How do I make my book a bestseller?
Ah, that age old question. How do you get anything to sell like wildfire? The answer is, it’s a complicated answer. This article assumes a first time published author. Let’s explore.
Going Viral
Let’s start with the elephant in the room. Much of the reason anything becomes a hot seller is ultimately out of the control of the seller. If it’s a book, as suggested by the title, then there are a lot of situations at play.
Sure, the content within the book can make or break a book, but even if the book is the best written, best conceived story and offers entirely fresh ideas, that doesn’t guarantee success. In fact, nothing guarantees success of a book. What makes a book successful is luck (and lots of it) and being in the right place at the right time. You can control your words in the book. You can control where the book is sold. You can control lots of aspects of distribution, paper types (if printed) and so on. But, what you can’t control is how people will receive the book and, ultimately, how many will buy into it. That is a matter of luck.
There are some books that simply become ubiquitous in pop culture. There are others that simply fade into obscurity. There’s no way to know if your book will light the proverbial fire or be eclipsed by someone else’s book. You simply can’t know.
Planning and Control
When considering authoring a novel, there are formulas involved. Such formulas include how many words should be in the book, what genre the book belongs in, how many copies that you can print, how big the font should be in the book and so on. These physical book attributes are within your control. However, it’s doubtful that these physical attributes will play a part in whether book becomes wildfire. Oh, they play a part to be sure, but the biggest factor is still luck. Luck, for example, is entirely out of your control. You can’t force luck, you can only hope that lady luck looks down upon you and smiles.
Your book’s content does play a role in being a bestseller. Meaning, a poorly written, badly conceived novel has no chance of becoming a bestseller. The book content, as I said above, is within your control. What that means is that you need to write your book to the best of your ability and get help whenever your story goes beyond your means of control.
In other words, you need to write your book so that it at least matches the quality of most other bestsellers. No better, no worse. It doesn’t have to be perfect, but it needs to be of a quality that at least gives it a fighting chance at becoming a bestseller. However, with that said, the pieces within your control do not at all guarantee (even if your novel is excellently crafted and written) success. Success of your novel is predicated on whether readers find pleasure in reading your novel and, more importantly, it resonates with enough people to start the viral wildfire.
Viral Wildfires
These types of wildfires can start anywhere. It could be as simple as Oprah Winfrey reading your novel and inexplicably plugging it on her show. It could be helped by having a 10 million viewer YouTube channel mention and review your novel on their channel. It could be a Twitter account with a huge following who incidentally reads and plugs your book on their channel. It could be all of the above.
With that said, you can’t force any of these viral situations. You can only hope they come to pass. They might, they might not. It all depends on your content choice, the situations and if your content resonates with the right set of people at the right moment in time.
However, you can’t write your content with that audience or set of circumstances in mind. There’s no way to know if your novel will be read by someone famous and plugged. Yes, it can happen, but you can’t be guaranteed this outcome.
Book Topics
If you’ve not yet written a book and you’re looking to do so, you should solidify a list of topics that you think you can spend many hours writing about. You have to like your characters for you to remain interested in spending many hours involved in crafting a tale around them.
Write what you know
In addition to writing about likeable characters, you should write about the things where you have knowledge. Sure, if your novel is about space travel, you might need to research such topics as the vacuum of space, exactly how cold space is and how fast it freezes objects solid, but you might also need to research the latest theories on space travel ideas. Of course, you can craft fanciful new propulsion systems that have never before been dreamed, but you might want to ground those systems in at least some measure of Earth physics. Bringing fanciful ideas back to the real is the way to make them seem genuine to the reader.
You’ll also want to determine your books genre, such as romance, fiction, non-fiction, historical, drama, comedy, etc. You can even write a memoir if you think it has some social significance to other people.
Audience
When crafting your manuscript, you’ll want to always keep your audience in mind. Don’t switch audiences in the middle of your book. If you begin the book assuming a general level of adult intelligence, stick with that. For example, if you’re using “big” words and phrases to describe your situations, don’t change halfway through the novel and start using smaller words and phrases. Your readers will notice. Stick to the formula in which the novel began. If you assume a certain level of adult reader intelligence at the open of the novel, stick through this all the way through to the end. Be consistent.
If your character is from the south with a southern drawl, maintain that character’s drawl throughout the novel. Don’t drop the drawl partway through and assume your readers won’t notice. Consistency in writing is the key to keeping the novel thoroughly readable throughout. It’s all about consistency. If you break consistency, it can break the suspension of disbelief and have readers walk away leaving half of the book unread.
How many words?
This is a question many new authors ask. How many words required for a novel is really all dependent on the chosen genre and how much it takes to tell a story.
If you’re writing a novel with 4 short stories, then your short story lengths will be far shorter than a full novel. A short story might contain as few as 7,500 words up to 40,000 words (on the very high side).
A Young Adult fiction genre novel can get away with as few as 45,000 to 55,000 words. However, a fiction novel targeted at an adult audience should contain at least 80,000 words up to 110,000 words. These are, of course, guidelines. Your novel could be much longer than this if you so choose. However, longer novels may turn off some readers (and publishers). Instead, you might want to break it into a multipart series and cap the words per novel. Then, begin writing a new novel in your series with any remaining story ideas that you have.
For children’s books (aged 7 to 12), the maximum number of words is 15,000 to 30,000. These books should be shorter.
For non-fiction adult genre novels, the number of words start with at least 60,000 words and go up from there.
To be considered by a publisher, your novel should have these numbers of words, depending on genre. If you’re unsure and you have an open dialog going with one or more publishers, simply ask them if the length is sufficient to consider publishing. If you get a rejection letter, you should read that carefully to understand what, if any, reasons for rejection are included. However, the publisher may not include any solid reasons.
Planning your Novel
It’s probably not a good idea to go into the act of actually writing a novel before you have story ideas and story progressions fleshed out. This means writing down your ideas, character names, situations and story arcs. You’ll also want to flesh out how you want your characters to grow, learn and what the ultimate goal is for your character. Are they on a path of self-enlightenment? Do they need to be taught a lesson? Do they need emotional guidance? How is their story going to progress?
Stories that are character driven are the most likeable and the most likely to go viral. Use your characters to drive the story forward. They are the ones who hold your story’s keys and who can unlock the story progression. Use characters to drive your story forward.
Imagination is part of this process, but part of it is using characters in ways to logically progress a story. For example, if your main character is a cop who upholds the law, it wouldn’t make sense for them to continually break the law at every turn and not feel remorse or guilt about doing so. Of course, rules are made to be broken, so perhaps that’s your twist?
Speaking of twists. Does every story need to have a twist? No. Stories can be told with or without a twist. A twist is great if it makes sense during a particularly revealing section, but it’s not required. The problem with twists is foreshadowing… which is a very subtle art. If you foreshadow too hard about events to come, people will see your twist(s) coming way in advance, which ruins the setup. If you fail to foreshadow at all, the twist may not have enough impact and may even seem confusing. Planning your novel for a revealing twist can be difficult. Planning is important here. But, so is….
Feedback
It is important to get feedback on your novel. Let someone read your novel and give honest criticism and feedback. If you include a twist, understand your advanced reader’s comments about that twist. You’ll want to know if they guessed it way in advance and, if they did, what you might do to tone down what led them to that conclusion early.
You want to remain in control of your reader’s thoughts about the characters and story all along the way. You don’t want them jumping to conclusions about your story in advance. Have the reader unfold the story as it’s written and don’t give them too much information that could lead their thinking astray or draw early conclusions. If you’re writing a mystery novel, you always want to keep your reader guessing throughout. In fact, you might want to squash any conclusions they might reach too quickly. That way, if your reader jumped to an incorrect conclusion, you can unfold the story and immediately tell them that their conclusion is wrong. Basically, keep the reader on their toes. Don’t let them second guess your novel’s conclusion halfway through the book.
Feedback is your answer. Let people read your novel in advance and be prepared to edit your novel in ways that reduce such conclusion jumping and improve the overall storytelling.
Wildfires and Bestsellers
Let’s return to original question that began this article. Luck is ultimately your answer. While you can write your best novel with your best situations, the novel may still fall flat with readers. Publishers understand this. Authors, likewise, need to understand this. You can’t know how the public (or critics) will respond to your novel.
Some of the best series didn’t start out as bestsellers. It took time for the wildfire to grow. The Harry Potter series is a good example. The first two novels did respectable sales, but it wasn’t really until the third novel released that the viral wildfire started. At that point, her books flew out of the stores with each successive release. It might take two or three entries into a novel series before such wildfires begin. Even still, there are plenty of novel series that do not get that level of attention. They do respectable novel sales, but they don’t get anywhere close to the magic of Harry Potter.
Don’t go into a writing a novel expecting a wildfire. Go into writing a novel to tell your story… to let other people read about your characters and situations. If it grows into a wildfire and becomes a bestseller, then all the better. But, don’t go in expecting this outcome. Instead, focus on the novel and in low expectations of sales. If it does better than you expect, great. If it doesn’t, you aren’t disappointed. You can’t force luck. It either strikes your novel series or it doesn’t. Because such luck is extremely rare and fickle, you can’t expect it. You can hope for it, a little… but with tempered prudence. Again, don’t go into your novel’s release expecting viral things to happen.
Amazon
A discussion about writing and selling books wouldn’t be complete without discussing Amazon. Sure, Barnes and Noble still exists as a brick-and-mortar book retailer. And, there are other physical book sellers to consider. But, Amazon can ultimately make or break your book single-handedly. It is such a large seller of books today that if you don’t leverage Amazon to sell your book, you can’t really make your book a success. Amazon is, in fact, critical to your book’s success. And, so is Amazon’s review system. Amazon’s review system drives its recommendation engine. You’ll want to encourage your readers to review your book on Amazon. Many avid readers need little prompting, but by getting more and more reviews, Amazon is more likely to recommend your book to its customers.
Apple is also a digital book seller, so you may want to leverage them, but to a much lesser degree. They aren’t nearly as big as Amazon, but your publisher should ensure all such digital book sellers like Google Books, Apple, Kobo (the remnants of Borders) and several other smaller digital sellers are supplied with digital copies to sell.
Having a publisher on your side is critical to ensure that your book is distributed as widely as possible. Only a publisher can ensure your novel gets the wide treatment that’s required for it to become a bestseller. Trying to self-publish, you simply don’t have the level of resources needed to make this a reality. A publisher does. This is why a publisher is important to your success.
A publisher will ensure your book is distributed not only through Amazon, but through all other necessary book outlets to ensure your book has the widest exposure and distribution possible to help your book achieve that coveted bestseller ranking.
Publisher?
Publishers are both a blessing and a curse. They are a necessary presence in the book industry. They help authors get their words into the hands of avid readers… readers who can then turn the book into a bestseller. Publishers help you refine your book’s content into the best that it can be, but they also ensure that your book will hit the shelves in all of the necessary places… both physical and digital.
The difficulty with publishers is not to get burned. Publishers will take a cut of your book’s profits to cover their expenses. Those expenses include their salaries, their office rents, printing of the book itself, advertising and so on. Getting a “book deal” means signing away some of your book’s profits to the publisher to help them stay in business. This means you’ll get far less profits from selling the book than you might realize. Oh, you’ll get some money for each copy sold, but don’t expect much. Most of that money goes back to the publisher to keep their lights on, offices open and staff employed. That’s the bane of using a publisher.
On the other hand, self-publishing means you get to keep 100% of the profits. But, good luck in getting your novel printed and into the physical stores like Target, Walmart and Barnes and Noble yourself. Getting that far would be difficult, if not impossible. That’s not to say you can’t self-publish, but don’t expect to get much industry consideration. Using a publisher, your novel may be considered for prestigious industry awards. Using self-publishing, those awards are almost always off of the table. Getting an industry award can help the viral wildfires burn hotter, thus getting even more copies sold. Using a publisher opens a lot of doors. Self-publishing means more profits, but less doors are opened in the industry.
Publishers are a known quantity in the industry and will do almost everything to see that your novel succeeds. For this investment reason, publishers are extremely picky on which novels and authors they are willing to represent. When they accept an author and their novel into their publishing house, they are taking a risk. That risk could mean an expensive failure. Because publishers want to reduce that risk as much as possible, they only accept limited book types and authors. What this all means is…
Expect Rejection
Publishers are rightly skittish. It’s expensive to publish, advertise and widely distribute a book throughout the country or, indeed, the world. Because of that risk, they only want the best books and the best possible prospects. This means that publisher representatives are extremely picky about what they will accept and when and how they will accept it. Randomly sending your manuscript to a publisher without advance notice, you’re sure to be rejected. In fact, they likely won’t even open the manuscript. Many times they won’t even send it back, even if you include a self-addressed stamped envelope. Instead, they’ll trash it without even opening it. They might or might not send you a rejection letter. If the manuscript was unsolicited, you may not even get a response.
For this reason, it’s a good idea to (once your novel is complete) reach out to publisher editors and determine if they’re interested in your manuscript’s content. You do this in the form of a submission letter. If a publisher’s editor shows interest, then you have an opening. This means you may be invited to send your novel in for review. It doesn’t mean they’ll accept or even read it all, but they might. Reading a full 65,000 word manuscript is not an insignificant amount of time. So, respect the editor’s time they are willing to give you. After all, they’re giving you the length of time it takes to read your book. More than likely, the publisher will reject your manuscript. Expect that you will be writing many submission letters and getting rejections. You’ll need to keep trying until you reach a publisher’s editor who takes interest.
Instead of reading your entire manuscript, an editor might request a detailed synopsis from you. A short description of your novel’s story to determine if it’s something they might have time to read and be able to add to their collection of currently published books. Do whatever the publisher’s editor requests, but don’t be willing to give away the farm. Sure, let them read your novel and give feedback, but know that they are human and as humans, they have opinions. That editor is only one opinion in among many, even if their opinion is that they don’t like your novel.
The Acceptance Rejection
If you get a bite from a publisher, take that as a small win. It doesn’t mean they’ll publish your book, yet. But, it is a hopeful sign. At least they’re talking to you.
Don’t be offended by the opinions an editor might offer you. Simply accept their advice for what it is. You may not agree with their assessment, but at least consider it. If you feel adamant that your book is already in its best possible place and changing it would ruin its current story, yet a publisher’s editor is asking you to make substantial changes in tone and story in your book, you might want to think twice. If you have conviction that your book is already the best it can be, then thank them for their time and move on to someone else. Choose a different publisher. However, you owe it to yourself to at least consider that editor’s advice.
For example, if they offer a suggestion to rework large segments to make the book have a larger emotional impact and potentially appeal to a broader audience, at least consider it. Don’t outright discard their advice. They’ve been in the business for a long amount of time, hopefully, and their advice may have some merit. But, as I said above, don’t fall into spending a large amount of time completely reworking your novel solely on the advice of a single editor… particularly if your rework of the novel doesn’t offer some level of commitment from that publisher. For example, if they’re asking you to rewrite a large section of your novel, you should ensure that the publisher will commit to publishing the book if these changes are made to their satisfaction. It’s a give and take situation. Asking for a time commitment from the author to rewrite should come with at least some strings attached to the publisher. Make sure you get those strings attached firmly.
If they give you advice and then offer no strings and expect you simply to make large changes without even the remote possibility of acceptance, you should view that request with a large amount of skepticism. This is ultimately the acceptance rejection. Instead, you should thank them for their time and suggest that if you do have time to rework the novel, you will resubmit it for review at a later date. Then, go find another publisher accepting manuscripts and submit your original manuscript there. Don’t make the changes to your novel unless you personally think that the suggestion(s) actually will improve the novel in substantial ways or that the publisher is on-the-hook to publish the novel contingent on making those changes. If you commit to making changes for them, they should commit to publishing your updated novel. Get that commitment in writing.
First Time Publishing and Contracts
As a first time published author, however, you are at a disadvantage. In addition to being a new author, a publisher may want to see how business shrewd you are. Sure, you can put words to a page, but can you negotiate? Publishers can take advantage of first time authors simply because the author is “green”. This means because you “don’t know any better” they could ask you to jump through hoops and still not publish your book. Or, they could give you such a small pittance percentage that it doesn’t make sense. Don’t fall into traps like this. If a publisher’s editor seems to be toying with you, but not actually providing any commitments for your novel, again, thank them for their time and move on. Don’t allow them to take advantage of your supposed greenness in the publishing industry.
Instead, use Google and try to learn as much about the protocols of getting your novel published as you possibly can. If they offer you a contract, read it thoroughly and understand your commitments to it (and the publisher). You don’t want to get trapped into a contract that has exclusivity clauses, pays you a pittance or requires you write 3 books over the next 3 years. If it took you 5 years to write your original book, being able to write a book a year may not be possible for you. This is why you will need to understand contract negotiation. You would then need to either strike that verbiage from the contract or modify it to allow you more time to write any further required novels.
Don’t let your lack of knowledge in publishing and contracts blind you to what the publisher is requiring. Maybe you aren’t even seeking to write further novels? Such a contract means you would be legally bound to produce those novels. Read contracts carefully and understand what they are asking you to do. If you can’t read contracts for yourself, hire a contract lawyer who can decipher the terms of the contract to you and use that contract lawyer to draft alternative terms that work for you. The publisher may not accept the updated terms, but you can then move on without being bound to that publisher.
Payments
Make sure that any contracts you sign stipulate payment terms. More specifically, how often they will pay you your share of the profits from the sale of your book. Is it monthly? Is it whenever the balance reaches $100? Is it yearly? Is it quarterly? Make sure your payment terms are upheld in the contract. You don’t want to be left in the dark as to when the publisher may cut you a check for your share of the profits. You also need to make sure that the contract terms stipulate the ability to audit sales records from the vendors. Make sure you can call, write or log into a site that will give you updated numbers of your book’s sales wherever it’s being sold. You don’t want to be beholden to the publisher to provide you with accurate statistics. I’m not saying publishers are deceitful, but it’s not out of the realm of possibilities. Make sure you can account for your exact sales from the stores directly and correlate those sales numbers to the amount you have been paid during that period.
Accounting errors happen and you don’t want to be on the receiving end of an accounting error in the publisher’s favor. Nor do you want to have to turn around and sue the publisher for profits they have kept as a result of an “accounting error”. If you have direct access to each store’s sales data, this transparency keeps the publisher honest. They have to provide you with what you are owed. It’s on you to periodically audit and make sure you are getting what you are owed, but the data is there for you to review if you need it.
If you can swing a deal where the stores are paying you directly without going through the publisher, all the better. Middlemen can get in the way and can dilute your payments. However, it’s more likely the publisher will end up paying you the residuals (after they take their cut). You’ll have to negotiate your payments with the publisher and this should be done contractually, not through verbal agreements.
Luck
Coming back around to the original question once again, luck is the biggest factor in whether a book becomes a bestseller. Sure, the content is important. A publisher’s editor, yes, has read many novels and they usually know what story features are most likely to resonate with readers. However, that doesn’t mean that an editor is always correct. They could think that your novel is going to be the next Pulitzer novel, but in fact it barely makes a splash in sales. No one can know what luck has in store. This means that, yes, an editor’s suggestions might be spot on, but it doesn’t guarantee success. It can put the novel on a path towards success, but it can’t guarantee success. Nothing, in fact, can guarantee success of a novel. Luck is one of those fickle things that factors into pretty much any form of entertainment. Whether it’s a movie or a music CD, a video game or a novel. These are all subject to the whims, ebbs and flows of the general population.
If a topic hits at a very salient point in time, it can take the world by storm. Such lightning strikes are rare, but they do happen. For example, Star Wars, Harry Potter and, to some degree, the Marvel universe movies. These became popular by mostly sheer luck and by landing in the marketplace at the right place and the right time. Being in the right place at the right time isn’t something you can guess. It’s a matter of luck. A publisher can help shape your novel into a something that may resemble a bestseller, but it cannot guarantee that luck or, indeed, success. That still requires a certain amount of plain old dice-rolling luck.
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Star Force Book Series: A Review
While Audible and Amazon both allow you to review individual books separately, they don’t really offer a way to review a book series as a whole. Let’s explore B.V. Larson’s Star Force book series.
SPOILER ALERT: If you wish to read this book series, this review may contain spoilers.
Book Style
Let’s start by how these books are written. Unlike many books which might jump back and forth between several unfolding story arcs between different characters, this book series is written entirely linear with a single story thread told to us in first person by the protagonist. Unfortunately, this linear unfolding is a bit detrimental to this series of books because there are a number of characters who could have benefited from having their own separate story arc. Seeing these events unfold separately from the main character’s story would have given us deeper depth into this universe and its series of unfolding events.
Instead, the author chose to focus entirely on Kyle Riggs, our protagonist of this series, and his specific circumstances, always from Kyle’s point of view. In fact, the book series is almost written as a fictional memoir… as if Kyle is recounting these stories from some distant future rather than being told to us “in the now”. This aspect was neither confirmed nor denied by the author. It’s simply left open.
Swarm
The Book Swarm starts the series. Kyle’s kids are killed by an unknown UFO when they are summarily nabbed by, then ejected from the UFO. When Kyle himself is nabbed by the same UFO, he is able to solve the riddle and remain alive. This is where the entire series sets its foundation for what comes in every later book… sort of.
Unfortunately, there were many missteps in this series along the way. Well, maybe not exactly missteps, but definitely missed opportunities to delve deeper not only into the Kyle’s psyche, but into the psyche of the machines (and ultimately “The Blues”). “The Blues” being the creators of not only the “nano” tech used to create the nano ships that killed Kyle’s kids, but they also created the “macros”. This one race of beings created the entire series of circumstances that set this entire series in motion… and imparts important technology to humanity that allows it to become space faring.
Kyle meets most of his important contacts in this first book including Sandra and Crowe. Other characters would make appearances later on and remain throughout the series. Some characters are killed for various sometimes unexplained reasons. Swarm is the foundation book that lays the groundwork for all that comes in the remaining 8 other “Kyle” novels.
You might be thinking, “9 total novels? I thought there were 14?” Well, kind of. Beginning with the novel Outcast (book 10), this is the first collaborative novel between B. V. Larson and another author. Usually when I see an extra author name on the cover, the lion’s share of work is likely done by the co-author, not the original series author. This means that beginning at Outcast, I’d consider this the beginning of a new series even though it continues with the same numbering scheme and is under the Star Force label.
In fact, because Outcast begins with Cody Riggs, the offspring of Jasmine and Kyle, at a point in the future when he’s “coming of age”, I’d consider this no longer about Kyle Riggs. His story is done and ended at book 9. For me, I consider the series actually complete at book 9. All books after 9 are intended to carry on in this universe, but with an entirely different cast of characters and years later… even though Marvin, the ubiquitous robot, is still at play and so is Kwan.
Let’s Get Started
With the above story groundwork laid, I can begin this review in earnest. One thing that irks me is when authors abscond with pop culture references in works without really giving due credit to any of the original creators. For example, the transport “Rings” in this novel are almost ripped off entirely from Stargate… and in particular, the Stargate SG1 TV series. Most notably, B. V. Larson’s use of not only the ring itself, but absconding with the idea that ‘Ancients’ created the rings, the exact terms used in Stargate SG1. Whenever I run into such references, I have to shake my head.
While I can’t begrudge B. V. Larson being a fan of SG1… hey, I’m a fan of that series too… I can’t really agree with using such blatant copying of ideas right down to the use of the same names.
Other such references include Star Wars, with Phobos… a moon-like space station with a “gravity canon”, in similar form to the planet killer weapon of the Death Star. These references are quite immediately apparent. Another pop culture reference includes the nano technology used throughout the book series. While B. V. Larson uses these nanites in specific ways to improve humanity, the technology was actually again ripped from both Stargate SG1 and Terminator 2. However, in SG1, the “nanos”, actually the Replicators, were enemies and could not at all be tamed and used from the betterment of humanity. The liquid metal described by Kyle always resonated with me in the same way as the T-1000 terminator in T2.
Kyle Riggs
Within this story, Kyle Riggs is our protagonist. He’s the one we are supposed cheer on. In some cases, his actions are worth cheering. In other cases, his actions are questionable and his motives are not explained. In fact, there are many ideas left unexplained in the series and we’ll come to that section of this review a bit later.
Kyle Riggs begins this tale as a computer science teacher turned farmer and ends this tale as emperor over the known earth… who then steps down and goes back to farming with his new kid, Cody, in tow. Basically, the book ends where it begins. In many ways, it’s a contrived tale that comes full circle. What happens between book 1 and book 9 simply fills in Kyle’s gap between these two bookends. That’s not to say that everything that happens between book 1 and book 9 is uninteresting, but know that if you delve too deeply into its meanings, you’ll definitely come up short changed.
Kyle makes his way from school teacher, to nanoship pilot, to nanotized warrior to colonel of the Star Force fleet. It’s a somewhat slow-ish progression predicated by the fact that we have no other character tales unfolding in the background. We can accept this series of events because we are not told of many other characters seeking similar opportunities in the flying fleet. When such characters do present such as Crowe, Kerr or Miklos, they are summarily and rapidly sidelined by all-too-convenient plot lines. In the beginning of this tale, there were hundreds of nanoships. There had to have been at least one other nanoship pilot capable of performing as well or possibly better than Kyle Riggs. We must, therefore, simply accept what’s happening at face value and not question this series of events at all. That Kyle Riggs was the “smartest” and “brightest” of the bunch was something we simply have to accept to buy into this book series. If you can’t buy this concept, then the books won’t work.
Kyle also acts in all sorts of odd ways throughout the run of the novels. At first, he’s a school teacher trapped in a ship fending for his life. He’s steadfastly against what these ships are doing and pro-humanity (and protector of all “biotics”). Later, he converts into a commander over Star Force… which conveniently more or less disappears until they can rebuild. He then changes his tune a bit. He’s still more-or-less pro-human whenever it suits his fancy. He’s brash, impulsive and reckless. He likes to show us that he’s in charge and that he knows what he’s doing. In fact, he tells us that he doesn’t know what he’s doing over and over and over.
This part was a little overdone. We get it. He’s unsure of himself, but he does whatever thing that seems most logical to him at the moment in time, which usually turns out okay. He’s an okay protagonist with a bit of a streak of meanness built-in. Granted, he is sour over his loss when the story begins, but he seems to quickly forget all about that.
It’s really odd, too. He never properly grieves for his kids, yet he goes way over the top when Sandra dies.
The Blues
During the run of the novels, there comes a time when “The Blues” deliver Kyle a dire warning. The Blues claim that Kyle and his team violated some fundamental universal law that you don’t create or link anything to the existing “ring” system or if you do, you’ll face the wrath of the “Ancients”. Yet, the entire series ends out Kyle’s saga without having this event occur. Why even bring up large such a story event and then not even follow through with the thread?
Worse, the warning from the Blues is entirely illogical. Why? Because the Ancients would go after “The Blues”, not the humans. Why would the Ancients do this? Because “The Blues” gave the technology to the humans that let them hook anything to the ring. The Blues gave humans nanotech and brain boxes. These fundamental tools allowed Kyle, in turn, to create Marvin… who, again in turn, then created technology to hook into the ring system. It is, therefore, the Blues who are at fault for allowing additional things to be hooked into the ring system, not the humans.
Without “The Blues”, none of what happened in any of these books would be possible, let alone hooking up to the rings. The Blues are entirely responsible for the mess that occurs after their own meddling with the universe. It is the Blues whom the ancients would wipe, not humanity.
As smart as the Blues are, I was entirely surprised they couldn’t logically deduce this outcome. Yet, it doesn’t much matter after Kyle’s second bombardment of The Blues home world. A bombardment, I might add, that while it might be satisfying for Kyle, there’s no confirmation it actually did anything to the Blues. The only way to wipe out the Blues would be to reduce the Blues home world to star dust. We never get confirmation that Kyle’s second bombardment did anything at all. It just all ends with Kyle’s retirement from Star Force.
Untold Tales
In among what is spun in these books, there are a number of un-closed threads. Let’s explore some of these now:
- Fate of the Nanoship swarm — When the nanoships leave Earth because they have decided it is no longer of interest to them, they take their captive pilots and disappear. Riggs, however, manages to escape this fate, along with Crowe. Though, we don’t find out about Crowe until a bit later. These, apparently, were the only two nanoships convinced to return to Earth? The rest disappeared into the void and we only hear of them again once more in passing and then they are no longer heard from again. We assume them to all be destroyed, but I got the impression that there were many more nanoships that we never learned of their fate. This thread is left hanging.
- Crowe — After Crowe becomes “emperor” on Earth by using his nano factories to outnumber and outgun the planet, we are left with only questions. How did this happen? Why did it happen? Yes, Crowe was basically a scoundrel, we never get the full details of how this coup was accomplished or even why. We get a minimal tale from Jasmine, whose own personal agenda isn’t really known even at the very end. Yes, Crowe was a money hungry person, but was he the kind of person who would do what he was alleged to do on Earth? I’m not so sure. I was never even much convinced that he had taken the nano injections as he always seemed a bit too skittish about doing that. Yet, he manages to become Emperor? Out of sight, out of mind. This is a story that should have been told properly.
- Crowe as a Cyborg — Eventually, Crowe must have become nanotized (or cyborgnized) because he was able to fight a nanotized Riggs and survive. Still, Crowe seemed goldigging, but timid. This isn’t the worst part of Crowe’s tale. When Riggs comes face to face with Crowe to sign the peace accord much later, it turns out that Crowe was a cyborg. Wait.. what? How do we go from mindless automaton robots with limited human portions which mindlessly attack the Riggs pigs ships to thinking, speaking, walking, talking, fighting, rational human looking cyborgs? I’ll let the cyborgs that attack Riggs’s ships slide. Sure, the nanos might be able to create such an abomination with a limited brain box. I can see that. But, replacing a human being entirely with a cyborg? That story line came out of nowhere with entirely no explanation.
- Crowe escapes? — Assuming Crowe is actually smart enough to invent walking, talking cyborg clones… any cyborg created that appears like Crowe is merely a facsimile of Crowe. Not the real thing. Crowe was way too chicken to actually fight Riggs for real. Yet, at the time when Riggs fights cyborg Crowe, not once does this thought cross the minds of Riggs or, more importantly, Jasmine or even Marvin (who can see many, many steps ahead). Probably one of the biggest oversights in the book series.
- Marvin’s Progression — Marvin was created by Riggs from a data stream that was transmitted to his ship. He thought this transmission originated from the Centaurs. Later, we come to find that that wasn’t entirely true. In fact, Marvin surmises his own reasons for his existence. You’ll need to read the novels to know who and why it was transmitted, even though it was never confirmed. Anyway, Marvin acts in increasingly odd ways as the story progresses. At first, Marvin acts mostly like a computer. In the end, Marvin acts contrary to a computer… making decisions that are, in fact, questionable and problematic. Though, many of Marvin’s actions are questionable and problematic. I’m not entirely sure why Riggs really kept him around.
- Sandra — Sandra was Riggs’s love interest for most of the series until B. V. Larson decided it was time to kill her off. I’m not entirely sure the actual reasoning behind her death as nothing was really accomplished, nor did Riggs really mourn her in any meaningful way… unless you count getting drunk for months on end mourning.
- Cyborgs — This is a story that didn’t get told and also needed to. First, we see the mindless half machine, half flesh cyborgs that come attack Riggs ship and Phobos (the Blues death star). Other than being a somewhat convenient plot device that keeps Tolerance (the Blue aboard Phobos) occupied, the story of these things is never explained. Where they nano constructions? Were they some other tech that Crowe managed to get hold of? Where they something not from Earth? Riggs made a lot of assumptions about these cyborg drones that never got explained. Additionally, when Crowe turns out to be a Cyborg, we have no way of knowing if the Crowe cyborg was the same as or entirely different from what Riggs encountered in space.
- Macros defeated? — Were the Macros truly defeated? Time and time again, the macros showed themselves to be a resilient robot species. Sure, they may have had a base located on the dead sun that Riggs destroyed. But, why was it assumed that that was the only base that the Macros had?
Cody Riggs
At the birth of Cody, the series summarily ends seeing Riggs gallivant off to his farm (where the series started) and become a farmer again… never to command a space fleet again. It’s an odd abrupt transition for a character who was methodical about contemplating all of his options. While this section probably should have been under Untold Tales, I found it questionable to bring Cody’s tales into this series as a successor. This tale was about Kyle. When Kyle ended his reign, to me the series was over. Bringing in Cody to carry the torch just doesn’t work… at least not in Outcast. The Outcast book is all over the place and bungling in all of the most inane and trite ways. It tries hard to rekindle what we liked about novels 1-9, but it fails pretty tremendously throughout. While I found each of books 1 through 9 very worthy, even though they are completely told from a single point of view, I found book 10 hard to get through.
Book 10 is disjointed. It starts off on the wrong foot by killing Cody’s girlfriend as the first major event… an entirely unnecessary random thing. Yes, it brings in some measure of action right out of the gate, but it’s the wrong action. The opening action in Swarm at least made sense for the circumstances. The opening of Outcast didn’t actually make any sense. While Cody is Kyle’s offspring, why would anyone have put a hit out on a kid who hasn’t yet done anything? If anything, they would want to hit Kyle, not Cody. That would have been a more suspenseful book opener. Let Cody rescue his dad from yet another assassination attempt.
There were many ways this Cody series opener could have gone and still involved Jasmine and Kyle in more important ways. Instead, Cody’s first book is all about Cody and his first command… not at all about his family.
Ancients
While I have discussed this above, I want to reiterate how much this part of the series relies on Stargate for its premise. The “rings” are almost identical in complexity and functionality to Stargate’s gate rings… right down to them having been built by “Ancients” (a term used in both Stargate and in Star Force).
In books 1-9, “The Blues” warn Kyle Riggs of impending doom from the “Ancients” which, unfortunately as I said above, never materializes within these books. This to me was a huge miss. If you’re going to tease such a power exists in the universe, you should at least show it to us before Kyle’s retirement. I don’t want to see Cody deal with these ancient aliens. I want to see Kyle do it. It was warned on Kyle’s watch, it should be Kyle who handles it.
I’m also generally okay with limited uses of copying from other science fiction as long as you give a nod (in the form of credit) to the material somewhere. Perhaps naming Kyle’s ship “Samantha”. Just give us a nod to the science fiction universe from where you stole your ideas so we both know what you did, can agree to it, smile at the nod and move on. Without a nod like this, it just looks like theft of ideas… and worse, without credit, it simply looks like you can’t come up with your own original ideas. Sure, the transport ring system used in Stargate was an excellent transport device. But, so was the matter transporter in Star Trek. Why didn’t you use that, too?
If the use of the word “Ancients” was supposed to be the nod to Stargate, it failed. Don’t use an obscure reference when giving a nod. Nod by giving us a tongue-in-cheek reference to a main character such as Samantha Carter, Daniel Jackson, Teal’c or Jack O’Neil. Don’t use “Ancients” which makes your theft look more like a theft than a nod. Make us understand that the reference is intended towards another pop culture icon series. The use of the word “Ancients” doesn’t read as a proper nod.
Overall
Books 1 through 9 are decent reads with the exception of a few eye rolling passages here and there, a few logic errors and a few oddities that were included but never followed through. I’d give the whole series a solid 4 out of 5 stars.
If you’re into science fiction which relies heavily on concepts introduced by Stargate, then you may like the Star Force book series. If you’re looking for more original and cerebral science fiction content, you’ll want to keep looking. This is not the book series for you. The books in no way blaze a new, distinct trail in the science fiction universe. Instead, it retreads many older formulas in sometimes new, but sometimes tired ways. The story is mostly fresh, but the technology concepts have already been introduced by the likes of Star Trek, Stargate and Terminator. In these series cases, many times it was done better.
With that said, I’d call the series quits at book 9. Book 10 effectively starts a brand new series set in the same universe, except with Cody (Kyle’s son) at the helm. Cody is okay, but the author tries way too hard to fit Cody into the same mold as Kyle… to the story’s detriment. The setups in book 10 are contrived, unoriginal and, in many ways, juvenile. As I said above, because Cody is so young, the story just doesn’t read as genuine or fresh. It reads as forced. It also reads as a genre change from mature science fiction to young adult. To me, this genre change almost seems like a slap in the face to the readers. Anyway, why is Cody so gung-ho to follow in Kyle’s footsteps? Why did he want to board a starship and head to the skies? What was the urgent urgency of this decision? This wasn’t set up at all.
It seems to me that Kyle and Jasmine would have brought up Cody with ideals of staying on the farm and helping out there… not gallivanting off into the universe on a starship. Cody’s whole premise simply comes out of nowhere with no explanation. One minute Cody is in a barn with Marvin setting stuff on fire and the next minute Cody is aboard a starship heading off to new adventures. It seems to me that Kyle, as headstrong as he is, would have had something to say about that… but where are dad and mom? No where really. Jasmine only makes an inconsequential appearance, long enough to nurse Cody to health. Kyle doesn’t even really make an appearance. Book 10 starts out so weird and progresses to nonsense in short order.
My advice is to read books 1 through 9 and call it quits. Leave book 10 and the rest unread. If you really want to know what happens to Cody, sure go ahead. But, know that Cody’s stories don’t in any way tie into Kyle’s stories. They’re all new adventures in all new universes with all new friends and foes. Basically, with these stories, they’ve thrown out the baby with the bathwater to start a new series starring Cody. Start and end with the “Kyle” books and you’re set. Only do the “Cody” books if you really want this additional post-story content.
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What does “moving the plot forward” really mean?
This is a good question and it’s a question that many recent screenwriters and storytellers have lost sight of in their zeal to create blockbuster entertainment. Let’s explore the answer to this question.
Important Details
What is good storytelling? Good storytelling is the ability of the writer to keep the audience’s interest, develop interesting characters, tie story details together and all while keeping the story moving. How does this all work?
It means that if you introduce something into your story that’s important enough to call your audience’s attention to it, then it’s important enough to bring it around later and give it closure. It’s as simple as a character pulling a box of cereal from the cabinet, spilling it into a bowl and putting it away all in the span of a page or two. That’s a quick open and close to that box of cereal. Not only is it an important character detail… “the character likes cereal”, it can be used as metaphor for your character (spilling the beans or in other foreshadowing ways).
If it’s important enough to understand that the character likes cereal, then it’s important enough to bring that plot detail back later. It’s also important to use this plot device. If a character pours a bowl of cereal, have them at least take a bite. You don’t pour out food as a thing to do. You do it because you’re hungry.
It’s can also be as detailed as a character buying a car at the beginning of the story and driving it cross country to their destination. It’s the thing that helped the character get where they needed to go.
There’s lots of story reasons that make both that box of cereal or that car important in the larger story and to carry the story forward. It’s that realization later that, “Oh, now I understand why that [insert thing] was shown to me 30 minutes earlier.”
Character Motivation
Characters need motivation to do the things they do. If the movie is about a missing child, then the parent as a main character has a goal of getting the child back. Their motivation is then doing whatever it takes to make that happen. Motivation is a critical plot point that many fail to understand or use properly. Without proper character motivation that the audience can understand, the story doesn’t work.
Unimportant Plot Details
Recently, many stories are breaking the “moving the plot forward” rule and are writing and presenting details that don’t have any follow up or, indeed, any relevance to the story.
In murder mysteries, these “seemingly unimportant details” are important to throw the audience off and make the audience assume the wrong thing about who did it. Typically, murder mysteries either quash or validate all of those seemingly unimportant details in the end to explain how it was done. In a fantasy story, including these types of details only serves to slow (or stop) the plot and bore the audience. Worse, when the audience looks back over the story as a whole, they realize that they wasted 15 or 20 minutes of their lives on details that didn’t progress the story.
This is important, particularly when telling a story that needs to make sense (specifically if it’s part of a series of books or films). If you’re writing for a film, you need to treat each film is a standalone entity and as a whole, never as a part of a set. The only time a detail should be left open is at the very end to create a cliffhanger. Cliffhangers should only be introduced at the very end of a story, never in the middle of your story. However, foreshadowing is a form of a seemingly unimportant detail, but that can be easily overlooked because of its lack of context for the audience at the time.
A cliffhanger introduced in the middle of the story makes you look like an amateur author. That is, someone who can’t be bothered to close all ends of presented details. If you don’t close details, you better make it appear to be intentional. Otherwise, it’s an amateur move.
Introduction of Scenes
Many movies today introduce scenes into films that have no followup and no explanation. If you’re planning to have your characters do something in a scene, that scene must be important for something in the future.
For example, if your characters need to go to the grocery story to pick up something, then make the grocery store scene count in some way. The characters meet someone there who imparts an important story detail or item (even if hidden). Use the scene as important to the story. If showing the grocery store is important enough to describe in detail, then it should be important enough to advance the plot. Otherwise, cut the scene out. Simply explain the characters have left for the store at the end of one chapter and have the characters arrive back from the store at the beginning of the next chapter and skip the grocery store environment altogether.
The point is, if a scene is important enough to include and describe in detail, then the scene should impart important plot details that move the story forward.
Montage Scenes
There are many ways to show passage of time. On the pages of a novel, you can do it between chapters simply by explaining the date and time when appropriate. On screen, it’s simple enough to show passage of time through a montage of daily activities. Instead of deep diving into every activity, you simply show a quick succession of scenes that show details (shopping, driving, running, tennis, etc). Whatever the scenes are, they should impart character details that lead up to wherever the plot is heading. It isn’t important to show everything the character does, but it may be important to know some of the daily activities a character enjoys doing when developing a character.
Again, if it’s important enough to show the details, it’s important to use this information to advance the plot. When it’s important to show a bunch of details in quick succession, this can be done through montage scenes without character dialog. In fact, tension scenes and montage scenes without character dialog are a whole lot more effective than characters talking or arguing.
Write with Intention
The point to all of this is, as a writer, you need to write with intention. Make every word you write count towards the plot. If you write a scene that doesn’t make sense, doesn’t follow logic, is out of character or doesn’t impart any new or relevant information, cut it. Scenes that stagnate the story make the writer seem distracted and amateur. Write with relevance, write with detail, write with intention.
Sure, go ahead and write and get your story done. But, be prepared to edit and trim those sections and details that don’t affect the plot. If you’re writing an action story, then you want to keep the action going. Having your character stop and spend 30 minutes in a cemetery bereaving a loved one doesn’t move your story forward. Cut it. The only time you could use this is if your action character goes to the cemetery looking for bad guys. Setting this location up for an action scene is fine, but just going there not to do anything, that’s story death.
Always keep your story genre in your mind when writing. If you’re writing a murder mystery, then keep on that track. If you’re writing an action fantasy story, then make sure it stays true to that. If you’re writing a family drama, then stay true to that. Don’t hop around genres hoping to hit gold. The audience will not only end up confused, they won’t know what’s going on. Stick to your genre.
Closing Threads
If you bring up a story detail early, be sure to close it later. What that means is, when writing your story, keep a list of open story items and then find the best places to close them. If you can’t find a place to close a detail, get rid of it from the story as it’s an unimportant detail.
For example, if a character drops their car off at a mechanic at the beginning of the story, then make sure the character picks it up later. It could be at the very end of the story or it could be anywhere along the way. Just make sure it happens. If the audience gets to the end of the story and is still left wondering what happened to the car (or why the car detail was included), you’ve failed as a writer. If you leave two or three of these plot devices open, it makes you look amateur. Close all open threads in meaningful ways and at appropriate times.
Visual Storytelling versus The Written Word
In a novel, it’s important to describe very detailed descriptions of a scene, of the character’s dress, demeanor, looks and so on. When writing for the screen, let the visual elements do the talking. You don’t need to have characters describe what they are seeing or doing. It’s redundant and unimportant and can be seen by the audience. The only time this works is if a character is talking to another character on the phone or over a radio. Here it’s important because not only is the audience finding out what’s going on on the other end of the phone, more importantly, so is the character.
It’s more important to have the characters unfold their stories themselves rather than catering to the audience. In visual mediums like film and TV, let the camera describe the scene. Don’t have the character (or a narrator) do this unless the character is blind or in some other way handicapped and needs this information. It has to make sense for the character in the story. Never cater to the audience by describing in visual medium. In the written word, it’s required to describe all of the details because the audience won’t have any other way to get this information.
In a way, a novel is just the opposite for descriptions than visual medium. You almost have to be too verbose when composing for the written word. When composing for film, you want to be the least verbally descriptive as possible. Let the audiences see the wonder themselves.
Writing for the Characters
The story is always about the characters, never about the audience. Sure, you can have the character break the “fourth wall” if it’s an important story detail (i.e., a running gag). The problem is, breaking the “fourth wall” takes you out of the story and is firmly rooted in writing gags for the audience. If you take your story seriously, then don’t do this. For some stories and characters, it works fine. For anyone writing a story where the characters are the most important thing, then don’t write gags for the audience.
Humor is fine when it’s between the characters, but when it becomes the characters interacting with the audience, this stops the story and makes the audience realize the gag (and loss of suspension of disbelief).
Suspension of Disbelief
To rope an audience into your story, writing solid, believable characters is the key. It doesn’t matter what the characters are doing or where they are placed, it matters that the audience believes the characters can do those things in those places. This is a powerful concept that is also the key to good storytelling. Doing even one thing that ruins this suspension of disbelief ruins your story. It’s the thing that can make or break your writing efforts. This concept is the quintessential key. Having an audience suspend their disbelief and buy into your fanciful world is the magic of a successful story.
For example, using a fourth wall gag can make or break your story. It also requires a certain kind of story to succeed. In other words, adding such a fourth wall gag makes your life as a writer much more difficult. If you’re not accustomed to what goes along with such a gag, you should avoid it. I’d also recommend avoiding it because it really does nothing to progress the story and it does much to discredit your story up to that point.
Cliché Tropes
Let me say right now that nothing today is original. There is always something that can be found as derivative of something else. As a writer, you have to accept that notion going into your story. What makes your story original is not the setup, or the locations or even the plot, but how your characters deal with their situations. Characters are what drive stories. Yet, tropes are what make stories fanciful and, sometimes, fun to watch. Using them isn’t necessarily a bad thing. Overusing them, however, most certainly can be bad. Using a trope here and there can make the story familiar to the audience. Familiarity allows for the audience to latch onto your story faster and ‘get into it’.
There are lesser used and more frequently used tropes. You should avoid the frequently used tropes and focus on those that are lesser used. Having your characters doing something a little bit unexpected or unpredictable can make the story work better. Tropes add predictability to the story. This can be a good thing when you’re trying to lead the audience off the track of what the characters are really doing. This allows you to trick your audience into believing one thing, when the characters are actually doing something else. Some audience members will see right through that, though. You have to expect that.
I’m not saying not to use tropes, just use them sparingly and at appropriate times. Again, write with intention. Make every word and thought count. If you’re including it, make sure that it serves a purpose (even if it’s a cliché trope).
Character Development
This is probably the most important element to establishing suspension of disbelief. Grounding your characters in a reality that your audience can understand goes a long way towards getting your story off of the ground. Basically, you want to properly introduce your main characters at appropriate times. Your main characters should, unless the story warrants it, remain throughout the entire length of your tale. They may face adversity, trials and even risk life and limb, but they should survive the tale.
Killing off your established characters is not only a waste, but usually unnecessary. On the other hand, secondary characters can be treated with all of the careless abandon that you choose. If they live for a page, so be it. If they fall off of a cliff, so be it. If they disappear and reappear in the story, so be it. It’s entirely up to you how you handle secondary characters.
When building your main characters, it’s important to understand their motivations, wants, likes, dislikes, hobbies and desires. You can unfold these along the way, particularly when it’s important to move the story forward. With secondary characters, you don’t go nearly as deep. Secondary characters are, for all intents and purposes, scenery. They’re there to show that other people live in this same universe, but they don’t need to be fleshed out to exacting detail.
Identifying Plot Moving Details
If you intend to flesh out a secondary character with heavy detail, then you should make them a main character or avoid fleshing them out. The home life and kids of a cashier at the above grocery store is an unimportant detail. It slows down the plot and story pacing to learn more of this character when she serves no future purpose in the plot. If the cashier doesn’t swoop in to save the day at the end, then there’s no point in including heavy detail about that character.
This is how you identify useless versus useful plot points. If you introduce a plot point and it comes around later, then the point of introduction did move the story forward. If you introduce a plot point and it never comes around later, then it didn’t move the story forward. Anything that doesn’t serve to move the story forward should be cut from the story.
This is why you need to read and re-read your story several times front to back. Then, let other people read it and offer feedback on your story’s logic. If you’re a one-man team writing a story without getting outside feedback, then your story is likely nowhere near as good as you think it is. It takes other people to help you find the weak spots and fix them. Constructive criticism is always your friend. Use it to improve your stories. The final advice is, never take your first story draft as your final. Nothing is ever written perfectly the first draft. Not even this blog article.
Examples of Bad Storytelling
I didn’t include any real entertainment production examples in this article because I want it to remain as an objective guide to would-be storytellers rather than as a rant against any specific entertainment production, even though those productions well deserve the rants.
With that said, I do intend to write a follow-up article with examples identifying recent entertainment story failures and call out why and how they failed. I will also mention that this problem is not limited to film and novels. It also rears its ugly head in video games and in TV series. I will also mention that some bad storytelling isn’t always the direct fault of the writer. Though, the writer is somewhat culpable. Instead, it can be because of politics within the production (i.e., inclusion riders). Sometimes characters or specific actors are forced into a story, not because they were there, but because the producer wants it in the production. This forces the director to introduce something that shouldn’t be there and throws off the entire story’s logic. Note, I do classify this politically correct shoehorning as a failure in writing.
Basically, when writing your story’s setting, make sure to represent all ethnic groups and genders equally or face the consequences if your story is ever optioned for the big or small screen. Otherwise, expect your period piece’s story logic to fall apart when an ethnic cast is chosen to play a small white mostly male mid-America town set in the 70s.
Note, there is tons more that I could write about this topic. However, this guide is simply intended as an ‘Intro Guide’ on good storytelling. If you would like me to flesh out this article in more detail, please leave a comment below about what you would like to see included.
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