Podcast appearances and mentions of Steven James

How can organic writing and leaning into the pivot help your stories stand out? And how can you pitch a story as a discovery writer if you genuinely don't know what's going to happen next. Steven James gives his writing tips after more than 20 years as an author. In the intro, Better Than Free in an Age of AI [Kevin Kelly on Tim Ferriss; Kevin Kelly on The Creative Penn]; Future Vision XPrize; A Different Kind of Bucket List. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Steven James is the multi-award-winning and international bestselling author of 21 novels across thrillers, YA, and science fiction, with more than a million copies sold, as well as the author of non-fiction craft books for writers, a writing teacher, and the host of The Story Blender podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to lean into organic writing, and what to focus on instead of plot How characters unfold on the page, and why an attitude beats a background Producing an outline for an agent or publisher when you genuinely don't know what happens next Don't pitch the plot, pitch the pivot The four choices you have in every scene, and why logic plus surprise is the engine of story Faith, moral clarity and big questions You can find Steven at StevenJames.net. Transcript of the interview with Steven James Jo: Steven James is the multi-award-winning and international bestselling author of 21 novels across thrillers, YA, and science fiction, with more than a million copies sold, as well as the author of non-fiction craft books for writers, a writing teacher, and the host of The Story Blender Podcast. So welcome to the show, Steven. Steven: Thanks for having me, Jo. Good to be here. Jo: Great to have you on the show. First up— Tell us a bit more about you and how you got into writing and publishing. Steven: Oh, gosh. Well, the thing is, when I was a kid, I fell in love with stories. My uncle would always, whenever we got together for the holidays—Christmas, New Year's and so on—he would take my sister, my brother and myself into a corner of the room while the other adults had coffee, and we would just sit there, and he would get this look in his eye and he'd say, “I'm going to tell you a story.” We were transported to another world. We were swashbuckling with pirates, or facing down a grizzly bear in Alaska, or flying over the desert on a flying carpet, or whatever. I fell in love with imagination and stories and everything. So I started reading as much as I could, mostly short stories. They had a programme at our library called the paperback book exchange, where you bring a paperback book and you leave it, and you can take any one of the paperback books that they had. You could keep it as long as you wanted. If you wanted it for your life, that's fine, or you could just bring it back as soon as you finished reading it. Anyway, I went crazy over the summers reading short stories, mainly. As I got older, I was like, “I think I want to be a storyteller.” So I actually got my master's degree in storytelling. Then I started to travel and tell stories, but I had three little daughters at home, and I was like, “I don't want to be gone 300 days a year when they are growing up.” So I ended up starting to write stories instead of travel, and then it just kind of shifted in that direction. That was in '97. Oh my goodness, that's long. '97, '98. So then I started to write books, and then eventually in 2007, I think, my first novel came out. Now, mainly, I've been writing novels ever since. Jo: It's so interesting. Was it a job, storytelling? Is that what you did before you became a book writer? Or did you have a different job? Steven: I mostly would go to events, conferences, schools and so on, and do a family-friendly storytelling show. So I would tell personal stories, some folktales reimagined. I would go to different events around the country. Mostly it was that. Then I started to shift. I wrote for magazines for a while—80 different magazines I wrote for over those years, a couple of hundred different articles, stories. I was like, “I'm just going to try to make a living telling stories.” So the shift has gone back and forth between actually telling stories and writing stories, but these days, I don't know. I'm still speaking. I'm still out there teaching. Jo: That's so interesting, because it's obviously a completely different thing to tell a story in person than it is to write a story. So when you decided to shift that way, what did you have to learn and unlearn? Because your thoughts on the page are so different to when you can make eye contact with an audience. Steven: That's a good point. I kind of started by telling stories back when I was in college, so I sort of moved from telling to writing. And you're right, there's so much that's lost, whether it's eye contact or pauses. On a printed page, there's always the same amount of space between every word—a space. But when you tell stories, obviously you pause for effect in different places, different areas, and so it's quite different. So if I have an idea for a story, I usually have to decide, is this going to be written or told? And then I do it in that medium. Then if I want to, let's say, tell a written story, I almost have to relearn it, or retell it very differently. You have gestures, body language. All of those things are obviously lost in text, so they are very different. I think for me it's been good, because when I tell stories, I hear different characters speaking, so that when I write, usually dialogue comes fast to me. I can hear what people are saying. I don't always know where they are. I don't always know the setting. I don't even know the scene necessarily, but I can hear the dialogue. Then it also helps me to step into the characters, like when I'm writing different points of view, so that I think I can do a good job of getting into that character's mind, as if I were that person. I think some of that comes from just telling stories. Jo: You've taught so many writers over the years, and it's interesting you said that you hear characters' dialogue. I see visual film in my mind. I don't hear any voice at all. It's all silent. I struggle with dialogue, but I do great world building. Do you find that this really is different by the author? I feel like we fall into these different groups. Steven: Yes, I do. I kind of feel like that's very true as far as what comes first, whether it's a description of a place, whether it's the action. I mean, basically a story has dialogue, narration—or we call it sometimes exposition—and description. Those three things. Every story has those three things, and those are the three that we use to tell a story, a novel. So some people tend to drift into one or the other as sort of their default setting: dialogue, description, or action. That's true. I think also something else that's interesting about writers is they tend to fall into either the camp of being a wordsmith or a storyteller. Not everyone, but I feel like some people are wordsmiths, where I read what they're writing, and I'm like, “Man, this is so powerful, evocative,” whatever. Maybe there's no story there. It's just really interesting writing. Other people just are natural storytellers, and they have to really work on the wordsmithing. I think that's me. I'm more naturally just a storyteller, but it takes me a long time to get the descriptions to where I want them, to choose exactly the right word. That takes me more effort. Some people have to build up the storytelling muscles. I have to build up the wordsmithing muscles. Jo: Well, part of the reason I wanted to talk to you is because you talk about this thing called organic writing in your book Story Trumps Structure, which is out now in a second edition. I call it discovery writing, so similar to you. But most people in the writing community seem to obsess about plotting and planning. So talk about your process of organic writing. You say in the book, “Trust the fluidity of the process.” Tell us more about that. Steven: Well, I remember in high school even, when my teacher got up front and he kind of got this very almost wise look on his face, and he goes, “A story is something with a beginning, a middle, and an end.” I'm sitting there in high school like, “Well, so does a bratwurst. What are you talking about here?” A description of a chair has a beginning, a middle, and an end. The sentence, “Preheat the oven to 450 degrees,” has a beginning, a middle, and an end. My view is that saying a story is something that has three acts is like saying that a pizza is something with three toppings. It might have three. It might have one. It might have five. So the idea for me is not to worry about structure, trying to tick off the boxes of a template, a formula you find online, a fill-in-the-blanks kind of a thing. But instead, to actually look at what lies at the heart of the story—the character, the tension, the struggle, the pursuit, the pivots and plot twists, and the payoff at the end. As you develop those aspects of the story, I feel like you need to worry less and less about following a formula. The more you understand what lies at the heart of a story, I feel like the less you need to plot and the less you need to write by the seat of your pants. A lot of people say, “Oh, you write by the seat of…” No, I don't write by the seat of my pants, because I know what a story contains, so I know that in a certain scene a character will make certain choices that are unpredictable but that escalate the tension, and different things like that. I'm a huge proponent of discovery, as you say, or organic writing. I won't get the quote exactly right, but Ray Bradbury said something along the lines of, “Plot is the tracks left in the snow after your characters have run by on their incredible destinations. It cannot precede action. It is the chart that remains when an action is through.” So he's saying plot is not what precedes action. After the action, you have plot. So the whole idea of trying to plot out a story before you write it is going about writing exactly backwards. Plot doesn't precede action. It's the result. So I always tell people, “Don't worry so much about the plot. I want you to look at the pursuit.” A plotter might say, “Well, what should happen?” And they'll just come up with something. But an organic writer—a pursuit-based question would be, what does the character want? Now, when I know what the character wants, I will know what should happen. So literally, it will lead me to the story. Focusing on plot will not necessarily lead you to the story. It might lead you down the wrong track. Jo: Then in terms of your actual writing process— Do you start writing without knowing the ending? Do you write in order? Is the organic side also in the process? Steven: I've never started a book where I know how it will end. So I usually start with either a character that's fascinating or, in some cases, a premise, a question. Then as I write, I explore the possibilities of where it might go. I've tried to outline a scene—like one scene, not a whole book—and it never works. I can't even outline one scene. I've tried, and I'm like, okay, that's… What I end up with is completely different from it, so it's just a waste of time and effort for me to try to outline or plot out a story. I'm much more interested in the pathway the characters will take as they face obstacles and setbacks in their pursuit. As the struggles and the tension develop, what choices will they make? That's how the story will unfold for me. Jo: I'm similar. Then I also wonder— Do you do character sheets and character bios, or do the characters also unfold organically? Steven: Absolutely, I don't do any of the sheets and bios and stuff. The characters really come to me as I write. I begin to get to know them. I always tell people, a character with an attitude is more interesting than a character with a background. So a lot of people will spend a lot of time on, like, where's this character gone to college, and what's their first pet's name, all that stuff. I'm not trying to dump on that idea. I get that that can be helpful. But I'm like, how would I know that until I've spent time with them? Then once I begin to spend time with them, I'm writing and I'm like, “Nah, this doesn't seem like what that character would really say or do,” so I have to go back and rejigger the story to hopefully make it fit with that character. Then I like to give the characters some sort of attitude. I'm not talking about a negative or judgy attitude, but an attitude about something that is unique or different, and that makes them not a template character, not an archetype or whatever, but unique. Sort of this constellation of unique traits, characteristics, maybe wounds, flaws and so on, that create a character where you're like, “This is a character like none I've ever seen before. I want to spend time with this character.” Jo: Then you're spending time with the character by writing what's happening, as opposed to writing loads of stuff beforehand and then starting to write. You're actually finding all of this out during the process of writing. Steven: Yes, and I think it's kind of like getting to know someone. If I were to say, “Okay, I'm going to write down Jo's bio,” or whatever—okay, I'm making stuff up, because I don't know you super well. If we were to spend time together, hang out, whatever, talk, over the course of time I would start to know, oh, she likes this, she doesn't like that. This is important to her. This is what she would weep or pound the table over—whatever, all of the things that come with time. It's like a friendship in real life to me. So I can't sit down and tell you what a character in real life would think and say and do if I don't know them, but the more time I spend with them, then the more I'm able to predict that accurately. I think the mistake a lot of people make is they think, “I'm going to get to know this character with a background,” and then they start writing it, and instead of looking at the context, they look back at the—I don't know what you call it—the background or something like that. I always feel like what you mentioned earlier is, like, hold it loosely in your hand. Trust the fluidity of the process. As you're writing, you have an instinct. “Ah, I think this character would say this or do this.” So trust that. Trust that instinct. Trust that moment in the story, instead of trying to go back to an outline, back to a character description, or whatever it might be. So I'm a big proponent of looking at the context—not just what happened, but what is the result? So looking at the impetus and the implication of the choices and the activities. When something occurs, what would the character naturally say or do or think or respond? Then what would that cause? What's the implication that that would have on the rest of the story, on the rest of the characters? So, really trying to keep your finger on the pulse of the story, and adapt as you move forward through it. Jo: I love all of that, but I also am very aware that you've been in traditional publishing for over 20 years, and one of the things with agents and publishers is that they often ask for an outline. So how do you manage that? Or how did you more earlier in your career, because I imagine they just trust you now. Earlier in your career, or people listening who want to pitch but they write in this organic way, how do we deal with that kind of thing? Steven: Well, okay, so there's two good questions. One is about producing an outline for an agent or editor or publisher and so on. The other is how to pitch a story. So the first: I would write the premise down, and maybe a paragraph or two, and then where I think it might go. Basically, I would focus on the questions that the characters will face, maybe the moral dilemmas, the sacrifices they have to make, the world they live in. I kind of know that stuff, and I can write a couple of paragraphs about that. But beyond that, I just don't know what's going to happen, so I can't really provide more. I'm looking at my shelf at the books that I've done, and mostly that's what I've done is kind of a couple of paragraphs focusing on the premise and the problem, the struggle, and so on like that. As far as pitching a story, I always tell people, “Don't pitch the plot, pitch the pivot.” I think that there's a screenwriter—I think that he talks about this a little bit. I've not read the book Save the Cat, but people have told me, “Oh, he kind of brings this up in that book.” The idea is to pitch the irony instead of what occurs. So sometimes when I tell people to pitch, or I give them ideas, one process that you can use is: when, must, before, or else. So, when this occurs, this character must do something before this, or else. So you have the character, you have the struggle, you have the inciting incident, you have the stakes, and you have the countdown. It works well for thrillers. So for instance, like Jaws. When a man-eating shark starts eating people in a small seaside village, the sheriff must stop him before more people die and the town loses its economy. So there you have when, must, before, or else. Now, no one's going to buy the story based on that, because there's no irony, there's no pivot. It's just a description of the plot, and that's what most people pitch. So I always tell people, pitch the part of the story that you wouldn't expect. So for instance, in there you might pitch: when a shark starts eating people in a small seaside village, the only one who can stop him is afraid of the water. Now you're like, “Oh, well, that's interesting. How does that happen? What happens there?” With my book Broker of Lies, the pitch was something like, when a high-level Pentagon redactor ends up on the run, he must stop a terrorist attack before he's neutralised by the people he trusts the most. So the pivot is that the people he trusts at the Pentagon the most are actually trying to neutralise him because he's on the run, and all that kind of stuff. So why would they be trying to do that? Well, that's interesting. So it's always looking for the irony, the pivot. Why is this character the last one in the world who would ever be equipped to tackle this problem or face this issue? So that's one way to do a pitch. Obviously there's lots of them, but I think your goal with a pitch is to get them to say, “Tell me more.” It's not necessarily to summarise the whole story. Jo: That's great advice. So you teach writers—I first saw you at ThrillerFest, I think it was 2012—and you do events, you run writing retreats. So you work with a lot of authors, and I wondered, what are the challenges that you see from authors with, say, five books? So not the beginner authors, because obviously there's a lot of challenges. But those who, let's say they've got the three to five books, things are going all right, but they're like, “How do I get to the next level?” What are the craft issues, or the business issues as well, that mid-list authors face? Steven: Well, business, I'm not the guy to ask. I could try to answer that, but I mean, basically: meet your deadlines and write something amazing. Try to be easy to work with, but also stand up for what you wrote as far as working with editors. It's sort of a fine line you have to walk. The one thing that over the last few years I've really noticed in a lot of writers who are in that space is that they don't have many pivots. They tend to write predictable stories, and that's why they tend to stay where they're at—whether it's because they're following an outline or a plot formula or whatever it is. So when I talk about a pivot, I mean a moment in the story where something happens that's both unexpected and inevitable. For instance, if you're reading a story, you want things to make sense. You want them to be logical. That's one thing. But you don't want them to be too predictable. If it's too predictable, it's boring. It's like, I'm not interested. So we also want surprises. We want these two things. We want logic, and we want surprise. When those two things meet and you have a moment in the story where it's like, “I didn't see that coming, but that totally makes sense,” that's what we want, and we want that in every scene. I feel like a lot of authors don't have that in every scene. Now, you might say, “Well, every scene?” Well, yes, because basically those two factors, logic and surprise, can only meet in four different ways. You could have something that's very logical but has no surprises. That's going to be boring. It's going to be too predictable. We don't want that. You could have something that is very surprising but not logical. It makes no sense. A lot of stuff is surprising, but that's not what we want, because it's unbelievable, and it's like, what is going on here? You could have something that has neither logic nor surprise, which obviously we don't want that. The only other option is to have a moment that is both logical and surprising. So you have a choice in every scene. You have four choices, actually. You can have it be predictable and boring. You can have it be nonsensical. You can have it be unbelievable. Or you can have a pivot. So I find myself trying to really coach people on pivots. They'll say, “Oh, well, do I need it in every scene?” I'm like, “You can choose, but do you want it to be predictable or boring or nonsensical, or do you want it to really drive the story forward?” I think it's because people have been taught structure and plot and three acts and all this kind of stuff, but they haven't been taught this idea—even though it's not something I made up. Aristotle, in Poetics, thousands of years ago, put it a little bit differently, but he said, “The reversal of the situation”—what I call the pivot—”is the moment at which the action veers around to its opposite”—that would be what I call surprise—”subject always to a rule of probability or necessity”—which is the logic. So he's basically saying the same thing in just a little bit different language, but you have these three factors. You have logic, you have surprise, and you have them come together in a specific moment. I don't know why it's not taught more. I have never found anyone who teaches pivots. I have not found any books, so I wrote a book recently about how to use pivots. It's so central, and I think great storytellers naturally do it. You'll read a book, or you'll maybe watch a show, and you're like, “Oh, I didn't see that coming. That totally makes sense.” I don't see anyone else out there really focusing on teaching that. So that's a huge thing for me, really, to help people move up in their writing, elevate it to a different level. Jo: Is that Delve, Pivot, Propel? Steven: Yes. That book came out a couple years ago. We just re-released it. I updated it some, but it talks pretty much in depth about pivots and how to actually use those to propel the stories forward. Jo: Maybe you could just give us one tip on how to do that, because going back to the organic writing—let's say I've been organically writing, and every time a character has a decision to make, I think at that point about what I want to write and I write it. Are you suggesting that we go back in the edit and look at the end of every scene and redo it? Because I can't imagine that I would get this right every time. I would need to do that in an edit, I think. Steven: I think for me, when I'm writing, I'm always asking myself a series of questions. One is, what would the character naturally do? I want to make it believable and natural. Let them do it. I want to escalate the tension, so I'll ask myself, “How can I make things worse?” Then I'll always ask myself, how can I add a pivot to this scene? So as I'm writing a scene—again, I don't know how it will end when I start it—but if I use the first idea that comes to mind, probably a lot of readers would guess that as well, because it's the first idea that comes to mind. It's probably logical and probably predictable. That's why most stories end up being too predictable. It's because we go with the first idea that maybe we had. So I try to discard that. Maybe the second idea, just discard it. Then I start thinking, okay, now if I've discarded the obvious, what is going on? What's below the surface? So to answer your question, I'm looking for what isn't what it appears to be, or who isn't who they appear to be, or a surprising way to bring together plot threads that I didn't see related before. So it's always looking for the unexpected, the surprise, because most of the time that is what we're missing. Now, if you have a great surprise, then you have to lean into making it believable. So you've got to move into that idea of, well, what would the character naturally do? You can't just have him do something ridiculous and then say, “Oh, it's for my twist.” No, you can't do that. You've got to play fair. So it has to be believable, causally related, logical, and surprising. That's what you're shooting for. Those are the questions going through my mind. So as I'm working on a scene, I'm like, “How could I end this?” Or include something that people won't see coming right away. The best ideas always come to me then. It's so interesting. A lot of people will say, “Oh, don't write organically,” or, quote, “by the seat of your pants,” whatever they'll say, “because then you might write yourself into a corner.” I'm like, “Yes, absolutely write yourself into a corner. That's what I'm trying to do in every scene.” And then you write yourself out of a corner in a way that's logical and surprising. The best twists I've ever come up with have been when I'm in a corner. So why would I warn people against going to the place where the best ideas await them? That just seems mean. Why would I do that? No, I want you to have the best possible ideas. So yes, look for corners, write yourself into them, and then write yourself out of them in a way that's both logical and surprising. Jo: I guess also it needs to be genre specific. We write mainly thrillers, and there is this fine line, isn't there? I love Stephen King, but one of the most unbelievable endings is Under the Dome. I still remember feeling betrayed. I don't know if you've read that one, but— Steven: Oh, no. Jo: I was like, “I'm sorry, you've just changed genre in the last chapter of the book. What is going on here?” Steven: That's actually interesting. The fourth question I ask… So I ask, what would the character naturally do? How can I make things worse? How can I add a pivot? But the fourth question is, what promises have I made that I have not yet kept? So genre, to me, is a promise. You build up a promise in your writing at the beginning of the book, and then I feel like as we write, we have to honour that. So if we bring something up that's super interesting, bring it back or whatever. Keep your promises. Keep your narrative promises. It's true of really any genre. Let's say you're writing a romance. You want to respect the conventions, but not fall into the clichés. So there's going to be a moment where the lovers meet, right? They haven't met before. I don't know what they call it, a meet cute or a cute meet. I think they call it a meet cute, I guess. Jo: Yes. They do. Steven: Anyway. So they're going to meet, right? And you're like, “Oh, I'll just have them meet.” Well, try to do it in a way we haven't seen before. Add something else to the scene. Add a third element, as my friend Bob Dugoni likes to say. Add something a little bit that we're like, “Huh, I've never seen that before.” We know they're going to meet, but let them meet in a way that we don't anticipate, that we can't predict right away, that isn't exactly by the numbers, and then you're going to be on the right track. Jo: So then, talking about reader expectations and genre, I wondered if I could also ask you about your Christian faith, because many people listening are people of faith, and some people want to write a Christian book. Other people want to bring their faith into, say, a mainstream type thriller in an authentic way. So how do you balance your faith and your writing? Because I think you have some series that are more sort of Christian than others. Steven: It's interesting. When my first novel came out—The Pawn, like a chess piece, The Pawn—back almost 20 years ago. Gosh, 20 years ago. Nineteen. But anyway, when it came out, someone wrote to me and said, “Is this a Christian book?” I'm like, “What would make a book not Christian?” I'm like, maybe if it has a lot of idolatry, or witchcraft, or maybe sexuality or graphic violence. Then I'm like, oh, wait, that's… No, that's the Old Testament. So it's interesting, because people have asked me similar questions over the years. My books are not sermons in disguise. I'm trying to write great stories that anyone of any background or faith will enjoy. I always ask big questions. I let my characters wrestle with questions that matter, I think. Do my choices matter? Is there hope? Is there a God? Is there no God? Do I have free will? Can I find forgiveness? Can I offer forgiveness? Can I extend it, or whatever? So I always try to base the stories on something deeper. I do believe that there is good and there's evil in the world. That's part of my worldview. So when people talk about moral ambiguity, I don't want to write or read something that's morally ambiguous. I want moral complexity, but I also want moral clarity. So whenever you write, the question is, what are you justifying and what are you condemning? And if you're justifying something that's morally—I would say wrong, actually—then I don't feel like that's the kind of book I would want to write. So I want to write stories that explore good and evil, that explore our world, human nature, in an honest way. I feel like when you write honest stories, people, no matter what their background or whatever faith, then they will connect with it. I think a lot of people, if they start off with an agenda—whatever that agenda might be, let's say it is a Christian agenda, like I want people to trust in Jesus, let's say—so they write a story. Well, what you're doing, you're actually starting your story with an answer, and drama is not built on answers, it's built on questions. So you're actually diminishing the amount of tension. You're also diminishing the possibility of a pivot, because we all get where you're going. It's predictable, but there's probably no surprise. You're diminishing the payoff at the end, because we're like, “I saw that coming. I exactly knew where you were going with this.” So instead, I don't start with an answer. I always start with a question, or in some cases a moral dilemma, like, what's more important, protecting the innocent or telling the truth? That's interesting to me. If I had to choose between the two, would I tell the truth or would I protect the innocent? It's interesting, because people might come down on different sides of it. They might say, “Oh, you should always tell the truth,” or they say, “You always should protect the innocent.” I'm like, okay, well, let's explore it. Let's literally ask the question. So I come from a certain worldview, but I've written characters who have very different worldviews from me. I'm always just trying to be honest with the character, ask big questions, tell a story that examines human nature and sort of the paradoxes of the human condition in a way that will resonate with really whoever the readers might be. Jo: And of course that worldview is part of your author voice and part of what readers come to you for. I also notice that you have some pretty diverse different series. How do you manage that diversity of series under your one brand? Do you find your readers move from one to the other, or do you have different readerships? Steven: You mentioned the B word—brand. That's what publishers are always telling me: “What's your brand?” I'm like, “I don't know. You tell me what my brand is.” I've done fantasy, science fiction, conspiracy. I've done spies and police procedurals and crime and suspense, thrills, whatever. So I would say the one thing that really ties all my stories together is probably just suspense. They are stories with suspense. Some are more high concept thrillers, some are more dark fantasy, but they're built around suspense. So I guess that would be intelligent suspense, maybe, if I was trying to come up with a brand. Something like that. Because I don't want them to be dumbed down. They're not dumbed down stories, so they're a little bit more complex than you might find in other places, but always built around the idea of suspense. Suspense to me is basically—my definition is apprehension born of concern. So we're concerned about a character, and we're apprehensive because there's peril around the bend, or right in front of them. So I want the readers to really care about a character, and then try to build the story and the suspense around that empathy or sympathy that we have for the character. Jo: I think it's really interesting, because again, you mentioned 2007—we're coming up on 20 years since first published. The publishing industry has changed a lot. So what do you think has changed most in publishing for you, and what are your thoughts on routes to market for new authors these days? Or even established authors who are finding that things have changed, which they obviously have. Steven: Well, I'm not a marketer, I'm not a businessman. I'm just a storyteller at heart. So I just keep writing stories that I would be intrigued with reading, stories that I feel like are resonant. Then I look for publishers for those. I've been to a variety of different publishers over the last decade. I've done some different types of stories. I feel like you have to just write the story instead of trying to write for a specific market trend or something like that. So I might not make as much as some of my friends, I might not sell as many books, but I feel like I have to write certain stories if they grab ahold of me. There's a Native American—I think the Pawnee tribe, anyway, in the United States—but they were saying that all the stories that exist are out there already, and when one finds you, it's your job to share it with the world. I think that's kind of interesting. Sometimes—maybe it's just true for you, I don't know, Jo—but it's like a story will grab hold of me, or an idea, and I'm like, “I can't shake it.” That's a story that I want to tell the world. I would say that stories are becoming shorter, dumber. People are trying to write faster. They're trying to write several books a year, and as a result of that, some of the quality has gone down. This is all unfortunate. I'm still sort of a dinosaur. I still tend to write longer, complex stories. But people have shorter attention spans and whatever, and they're not reading as much. The structure of stories, I think, is changing slightly, where people will have to spend more time on a hook to really grab the attention of the readers. Then there might be a longer slow period, or more info dumping, which I'm not a fan of. So they kind of look like, “I want to get readers hooked at the beginning, and then get them to flip pages.” So I tend to set up my stories a little bit differently than that. So I'm not the best guy to ask about marketing and sales and stuff like that. I feel like, write a story that will not let you go. And if you do that, I feel like that's the kind of story that will resonate with readers, because there's a deep honesty to it. You care, you're passionate about it. It's not just something you're trying to spin out just to sell books. That's my view. Jo: I guess I also feel that writers are doing other things. So you have non-fiction, you have your podcast, you do events. I see you sell books direct from your website. It's like the business expands into multiple streams of income, so that the art doesn't have to pay all the bills. Steven: That's interesting. I do love to teach writing at conferences, events, and speak at different things. So I guess if you think about it that way, my brand might be just story, or storytelling, or something like that. Really trying to get out there, and whether it's speaking or writing, just tell a great story. So it's so interesting when I work with publishers and they'll ask, “What's your brand?” Basically it's like, “What's your box?” is really what they're asking. What box can we stick you in that will make it easy for us to package you and sell you? I know myself, and just a lot of authors that I know, we don't think in a box. Every one of my stories is not boxy. It's not the same. They're different. I know a lot of authors like that too. So it's unfortunate. I get it, that it's part of them trying to market and sell the books. I understand that, but I think being honest, genuine with the story, doing the very best you can, writing a worthy book, and then letting them come up with a way to categorise it, is probably the best bet. I don't know. Jo: We're almost out of time, but this is obviously a podcast, and you have a podcast. So tell us about The Story Blender Podcast and what people might find over there. Steven: Yes, I appreciate it. Basically, I interview some of the leading writers and storytellers in the world every week, and the goal is for great storytellers to share the secrets of great storytelling. So I basically pick their brains, kind of like what you were doing with me today, and find out what projects they're working on, and really just try to get insights into storytelling. So it's tons of fun. I've been doing it now for a number of years, and I guess I've interviewed over 250 different authors and writers from around the world, and so I always enjoy it. It's a ton of fun. It's The Story Blender, and people can find it anywhere. Jo: So where can people find you and your books and everything you do online? Steven: Probably the best place is StevenJames.net. I think I'm on different socials @readstevenjames, so you can look me up there—Facebook, Instagram, X, and so on. I think they're all under readstevenjames. Check out the website, drop me a note. I always enjoy hearing from readers. Jo: Well, thanks so much for your time, Steven. That was great. Steven: Thanks, Jo. I appreciate it. Good luck. The post Organic Writing And The Power Of The Pivot In Fiction With Steven James first appeared on The Creative Penn.

The term "pantser" has been used to describe writing a book without an outline. At writers conferences, outlining and "pantsing" (also known as discovery writing) are often framed as rivals. However, most writers fall between the two extremes.I've seen successful authors across that spectrum. What truly matters is finding the method that works best for you.While there are countless books on outlining, there are very few on discovery writing. So how do you learn to "write by the seat of your pants"?In this month's episode, I interviewed bestselling author Steven James, who shared his secrets for discovery writing—the art of writing "by the seat of your pants" while creating gripping stories.He shared✔️ Four questions that can solve any plot problem✔️ What truly drives a great story to a satisfying ending✔️ How to use pivots to surprise and satisfy your readersIf you've ever struggled with outlining or wondered if  "pantsing" could work for you, this episode will give you the guidance and courage to give it a try. Listen in or read the blog version to learn more.Support the show

What happens when a former Royal Air Force member swaps his parachute for a mountain bike and embarks on a breathtaking quest across Iceland? Meet Steven James Ferris, a man who has redefined his life with adventure, weaving tales from his military past into a riveting 72-hour bikepacking expedition to support a cause close to his heart. Steven transports us from the lush landscapes of his childhood in South Wales to the formidable terrains of Iceland, sharing how the transition from military life to civilian adventure seeker ignited a new flame of purpose and ambition.Steven's story is not just about physical endurance but also the mental fortitude required to face unpredictable challenges, whether it's navigating Iceland's volcanic landscapes or balancing the joys and trials of fatherhood. He brings to life the essence of adventure as a means of personal growth and resilience, reflecting on how stepping beyond our comfort zones can lead to profound self-discovery. With anecdotes of cycling through Icelandic ash and silt, Stephen paints a vivid picture of the unpredictability of nature and the meticulous planning needed to survive such daring endeavors.As Steven contemplates future journeys across Morocco and Azerbaijan, he offers insights into the 'stretch' zone—a space where growth flourishes, far from the comfort zone yet short of the panic zone. His narrative is a testament to the power of adventure as a tool for rejuvenation and connection with the environment. Join us as Steven James Ferris illuminates how embracing the great outdoors can transform lives, inspire others, and instill a renewed sense of belonging and purpose.To learn more about Steven check out his website www.stevenjamesferris.com and follow him on YouTube @StevenJFerris to see his self-made documentary of his 3 day bike adventure across Iceland.Want to be a guest on Journey with Jake? Send me a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/journeywithjakeVisit LandPirate.com to get your gear that has you, the adventurer, in mind. Use the code "Journey with Jake" to get an additional 15% off at check out. Visit geneticinsights.co and use the code "DISCOVER25" to enjoy a sweet 25% off your first purchase.

Hold onto your coffee cups, writers and readers alike! This week on The Booked Solid Podcast, we're hanging out with Emily Conrad, the author behind the swoon-worthy Rhythms of Redemption series. She's a master of crafting stories with heart an hope. Emily is a member of the American Christian Fiction Writers (ACFW) and as a former staff member of HopeWriters, Emily's had the privilege of chatting with some heavy-hitters in the writing world, like Francine Rivers, Susan Meissner, and Steven James. But that's not all! Emily also writes non-fiction (yes, she's that multi-talented) with pieces featured in GraceTable.org, Southern Writer's Magazine, and Seriously Write. So whether you're a romance fan, a fiction enthusiast, or just a sucker for a good writerly chat, this episode is for YOU. Grab your favorite cozy blanket, settle in, and get ready to laugh and learn from Emily's words and heart. Find Emily Conrad here: Website Instagram Find us on Instagram: ⁠⁠⁠@bookedsolidpod⁠, ⁠⁠⁠⁠⁠@hannahbooksit⁠, ⁠⁠⁠⁠⁠@stephanienmack⁠ ⁠ ⁠⁠⁠Subscribe to Hannah's Newsletter⁠⁠⁠ ⁠⁠⁠Subscribe to Stephanie's Newsletter⁠⁠⁠ Thank you so much for listening, bookish besties!

Steve & Izzy continue Walken in a Winter Wonderland, where they celebrate movies featuring everybody's favorite Academy Award winning Bond Villain Christopher Walken, as they are joined by Chris of the Home Video Hustle Podcast to discuss 1991's "McBain" starring Christopher Walken, Michael Ironside, Steven James, Maria Conchita Alonso & more!!! How does this compare to Dogs of War? Do you know the value of reading instructions? Wait, who is Chris named after?!? Let's find out!!! So kick back, grab a few brews, reminisce about Woodstock, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven James has written and published about twenty books in the last couple of decades. Most of his novels and been thrillers. But with his new novel, Rift, he's doing something completely new: young adult Appalachian folktale horror. Steven has lived in the southern Appalachians since the 1990s. The part of East Tennessee where Rift is set was hit really hard by Hurricane Helene a couple of weeks ago. Steven's publisher, Rebecca Reynolds of Sky Turtle Books, also lives in the region. She is putting together a project to collect old stories from Appalachia, creating an anthology that can be used to raise funds for the area.  She needs help finding the storytellers and their stories. Part 2 of this episode is a short conversation with Rebecca Reynholds about the Old Stories project. Here's a video about The Old Stories: An Appalachian Anthology.  Support the show: https://therabbitroom.givingfuel.com/memberSee omnystudio.com/listener for privacy information.

Du ska inte konstruera romanen, nej, du ska skrapa fram den som en arkeolog. Det säger Stephen King i sin bok On Writing. Romanförfattaren och romancoachen Steven James håller med och har till och med utarbetat ett arbetssätt som du kan använda dig av för att skrapa fram din berättelse steg för steg. Strunta i alla strukturer, menar Steven James, det viktiga är att du gör det värre och värre för protagonisten, din huvudperson. I den här videon tolkar jag Steven James tips och ger dig tio tips som får handlingen i din roman att blottas undan för undan. Jag har jobbat som romanförfattare och romancoach i många år. Flera av mina kursdeltagare lever nu på sitt författarskap. Följ mina råd och ta nästa steg i ditt romanskrivande. Vill du kontakta mig? Mejla till canalcarstensen(at)gmail.com

Steven James is a critically acclaimed author of eighteen novels and numerous nonfiction books that have sold more than 1 million copies. His books have won or been shortlisted for dozens of national and international awards. In addition, his stories and articles have appeared in more than eighty different publications, including the New York Times. He is also a popular keynote speaker and professional storyteller with a master's degree in storytelling.  James' latest thriller, FATAL DOMAIN, is available. The new series follows Travis Brock, a redactor for the Department of Defense who must attempt to unearth the truth of a personal tragedy while trying to stop a terrorist group from stealing one of the military's most highly guarded technological breakthroughs. Since 1996, James has appeared more than two thousand times at events spanning the globe, presenting his stories and teaching the principles of storytelling to writers, speakers, teachers, and leaders. He also hosts the weekly podcast The Story Blender, on which he has interviewed more than 150 of the world's leading writers and storytellers. In 2020, he was inducted into the Christy Award Hall of Fame for excellence in fiction writing. Publishers Weekly has called him “[a] master storyteller at the peak of his game.” When he's not writing or speaking, you may find him playing basketball or disc golf, or hiking near his home in the Appalachian Highlands of East Tennessee. He may or may not watch too many science fiction movies while eating bottomless bowls of chips and salsa. 

Send us a Text Message.Bestselling author Steven James discusses his insights on storytelling, structure, and the craft of writing.▬Visit Steven's website:https://stevenjames.net/Follow him on Facebook:https://www.facebook.com/readstevenjames/

Steven James is a critically acclaimed author of eighteen novels and numerous nonfiction books that have sold more than 1 million copies. His books have won or been shortlisted for dozens of national and international awards. In addition, his stories and articles have appeared in more than eighty different publications, including the New York Times. He is also a popular keynote speaker and professional storyteller with a master's degree in storytelling. Find out more about Steven James at https://stevenjames.net/Get his latest book: https://a.co/d/cFSMPBzSign up for my writers' newsletter to learn more about the craft of writing, know when my workshops are and be the first to get exclusive information on my writing retreats. https://katcaldwell.com/writers-newsletterWant more information on my books, author swaps, short stories and what I'm reading? Sign up for my readers' newsletter. https://katcaldwell.com/readersYou can always ask me writing questions on instagram @pencilsandlipstick or on Twitter @PencilLipstick

Join hosts JD Barker, Christine Daigle, Jena Brown and Kevin Tumlinson as they discuss the week's entertainment news, including Small Press Distribution shutting down, deals rebounding in the first quarter, and how Google is considering charging for AI-powered search. Then, stick around for a chat with author Steven James! Steven James is a critically acclaimed author of eighteen novels and numerous nonfiction books that have sold more than 1 million copies. His books have won or been shortlisted for dozens of national and international awards. In addition, his stories and articles have appeared in more than eighty different publications, including the New York Times. He is also a popular keynote speaker and professional storyteller with a master's degree in storytelling.  Since 1996, James has appeared more than two thousand times at events spanning the globe, presenting his stories and teaching the principles of storytelling to writers, speakers, teachers, and leaders. He also hosts the weekly podcast The Story Blender, on which he has interviewed more than 150 of the world's leading writers and storytellers. In 2020, he was inducted into the Christy Award Hall of Fame for excellence in fiction writing. Publishers Weekly has called him “[a] master storyteller at the peak of his game.” --- Support this podcast: https://podcasters.spotify.com/pod/show/writersink/support

Steven James and your MadLit Musings podcast host, Jaime Jo Wright, sit down for a chat about story, theme, and should readers take anything away from a fictional story?

“Anyway, to answer your question, well . . . I used to believe in those things but in this job . . . well . . . I guess I've seen too much corruption in people to believe them anymore. We're not just rooted to this world, we're also a part of it. I don't think we can ever be perfectly free or pure. We can't rise above who we are.” After a long pause that stretched into awkwardness, Tessa asked softly, “Can someone else lift us?” – Steven James, The Rook

From the moment I read my first Patrick Bowers novel, I've been a huge fan of Steven James' books. Then I met him at ThrillerFest. Since then we've interacted through ACFW and other organizations, and I've come to admire Steven as a master writer and teacher of writing. That's why I'm excited to introduce you to Steven in this episode of Book Talk. In his latest novel, Broker of Lies, Steven has created a hero who isn't an action hero. Unlike Patrick Bowers, who is a profiler in the FBI, Travis Brock is an attorney who is a redactor of FOIA requests for the Pentagon. In Fatal Domain, Brock and the rest of the Red Team are back and on a hunt that leads Travis deeper into a collision with his past. One of the things I love about Steven's books is the way they twist and turn, and this one is no exception. He's showing us what might be possible with tech and taking us to a place where we might feel uncomfortable. In this episode, Steven and I talk about the books, but we also talk about his writing process. For Steven, it's always about the characters first and then the story emerges as he writes. He calls story a collision of desires. What is pursued? and What setbacks and desires occur along the way? What would make an honest response for the character in that situation? I also love how Steven talks about wanting the climax to be a moment where he has written himself into a corner and has to find a way out. He wants to play to readers' expectations and then twist them. These are just a few of the techniques Steven shares with us in this chapter of Book Talk with Cara. I can't wait to hear what you think and if you've read any of his books. Connect with Steven James Facebook | Twitter

AI is rapidly changing the way we do business. AI presents exciting opportunities for founders and emerging companies but the laws governing AI in the UK are in a state of flux. There are many different laws and guidance to understand and contend with, which can be challenging for emerging businesses. Join AI and Technology partner Charlotte Walker-Osborn and IP partner Steven James to hear about some of the areas you need to be thinking about as a founder, investor or advisor and when to start having those discussions.

The legal framework on AI in the UK is in a state of flux, with the UK government's desire to be a “pro-innovation” hub for AI businesses yet to be underpinned by a clear legal framework. Join AI and Technology partner Charlotte Walker-Osborn and IP partner Steven James to discover some of the areas you need to be thinking about when developing, deploying or using AI systems.

What is the story behind your interior product brand, and do you know why it is important to your audience? Every brand has a story to tell, and understanding and articulating your brand story is crucial for connecting with your audience on a deeper level. Brand storytelling is the key to cutting through the noise in a crowded marketplace, where distractions abound and attention spans are fleeting. Your brand story, whether conveyed online or in person, serves as a beacon, guiding customers through the clutter and leaving a lasting impression. Whether it's the humble beginnings of your brand story, the solutions and value you offer, or the vision for the future, making it compelling, relevant, and unforgettable can help you build a loyal customer base and distinguish yourself from the competition, regardless of your style. In this episode, your host, Nicole, shares more on brand storytelling in interior product design to help you create a compelling brand story that will not only differentiate your brand from its competitors but also help you cut through the noise. Let's dive in!       Key Highlights from the Episode: [00:01] Intro and what's in for you in this episode  [03:43] Nicoles's story and elevator pitch for her brand [05:01] Why you need to get clear on your story and how you share it [08:30] Storytelling and why it is relevant to your interior product design [10:24] 3 storytelling strategies to maximize visibility, profit, and impact [17:49] 3 things to prioritize when telling your brand story  [18:47] Storytelling key points from The Art Of The Tale  [23:03] Lessons from a Mirror Company on the importance of storytelling  [26:02] Your season 5 first homework on your brand storytelling  [27:44] Wrap-up and end of the shoe  Notable Quotes:  Storytelling is a way for your brand to engage with your audience on a deeper level. Your story gives your audience reasons to buy your product or service, and it should be consistent across all platforms. Storytelling is a must-have, not a nice to have because it can maximize your visibility, profit, and impact. When we think, we think in stories, and they should be a priority for your company. We usually don't remember things unless they are tied to stories. Resources Mentioned  3 Reasons Why Brand Storytelling Is The Future of Marketing: Forbes Article: https://www.forbes.com/sites/celinnedacosta/2019/01/31/3-reasons-why-brand-storytelling-is-the-future-of-marketing/?sh=2019e4c455ff The Art Of The Tale by Steven James: https://www.amazon.com/Art-Tale-Audience-Organization-Storytelling/dp/1400233119 Learn more about Thrive In Design:  Website: https://www.thriveindesign.co/ Instagram: https://www.instagram.com/thriveindesign/ Facebook: https://web.facebook.com/thriveindesign/ LinkedIn: https://www.linkedin.com/company/thriveindesign/   Register for the next Thrive In Design live training here: https://training.thriveindesign.co/   Get your copy of "The Ultimate Guide to A&D Sales": https://www.thriveindesign.co/brand-reps.

Do you utilize the Writing Cube concept in Novel writing? Get ready to learn a few aspects of story you may not be familiar with.Join our host, Linda Goldfarb, and her industry expert, the critically acclaimed, best-selling author Steven James. Steven has served as a contributing editor to Writer's Digest Magazine and is the author of the groundbreaking nonfiction books Story Trumps Structure and Troubleshooting Your Novel. When he's not working on his next book, Steven teaches Novel Writing Intensive retreats across the country with New York Times bestselling author Robert Dugoni.In this encore episode, Linda and Steven discuss the writing cube, pivot, and payoff. Steven provides a clear insight into the aspects of believability, escalation, causality, twists, and surprises along the way.LINKSSteven JamesPreview downloads for The Art of the Tale - freeSteven James BooksThe Art of the Tale bookVisit Your Best Writing Life website.Join our Facebook group, Your Best Writing LifeAbout your host - Linda GoldfarbAwarded the Spark Media 2022 Most Bing-Worthy PodcastAwarded the Spark Media 2023 Fan Favorites Best Solo Podcast

One of the most important issues Entrepreneurs want to know about, is how to make their business more investable to investors. It can sometimes seem a bit of a mystery: why does one business skyrocket and another in the same sector struggles to take off? How do you put your business in the best possible position to secure investment? To find out about this and more join Michanne Steenbergen, an investor in B2B and B2C Tech, and Stuart Alford, Corporate Partner at MoFo, on our first MoFounders podcast.

Today, Noah and John are joined by industry legend Steven James. Steven is the President and CEO of Berkshire Hathaway HomeServices New York Properties and has been in the trenches for over four decades. From good markets to bad markets, smooth deals to rocky deals, Steven has seen it and lived it. Today, he examines the key challenges and shifts in the 2023 real estate market and addresses changing buyer behaviors, pricing adjustments, and the new landscape agents must navigate. We also dive into the upcoming regulatory changes facing buyside commissions and the need for agents to demonstrate their value. Steven also discusses the impact of media portrayals on the industry and the importance of effective communication, particularly in complex transactions. All in all, this episode offers a concise overview of the evolving NYC real estate scene at a time when confusion and fear are starting to run high. Another must listen! Highlights: 00:35 - What's happening out there? 02:25 - Recognizing the reality of pricing 06:05 - Regulatory change and agent livelihoods 09:00 - The importance of communication and understanding the market 12:55 - Agents need to articulate their value to consumers 18:45 - Real estate's public image and the potential resentment 22:37 - Buyers are the key Steven's page at BHHS NY: https://nyc.bhhsnyproperties.com/real-estate-agent/3583/steven-james ** Want to impress a buyer or seller? Use UrbanDigs Advisor! ** Need data to anchor a listing pitch or support a price reduction? Our customized deep dives close deals faster and make you look like a hero. Plus, subscribers get a big discount so the ROI is literally OFF. THE. CHART. Email support@urbandigs.com and let us know what you need. https://www.urbandigs.com/advisor/ Got questions? We got answers! Visit our forum: https://www.urbandigs.com/forum/index.php?forums/main-forum.2/ Track the New York City real estate market with real-time data and charts: https://www.urbandigs.com/ Link to our overview of Manhattan or Brooklyn real estate stats: https://www.urbandigs.com/marketwide-charts/ For more Manhattan and Brooklyn real estate conversations: http://www.talkingmanhattan.com/

Award-winning author and writing instructor Steven James joins us for this episode of Between the Lines. Join us to hear about his writing journey and soak up some of his wisdom in how the writing world works. 

Listen as Steven James chats with award-winning nationally known storyteller, Tim Lowry. As one of the country's premier storytellers, Tim has told stories to more than a quarter million children as well as at festivals and conferences throughout the United States. We talk about his journey toward becoming a storyteller (and how the circus played a part!), how to find moments in your life that are story worthy, and the Ladder to the Moon and how it can help you connect with an audience. Check it out! During a circus performance, Tim was bitten by the show biz bug at six years of age. Waiting for his big break, he filled his childhood with performance opportunities. Cast as Ebenezer Scrooge in a second- grade production of Dickens' “A Christmas Carol” Tim later played Jed Clampett in “A Beverly Hillbillies Christmas.” Demonstrating that he could raise one eyebrow and thereby look “wicked” Tim's Sunday school teacher cast him as King Herod in the annual Christmas pageant. As a young teenager Tim produced puppet shows for children's birthday parties. His fee was $20 per show, but he offered a $5 discount if you could give him a ride because he was not yet old enough to drive. As an award-winning high school drama student Tim toured the East Coast in 1987 with a Broadway style musical. As a theatre major in college he studied Shakespeare and Romantic Opera, but when he took an elective class in storytelling he found himself. After graduation, Tim taught English Language Arts for five years. Drawing on his love of show business his teaching methods were often considered “unorthodox and disruptive.” In 2000 Tim left the classroom to pursue a career as a professional storyteller. To date he has shared his “unorthodox and disruptive” teaching methods with more than a quarter million children! In 2012 Tim began touring the National Storytelling Circuit performing at over fifty different festivals. Occasionally, Tim provides workshops for corporate clients such as the North Carolina County Commissioners, Dollywood Dream More Resort, Ballad Health, and Daramic LLC.

Listen as Steven James interviews award winning, critically-acclaimed crime novelist W.C. Ryan. W.C. shares his insights into writing historical mysteries, on the importance of conflict and risk, on writing scenes drenched in intrigue ,how to keep people flipping the pages and the importance of the sense of place in the stories you tell. They discuss W.C.'s latest book, THE WINTER HOUSE, and his upcoming release, The Constant Solider. This episode of The Story Blender is a good one, don't miss it!

Listen to a fascinating conversation between Steven James and acclaimed novelist, Will Dean, as they talk about creativity (and how it can thrive in solicitude), living in the middle of a vast forest and staring at the wall, “Exorcism” drafts, and how to get to know characters over time. Dean's new book THE LAST ONE is available now. Visit thestoryblender.com for more information.

Wow! What a great conversation Steven James had with Lee Goldberg, a veteran TV writer and novelist. Get your pen ready to take notes as Lee talks about what characters do in a story (surprise, surprise; they don't change), how to make compelling characters, where humor comes from, the secret to Monk's character, how to use a “living outline,” and his latest novel MALIBU BURNING. Check out this episode of The Story Blender. Author and screenwriter Lee Goldberg has topped bestseller lists, earned wide critical acclaim, and garnered a worldwide devoted fan base for his compelling and meticulously researched police procedurals and spy thrillers. His latest book, MALIBU BURNING, which Thomas & Mercer will publish on September 1, 2023, marks a brand-new direction in crime fiction for the talented storyteller. It's a relentless thriller tracking both a master thief with a conscience and the dogged investigators out to stop him from pulling off the ultimate heist in the midst of a raging wildfire. Lee Goldberg is a two-time Edgar Award and two-time Shamus Award nominee and the #1 New York Times bestselling author of nearly 40 novels, including Lost Hills, True Fiction, fifteen Monk mysteries, and the first five “Fox & O'Hare” books, co-written with Janet Evanovich. He's also written and/or produced many TV shows, including Diagnosis Murder, SeaQuest, and Monk, and co-created the Hallmark movie series Mystery 101. As an international television consultant, he has advised networks and studios in Canada, France, Germany, Spain, China, Sweden, and the Netherlands on the creation, writing, and production of episodic television series. 

Listen to the newest episode of The Story Blender as Steven James chats with Chris Pavone, the author of 5 international thrillers whose latest book TWO NIGHTS IN LISBON is available now. They talk about what to include and what to avoid in writing stories, the importance of setting, credibility and characters and other secrets to keeping people flipping the pages. 

Discover the transformative power of whole-body healing with Dr. Steven James on this captivating episode of Fusionary Health. As a chiropractor with a passion for investigating the root causes of bodily issues, Dr. James takes a deep dive into your history to uncover the hidden sources of pain and discomfort that persist in our bodies.

Wow, what a fascinating interview! Today I'm joined by Steven James who's the author of 24 nonfiction books and 18 novels that have sold over 1 million copies. He's also the host of The Story Blender podcast. In this interview, we talk about: -How James finally wrote & published his first novel-Have you ever thought “I could write a better book than this!”? If so, here's what to do-What writing 24 nonfiction books taught James that helped him write better novels-Should you write fiction or nonfiction first? Here's how to decide…-Are storytellers born or made? Nature or nurture?-All stories have 4 elements; great stories have 2 additional elements...what are they?-How you should look at marketing differently as an author (and what James does to sell books)-How to market a new series vs. books in an existing seriesAnd so much more! If you're a fiction author or someone who's passionate about storytelling, you don't want to miss this episode! Watch the free training: https://selfpublishing.com/freetrainingSchedule a no-cost call with our team: https://selfpublishing.com/schedule Here are some links that might come in handy: Apply for a free book consultation Register for our free on-demand training Must-watch episodes: SPS 044: Using A Free + Shipping Book Funnel with Anik Singal SPS 115: Using Atomic Habits To Write & Publish A Book with James Clear SPS 127: Traditional vs. Self Publishing: Which You Should Choose with Ruth Soukup SPS 095: The Five Love Languages: Selling 15 Million Copies with Gary Chapman SPS 056: How I Sold 46M Copies of My Self Published Book with Robert Kiyosaki

Megan Collins is the author of Thicker Than Water, The Family Plot, Behind the Red Door, and The Winter Sister. She taught creative writing for many years at both the high school and college level and is the managing editor of 3Elements Literary Review. She lives in Connecticut, where she obsesses over dogs, miniatures, and cake. Listen as she and Steven James discuss how as writers they love being surprised at their character's decisions, book recommendations and more.

Listen as Steven James chats with Wendy Walker, acclaimed author of new novel psychological thriller, What Remains. She talks about her journey as a writer, the importance of letting your characters deal believably with traumatic events. They discuss the psychological depth of characters, and giving them struggles readers can identify with.

Critically acclaimed author Steven James joins BOOKSTORM to discuss his latest thrill ride! Broker of Lies! When Travis Brock, a high-level Pentagon redactor, finds a clue to solving the tragic arson that took his wife from him, he risks everything to find the truth--and chances losing himself in the process! Topics: Vengeance is personal, but does it always open more wounds than it heals? Justice is universal National security--how do we balance fear mongering against real threats to our nation? Does an evil act have the power to ignite on onset of good or is that just another excuse? How do we know who to trust? Fasten your seat belt for a thrill ride you won't forget!You can find more of your favorite bestselling authors at BOOKSTORM Podcast! We're also on Instagram, TikTok, Facebook, and YouTube!

In 1994, documentary filmmaker Steven James made one of the most memorable and successful documentaries ever, "Hoops Dreams." James talks about making that film, and its subsequent impact, as well as the subject for his new project, the ESPN 30 for 30, "The Luckiest Guy In The World," about Bill Walton. Plus, Mac bemoans the right way to handle Father's Day.

#470 - Grab a bud and listen in as we talk about the 1986 Chuck Norris "classic" The Delta Force! Starring Chuck Norris, Lee Marvin, Martin Balsam, Joey Bishop, Robert Forster, Lainie Kazan, and Steven James. HSF Rating Alex-3, Scott-3, Jeff-2 Please follow and contact us at the following locations: Patreon: http://patreon.com/hansshotfirst Facebook: Hans Shot First Twitter: http://twitter.com/hansshot1st Email: hansshotfirst@outlook.com iTunes: https://itunes.apple.com/us/podcast/hans-shot-first/id778071182 Google Play: https://play.google.com/music/m/I5q2th5tzsucvpzgmy3kmzgtd44?t=Hans_Shot_First iHeartRadio: https://www.iheart.com/podcast/256-hans-shot-first-30934202/ Spotify: https://open.spotify.com/show/0ityvhlXhdtoXFJFOO1cvA

Today we're sailing out to the Gulf Coast Symphony Orchestra's, Sounds by the Sea - A Salute to Our Military event, May 27th in Gulfport, with Music Director, Dr. Peter Rubardt, then we'll celebrate 50 years of Hip-Hop at the 6th Annual Old School Party with A Purpose- Fundraiser for Grace House, happening May 27th at the Mississippi Trade Mart, in Jackson with Organizer, Steven James and DJ Finesse! Plus, we also let you know "What's Happening" around your neck of the woods!Visit our events calendar at mpbonline.org and click the community tab for Mississippi Events. If you have an event, you'd like to share, you can upload it directly to our calendar or email it to events@mpbonline.org. Hosted on Acast. See acast.com/privacy for more information.

Damyanti's Indian debut literary crime novel You Beneath Your Skin was an Amazon bestseller, and optioned for the screens by Endemol Shine.  Listen as Steven James interviews Indian author, Damyanti, Biswas, and they have an incisive conversation about writing, about the importance of both hubris and humility in the writing process, respecting your readers, trusting your characters, and being honest with your stories. Also, they talk traffic in Hyderabad India and capturing the essence and paradox of Mumbai for Damyanti's novel THE BLUE BAR, released January 2023. Check it out!  

Excited to be back on the air again! This show was awesome with Steven James and Jennifer James! Steven has something new to share that we believe will finally move Bigfoot research forward. Steven James has studied unexplained cryptid reports since 1997. His interest in the field originates from his own involvement in an encounter outside Lewiston, California in 1996. In the past, he actively researched the Gifford Pinchot National Forest, and was part of the team that first identified and studied the Skookum Meadow region. More recently, Mr. James has relocated to Texas, where he has been examining claims and evidence since 2015, with a critical eye towards documentation and scientific based reasoning and methodology. In 2016 he started the Lonestar Apes Project, which ran until 2019. He presented at Footstock 2019 on audio analysis and collection methodology. In 2022 he spoke at the Mid American Symposium on the relation of sightings and watersheds in central and west Texas, and in 2023 he and Logan Craft presented 2 years of findings and announced they were expanding their research into the application of ecoacoustics. In 2019, Steven, his wife Jennifer, and Logan Craft founded The Cryptid Connection, a limited series podcast that focused on a diverse collection researchers and enthusiasts. He spends several days in the field on a monthly basis, year round. Currently, he is applying the emerging science of ecoacoustics to further scientific data that will lead to better understanding of a region's biodiversity and species population. Mr. James is a successful Technology Consultant for Texas government and law enforcement since 2004. He is married to his wife and Co-Host, Jennifer James.

While real programmers pursue artificial intelligence, one sci-fi creator explores what happens if robotic lifeforms find religious belief.

Steven James, host of The Story Blender, is a critically acclaimed author of eighteen novels and numerous nonfiction books that have sold more than 1 million copies. His books have won or been shortlisted for dozens of national and international awards. In addition, his stories and articles have appeared in more than eighty different publications, including the New York Times. He is also a popular keynote speaker and professional storyteller with a master's degree in storytelling.  Bethany Jett  is an author, as well as a literary agent and a book marketing expert. She co-founded Serious Writer, Inc. and recently completed an MFA in Communication. When she's not writing or speaking at events nationwide, she reads suspense novels, manages a busy household with three boys and consults on the business of writing.  Kaleo Griffith was raised in the Hawaiian Islands and has been been performing since the age of 15. Griffith graduated cum laude from Franklin Pierce University with a B.A. in Theatre, holds an M.F.A. in Acting from Rutgers University, and is a graduate of The American Academy of Dramatic Arts. He has also lived, and trained classically in the United Kingdom through Roger Williams University. Recently Kaleo has been nominated for his second Audie for Tools of Titans written by Tim Ferriss. Griffith's voice work encompasses many TV/ Radio commercial campaigns and over 250 audiobooks. Griffith won an Audie for Lincoln In The Bardo (multicast) and has been honored by The Library Journal, and AudioFile Magazine with six "Earphone" Awards. He is the narrator for the audiobook of Steven James' newest novel, BROKER OF LIES. 

Steven James is the bestselling author of 18 novels, many of which have won more than a dozen awards, and include books from The Bowers Files Series, The Gevin Banks Experience, The Blue Trilogy (YA), and his newest, The Travis Brock Series.On today's 127th episode of The Thriller Zone, I'm happy to welcome someone for whom I have great respect, as Steven is able to write in multiple genres, both fiction and non-fiction, as well as educational books about the craft of writing.BROKER OF LIES is... "a taut, page-turning thriller...tense, twisty, with and an edge-of-your-seat ending." -Robert Dugoni, New York Times bestselling author of The Silent Sisters.The man who knows all our secrets has a secret of his own.When Travis Brock, a high-level Pentagon redactor with an eidetic memory, finds a clue to solving the tragic arson that took his wife from him, he risks everything to find the truth―and chances losing himself in the process. With a terror attack looming on the horizon and a pair of assassins on his tail, Brock drops off the grid and joins forces with a disavowed Homeland Security operative. Together they race to stop the attack before Brock is neutralized by the people he trusts the most. From critically acclaimed, bestselling novelist Steven James comes a smart, wire-tight, and emotionally resonant thriller that asks just how far across the line we might go to see justice carried out.Today, we discuss writing, the writing community, living in Tennessee, the importance of first and second and third drafts, in order to get the story the very best you can. Take it from a guy who has a Master's Degree in Storytelling...this guys knows how to spin a yarn.Learn more at: StevenJames.net and follow Steven on Twitter @readstevenjamesAs always, we love the fact that you love thriller fiction, and follow us. If you haven't subscribed to our YT Channel yet, please do so at: YouTube.com/TheThrillerZone, and be sure to follow us on Twitter @TheThrillerZone and stay in touch at: TheThrillerZone.com Authorbytes, the author website builder, is offering Thriller Zone listeners a Special Deal. Go to Authorbytes.com and use the Code: ThrillerZone and Get 3-Months FREE when you sign up for a one-year contract. It's just that easy!

On this episode, Derek sits with Westen and Steven James, Wayne Twombley, Lincoln Ginsberg and Jon Southwood of the Celtic Folk Band, Wylde Nept.  We discuss their origins, some highlights in their discography, the joys of playing Celtic music live, the famed COVID Livestream Concert and so much more.  This is an incredibly fun interview.Website: https://www.wyldenept.com/Facebook: https://www.facebook.com/WyldeNeptYouTube: https://www.youtube.com/channel/UCvzcsvb9ZVZnTNfFP55kgygTwitter: https://twitter.com/wyldenept

Today, I have the pleasure of interviewing Steven James. We'll be talking about his multifaceted storytelling framework, and his book The Art of the Tale. Steven James is the bestselling, critically acclaimed author of eighteen novels that have won or been shortlisted for more than a dozen national and international awards. His thrillers have been praised by Suspense Magazine, Booklist, and the New York Journal of Books and received starred reviews from both Library Journal and Publishers Weekly, who called his work “thought-provoking” and “riveting.” He has also written two award-winning books on the craft of writing, Story Trumps Structure and Troubleshooting Your Novel. When he's not writing, he teaches storytelling at events around the globe and hosts the weekly podcast, The Story Blender. You can find him on his website or follow him on Facebook, Twitter, and Instagram.   In this episode Steven James and I discuss: The importance of what is, not what appears to be. Giving readers what they don't know they want. How plot isn't about events, but about the collision of desires.   Plus, his #1 tip for writers. For more info and show notes: diymfa.com/452

Candace had the wonderful opportunity to sit down with one of the industry's most distinguished real estate professionals and our new President and CEO of Berkshire Hathaway HomeServices' New York Properties, Steven James. We were thrilled to welcome Steven to our BHHS family in April of 2022, and I am excited to chat with him today about his new role, including his goals for our New York City office.

As a writer, how do you define Story? What value do you place on context? Get ready to learn a few aspects of story you may not be familiar with our host, Linda Goldfarb, and her industry expert, the critically acclaimed, best-selling author Steven James.Steven has served as a contributing editor to Writer's Digest Magazine and is the author of the groundbreaking nonfiction books Story Trumps Structure and Troubleshooting Your Novel. When he's not working on his next book, Steven teaches Novel Writing Intensive retreats across the country with New York Times bestselling author Robert Dugoni and hosts the weekly podcast The Story Blender, on which he has interviewed more than two hundred of the top storytellers and writers in the world.In this episode, Linda and Steven discuss the writing cube, pivot, and payoff. Steven provides a clear insight into the aspects of believability, escalation, causality, twists, and surprises along the way.LINKSSteven JamesPreview downloads for The Art of the Tale - freeSteven James BooksThe Fiction Intensive Writing ConferenceThe Art of the Tale bookVisit Your Best Writing Life website.Join our Facebook group, Your Best Writing LifeAbout your host - Linda GoldfarbSponsored by Access More!

The author of numerous bestseller thrillers, Steven James, joins Patrick this week to talk about storytelling. Steven's latest book, The Art of the Tale: Engage Your Audience, Elevate Your Organization, and Share Your Message Through Storytelling. Steven James is a national bestselling novelist whose award-winning, pulse-pounding thrillers continue to gain wide critical acclaim and a growing fan base. His latest novel, SYNAPSE, a near-future thriller, was a finalist at the International Book Awards in the Science Fiction category. Suspense Magazine, who named Steven's book EVERY WICKED MAN one of their “Best Books of 2018,” says that he “sets the new standard in suspense writing.” Publishers Weekly calls him a “master storyteller at the peak of his game,” and RT Book Reviews promises that “the nail-biting suspense will rivet you.” Steven deftly weaves intense stories of psychological suspense with deep philosophical insights. As critically-acclaimed novelist Ann Tatlock put it, “Steven James gives us a captivating look at the fine line between good and evil in the human heart.” Learn more about Steven and his work at StevenJames.net

Malynda continues her conversation with Tylert Merritt. Tyler is the founder of The Tyler Merritt Project, and author of "I TAKE MY COFFEE BLACK: REFLECTIONS ON TUPAC, MUSICAL THEATER, FAITH AND BEING BLACK IN AMERICA." Throughout his career, Tyler has gained recognition through notable acting projects, including Netflix Outer Banks, NBC's Ordinary Joe, and Marvel's Falcon and The Winter Soldier, and serving as the face of the worldwide teaching curriculum The Gospel Project for Kids. Most recently, Tyler Merritt made headlines with his 2018 viral video "Before You Call The Cops," which has been viewed by over 100 million people worldwide and appeared on Jimmy Kimmel, MSNBC, and the New York Times. As a 6'2'' dreadlocked Black man living in America, where racial injustices continue to plague our society, Tyler has emerged as a steadfast activist in the face of racism. Follow Malynda on Instagram & Twitter: @malyndahale Follow #WeNeedToTalk on Instagram: @weneedtotalkthepodcast Theme song written and produced by Steven James

Storytelling is much more than writing. In fact, for most of human history, storytelling has come through the spoken word. How can we get back those oral storytelling roots in modern communication? In The Art [...] The post The Art of the Tale: A Conversation with Steven James appeared first on Life Is Story.

Season 7 of #WeNeedToTalk Kicks off with a 2 part conversation with Nashville-based actor, activist & cancer survivor, Tyler Merritt. Tyler is the founder of The Tyler Merritt Project, and author of "I TAKE MY COFFEE BLACK: REFLECTIONS ON TUPAC, MUSICAL THEATER, FAITH AND BEING BLACK IN AMERICA." Throughout his career, Tyler has gained recognition through notable acting projects, including  Netflix Outer Banks, NBC's Ordinary Joe, and Marvel's Falcon and The Winter Soldier, and serving as the face of the worldwide teaching curriculum The Gospel Project for Kids. Most recently, Tyler Merritt made headlines with his 2018 viral video "Before You Call The Cops," which has been viewed by over 100 million people worldwide and appeared on Jimmy Kimmel, MSNBC, and the New York Times. As a 6'2'' dreadlocked Black man living in America, where racial injustices continue to plague our society, Tyler has emerged as a steadfast activist in the face of racism.   Follow Malynda on Instagram & Twitter: @malyndahale   Follow #WeNeedToTalk on Instagram: @weneedtotalkthepodcast   Theme song written and produced by Steven James

Steven James, author of 18 novels and THE ART OF THE TALE, in addition to countless other books, magazine articles and more joined me to discuss how he has witnessed the publishing industry since the 90s when he began publishing.If you loved this show, you'll love joining my newsletter.And if the sound of the official coffee of THE RELUCTANT BOOK MARKETER was as enticing to you as it was to me, order now! Do it. Order now. We're talking ultra-premium coffee here, folks. Get it now!

Our guest is Phil Cooke, longtime Hollywood producer, prolific speaker, host of the Phil Cooke Podcast, and author of several books, including his latest book, Ideas on a Deadline. We discuss leading creatives, why deadlines drive focus, the myths of being an ideas person, how to build creativity, and more. Plus, check out the August Top Ten Leadership List. Make sure to visit http://h3leadership.com to access the list and all the show notes. Thanks again to our partners for this episode: Convoy of Hope—the trusted partner for delivering food and relief by responding to disasters all around the world. Donate at http://convoyofhope.org/donate. Right now, Convoy is helping war victims in Ukraine, providing basic needs like food, hygiene supplies, medical supplies, blankets, bedding, clothing and more—all through partnering with local churches. To donate, visit http://convoyofhope.org/donate and support their incredible work. And, Harper Leadership – check out the new book The Art of the Tale, authored by expert storytellers Steven James and Tom Morrisey, at http://artofthetalebook.com. This book will unleash the power of storytelling to transform your presentations, whether in a boardroom, classroom, or auditorium. It's time to tell your story more effectively and The Art of the Tale will help you. Available at all major book retailers on August 30. Go to http://artofthetalebook.com to learn more and purchase.

Steven James is an expert peace culture & human flourishing psychologist with experience in conflict mediation, facilitation, and restorative justice, as well as transformational growth for individuals and communities. In this podcast you will learn: - What a peace driven culture is - How to create loyalty and employee fulfillment in your business - How to increase productivity and profitability - How policies and procedures dehumanize people - The biggest changes business owners are facing Connect with Steven here: Website: www.humanity-consulting.org LinkedIn Personal: https://www.linkedin.com/in/steven-p-james/ LinkedIn Business: https://www.linkedin.com/company/humanity-consulting-llc/ YouTube: https://www.youtube.com/channel/UC-_BkDUcIaFoFrGE5fDvZww Facebook: https://www.facebook.com/HumanityConsulting/ Instagram: https://www.instagram.com/humanityconsulting/ Twitter: https://twitter.com/HumanityConsult