. I’ve taken care of it. And of course, the truth is, no, he hasn’t taken care of it.
In fact, everything that the both Loki and Thor have done have only helped to to set this up, to make Ragnarok happened.
And, of course, this is. This is its own, in its own way, a self-fulfilling prophecy, right, that these prophecies happen and. That bam, you know, like this, these are the problems that come because of how the characters are acting. So along with that, we have we have a great little scene there with Odin at the end saying goodbye to his sons were in Norway.
You know, where we’re establishing this myth to begin with the mythology of Thor and says, I’m home. And he goes drifting away in great Jedi fashion. And at this point, Thor’s pissed, right? I mean, he’s so pissed off at Loki for what he’s done, you know, for hiding him away here and for for causing some of these things.
But he’s not seen his own his own hand in this as well.
And because of his arrogance. And so he’s about to to lay the smack down on Loki when something more dangerous arrives.
Right. I mean, that’s how do you get enemies to work together?
Well, you you put a a obstacle that stops both of him and makes him, you know, that will put a stop to both of them unless they work together.
And so they try to work together because their sister shows up and they’ve never known about their sister until just moments ago when their father tells them the truth about how and how powerful she was and how he had to lock her away and prisoner. Now, that sounds pretty simple. And then we’ll learn more later in the story, which we won’t get to in this podcast. But it’s really good you’ve got to see this.
So we get introduced to Hallah and she’s the really big bad the huge villain in this story. And we establish immediately her voice. How does she sound? You know, how how is her cadence with what is she’s what she’s saying.
Powerful dialogue comes from establishing powerful characters. And we see that immediately in her and what she is and also her own abilities like these are important.
We’re establishing what is in this world. If you’re doing fantasy, you’re doing science fiction. You need to be able to show your audience what’s possible. You don’t have to explain it all, but you just need to show what’s possible, and so we we see that she can magically pull swords out of thin air.
Of course, this is something that Lokey has done previously in the scene with Dr. Strange, not Sorge, but he pulls out a couple of knives. And so you’re kind of thinking, well, maybe this is probably the same thing.
But her power, of course, is much more than what he does, which is also good to kind of show different types of levels here between the characters. And of course, in his arrogance, stories like, I’m done with this, you know, you won’t talk about it, whatever, I’m just going to solve the problem. Like I always solve it with hitting it with my hammer. Right. No problem.
Can’t be solved without just a little bit of brute force. And so, of course, he tosses the hammer. And this is the big scene. This is one of those scenes I was talking about. That’s actually the background. Go to the trailer. What’s a trailer? Watch the movie. They actually have changed the backgrounds in it so that you don’t know when that was going to take place. And I think it’s a cool decision that they made on their part.
So he tosses a hammer and it grabs it and crushes and destroys the hammer. This is the first step. I guess it really the second step, because Oden’s did the second step along his path of completely destroying the world that he knows.
Right. This act one is the world. He knows the world as it should be. You know, Thor on top, Thor with his hammer, Thor throwing it and destroying anything in his any obstacles in his path. And it’s gone. And of course, he even spends more time about this, like the relationship that he’s had with his hammer for such a long time.
So we have a quick fight there and. In Loki’s fear, he immediately calls for the bridge to be back open, back up, and Scourges is pulling them back up and way off of Earth. And she’s attached. She’s right there along for the for the ride.
And there’s a quick fight. And both Lokey and Thor get knocked out of the bridge.
And we don’t know what happens right when you fall out of this bridge because you’re getting sucked through the cosmos.
Then we switch new scene, scene seven, hello, arrives on Asgard and kills the rest of Thor’s friends.
So we’re moving everything that Thor knows and this is important, especially when you’re getting later into your series. How can you, as your character becomes more powerful, do you just continue to increase the power of the villains or do you remove things that make the character powerful that they then have to find ways to work around it? If you’ve got a character has magic, what if you removed the magic, if you know you have a superhero, like if you’ve seen Black Panther, you know, how do you remove the power there?
How do you remove the power from the character so that they have to learn how to do something differently on their own? Or how do they restore their power in this way? We’ve removed Thors power, his weapon, and he’s got to to face things on his own. So she arrives there, like I said, kills his friends. And we switch over to to the scene the next scene.
And Thor is dropping into a pile of trash on this planet he’s never been to before and is immediately confronted by the locals.
And he reaches for his hammer, but hammers, not their hammer, doesn’t come, and oddly enough, I think this is after seeing it so many times. This is my one thing that I’m like, I don’t understand this. Still don’t understand this. All right.
So far as what he’s the god of thunder. He fires lightning. He’s got all this stuff. And what does he get taken down by technically, like, you know, a a taser net? You know, they toss this net onto him and they shock him down into submission.
I’m not exactly sure how that works, but it does in this world, apparently. And so he’s taken out and which is something brand new. Right.
Introduction to this whole new world. We’ve seen the last crumbling of Act One as his old world falls away and his whole world is turned upside down.
And we’re introduced to another new character, Valkyrie. Definitely my favorite character in this in this movie. She’s fantastic.
She’s got flaws and such. Strong. Presence on the screen and how do you translate presence from a script or presence on the page? Right. This is what you need to think about with your characters. It’s the flaws that we give our characters. It’s the voice we give our characters. It’s how they act. This is what makes them recognizable immediately on the page or on the screen. Now, you don’t have the benefit.
Of having a live actor, perhaps, if you’re working script, awesome, but if you’re working books, how do you do this? You don’t have the picture. You can’t have them portray it in a particular way. You need to make sure that you’re portraying it in strength. And dialogue is really important with this action. How they how they act is really important. When she when Valkyrie walks off of the ship and she’s looking all badday and then falls off in a drunken stupor.
You know, this immediately shows things about her character and she takes out all the locals and thinks he’s saved. Right. He’s getting out of the net. He thinks everything’s good.
He needs to get home because he’s got to he’s got to fix his world. He’s got to hold on to it before it all falls apart.
But immediately, she tosses this disc onto his neck, which again shocks him into submission.
So, again, I don’t understand what’s wrong with the God of Thunder, why he’s not a little bit more insulated to this type of type of device, but need to have something right.
You needed to have something that would bring him to his knees, that would take that would take away the arrogance to take away his dependence on brute force and make him. Think a little bit, make him realize things and make him change his character, you want to put a character through an arc, you need to be able to tear things away so they can rebuild back up. All right, so one of the things that we do see, though, as I should have mentioned before, we get shot with the net when he first arrived there, he grabs one of these locals and just throws them right.
You see that he still has his strength and he throws this local clear over there.
And one thing you might not notice, if you’re just watching it, if you just watched it one time, is it Valkyrie also grabs one of these local guys and throws him about the same distance down the same direction, but the same distance.
You know, it’s a real oh, I can see my house from here type of moment, you know, like they go flying across the sky.
And so we should infer from that that both Thor and Valkyrie have the same amount of power.
One of the things that I think that would have made it a little bit more noticeable and so you’d be like, oh, oh, there’s something about her.
And it’s not just that she has a ship and shoots people. She’s got something else.
And maybe they didn’t want to draw this much attention to it, but so that we know when we go to this new planet that it’s not just the planet’s atmosphere that’s making them do this, if we would have had one of the locals tried to grab Thor and throw him or grab Valkyrie and throw her and see that they did not throw them as far than we would have gone on quick light bulb moment, there’s some connection between us because we can’t we can’t see how something works unless we contrasted with something that doesn’t work.
So it’s one of the things I would have done a little bit different there. But that’s all right.
So. At any rate soars again, like I said, he’s shocked and he’s being dragged away and this marks the total turn of his life and where we were right about 30 minutes and we’re at a two hour movie.
So guess what, 30 minutes for the first act, 30 minutes for Act three. And we’ve got an hour left for Act two, which is about right where you’re at. You know, for most of our division, if we’re looking at this in math. So it’s a good way to be. And one of the other things that you’ll notice with Hollywood is you can almost time it to your watch. Is it a ten minutes? They’ll be the inciting incident will occur.
And exactly here. Ten minutes where they’re.
Were there in Norway setting up the I’m sorry, 10 minutes were there setting up the inciting incident with Lokey revealing that Odin is no longer there on the planet. And we’ve got a real problem here that we got to take care of it. All right.
So that’s act one of Thor Ragnarok. That’s what’s going on in this now. So the takeaways here are where in your story, especially if you’re doing a series, how do you reintroduce characters? You know, how can you do that quickly? So you’re not spending a ton of time on backstory.
Take a look at at a darker shade of magic, which is really great stories.
But they get to book three and they’re taking chapters and chapters and chapters to set up what happened in Book two. So you need to be able to do it quickly where it doesn’t feel forced and it still engages with your audience because you’re going to have a lot of people who know these characters. And so they’re not gonna want to spend a lot of time.
But in case you have new people that come along, you want to be able to give them the information. This is a great way to do it. Next thing we need to establish during this act, one, we need to establish what is normal life for our protagonist, not normal life for everybody else, normal life for a protagonist.
So if they’re Thor, Thor is out there destroying the world, you know, like solving problems with a hammer.
And we see that. And now we’re taking things away. We’re setting up an inciting incident. What’s the problem? What is the thing that he’s on a path to stop Ragnarok, but he’s got a bigger problem.
Oh, my dad’s missing, so we got to go and solve this bigger problem.
But this bigger problem, the inciting incident, pushes him onto the path. Of taking everything away from him, and that’s a choice that he goes and makes, and then, of course, Hala pushes him and tosses him away, which leads him to a new place where he’s taken captive hammer destroyed, which is taking everything normal life upside down.
Life, right. We’re moving from Act one to act to where everything is now changed, everything is different. And he has to find a new way to operate, a new way to exist.
And we get deep into the character and he starts, you know, introspection and all this great stuff that makes for more of a lovable character, we should have seen this, you know, much earlier. And it took till Thor Ragnarok, the third in this movie to do this. And that’s OK. You know, like maybe that’s what it takes to get to where you want to be with your character.
So look at the arcs. Look where you where you’re at. How is a character normal? How can you start taking that away?
Because if the remains if he keeps his hammer and he’s knocked to this new world, he’s just doing the same stuff.
And so we want to see him doing different things, how can we take power away from our protagonist so that they’re put into a situation that feels the same, but it’s different, right? So we’re same, but different. That’s important. We’re paying respect to our fans. We’re giving them what they want.
We’re seeing these little parts where if we’re in a big story world, we’re taking characters from other parts of our stories and giving them little walk on.
So we’re using them instead of having to create new characters so that we’re building a world of familiarity and how it works and how it interacts.
And that’s it. That is it right there.
So I hope that I hope that you’re enjoying this. I hope that you have a good time listening to it.
And if if you’d like to to work on making your outlines better to to build a great first act, definitely check out the book at our show, Dotcom forgive edit. You’re going to have a great time working with me on building a fantastic outline.
So keep writing, keep building a better book, go for it.
Thank you for listening and come back next week. For more, please visit the book editor show dot com for show links to guest books and extras and for information on how to be a guest on the show.