How do you get a star to read your script? You get their agent to send it to them. Everyone has told me that sending emails would be horrible for my image - and I'd look like an amateur. For me, that was great news! An amateur is someone who pursues an activity for pleasure rather than for money. The word "amateur" comes from the French word for "lover," indicating a person who loves doing something for its own sake. I recently read Cynthia Erivo's book, Simply More: A Book for Anyone Who Has Been Told They’re Too Much. That's me! I always do "too much!"

    I don't mean to date myself, but I was an early adopter of email. In the 1980s, while in college, there was a bulletin board system that enabled my classmates, especially those of us taking programming classes, to communicate. In the late 80s, I used Prodigy and CompuServe, and then the one I still have today, AOL. Don't laugh! Keith and I have had our shared email of sandikeith@aol.com for over 30 years! I'm a loyal person; been married to the same guy for over 50 years, still have my two best friends from before my teens. As long as something "works," I stick with it.

Sure, we get about a thousand emails a month, including one from my high school civics teacher after I send him a monthly update of my writing.  Yes, I treasure those who helped make me who I am today, and I have a long memory! Like I said, I'm loyal to those who are kind.

I was originally going to title this blog - email is dead because for many, this has gone the way of fax machines and landlines - but I was wrong when I sent out 30 experimental emails to agents. Two things happened: I got instant responses from agents! Yes, one was within a day, sending me release forms, and another was a phone call - a few hours after I sent the email! Both plan on sending my project to their A-list talent. It makes sense; a star would expect their agent to send them scripts to read. Sure, the proper procedure is to first get a producer, then investors and development funds - and then pay a star to read your script - but think about it - many stars have their own production companies and they NEED great scripts; scripts that are written by a writer who is eager! A writer who is "too much!"

Nobody can tell me that email doesn't work, or that my enthusiastic emails are "unprofessional" for a writer. I was able to build a multi-million-dollar tech company that today operates in dozens of countries - via email. While building my company, I didn't take on any debt. I had a 15,000+ email list from my years as a consultant. I used it first to attract attendees to my workshops so I could stop traveling over 200,000 miles a year and stay home to program. 

 When we started installing the systems, I needed to stop all travel and workshops to support those systems 24/7. I used that email list to sell my training guides and books, and keep us out of debt. Eventually, I needed employees, hosting and expensive certification. I used my email list to attract investors. It was one of those emails that alerted one of my earliest investors that I should consider merging with a bigger company - and we worked out all the details for the next few years -  everything happened via email! 

    

When I started down this path to becoming a professional screenwriter, Keith and I wrote software to handle emails and queries to producers, agents, and managers, SmilingPitch. We are still perfecting the software, and I'm the only user. Sure, we might be building another tech company, but in the meantime, we have someone lined up to take over the company if we both get hit by a bus. For now, my hubby and I are handling all the programming, testing, and modifications. Why? Because it works and it is a blast!

    

When will SmilingPitch be ready? You'll know when you get an email! We're still testing it and sending more emails. Be sure to visit my website, click the Free Stuff Link, and enter your email address. You'll also get my free e-book, Writing is Life!

I've named March Marketing March Madness. I'm learning how to market my books. I've spent the past few years writing and writing - and now I have lots of books, but now it is time to get the word out. My strategy is simple; I've picked 3 books, and for each, I'm doing a different plan and my budget? Less than $300 for all 3 books!

1.  Blood Moon Wolf – This is my latest book release and the first in my Cherokee heroes series. I'm going "wide," posting trailers, and focusing on my Amazon Author page. My A+ content (formerly Enhanced Brand Content) and Editorial Material were approved and uploaded by Amazon today. I also published this book everywhere - from Apple to Nook. No cost yet, but I might try a few Amazon promos.

1. Wilma Wallaby Series – I'm a Platinum member of Written Word Media, which sends out hundreds of thousands of emails. I'm running stacked "promos" and pricing the first in the series at "free." One went out a few days ago and tripled my sales for the month - and my big 3 promo goes out on March 10th - for 4 - only $189.

1. Kira and Henry Series – Targeted Social Media – writer’s groups, because it was a semifinalist in the Kindle book review, and I have book #4 being released in March. I'm building a mailing list by offering free downloads on my SandraJerome.com website. I've already made friends with a new producer who downloaded a free example of my script pitching tools. I'm looking at Reedy Discovery too.

What works? Stay tuned, and I'll give you the results - yup, via emailed newsletter!

I Married a Beast

There's a moment in Disney's Beauty and the Beast that always makes me catch my breath. It's not the ballroom dance or even the transformation scene. It's earlier, quieter - when the Beast, nervous and awkward, throws open the doors to his library and watches Belle's face light up with wonder.

"It's wonderful!" she breathes, spinning among the floor-to-ceiling shelves.

"It's yours," he says simply.

In that moment, the Beast doesn't offer Belle jewels or gowns or empty flattery. He offers her what matters most to her - a room full of stories, ideas, and imagination. He sees who she really is. And in seeing her, he reveals himself. Two bookish souls, finding each other among the pages.

This is where their real love story begins, not with physical attraction or instant chemistry, but with shared passions and the slow recognition of kindred spirits. I had a moment like that soon after meeting my husband. I was dating the training manager at Farrell's Ice Cream Parlour, and Keith was engaged. We decided to go to the beach one day after work, and he noticed my old beach towel. I joked about it - I come from a family that gets every last drop out of a bottle of catsup. The next day, there was a new beach towel on the driver's seat of my car. This was during the days when you didn't have to lock your car, of course. 

Beauty and the Beast has endured across centuries and countless versions because its core truth remains relevant: real love requires looking beyond the surface to see someone's true character. Belle doesn't fall for the Beast's appearance - she falls for his kindness, his growth, his vulnerability, and yes, his library. She sees the person beneath the curse. The beast would have given her a new beach towel.

I kid my husband, Keith, that we're Beauty and the Beast - though I should clarify, he's actually quite handsome, and I've been known more for brains than beauty. But he can turn into a bit of a beast when he's hungry (hangry is real, folks) or when he encounters difficult people. More importantly, like the Beast with Belle, he's fiercely protective of those he loves. He guards our granddaughters and me like he's sitting on that proverbial fence, watching for any threat, ready to defend. As he says, "You want me on that fence!"

Like the Beast offering Belle his library, Keith and I have built our own collection of shared passions after fifty years of marriage. DVDs fill our shelves. We have close to 2,000 books in our Kindle Library that we own and subscribe to Kindle Unlimited. We understand each other's protective instincts, our quirks, our hunger-induced mood swings. We've learned to see past the "beastly" moments to the person underneath - and to let ourselves be fully seen in return.

In our current world, where we swipe left or right based on a photo, where first impressions are formed in seconds from social media profiles, and where we're constantly judged by superficial metrics, this message feels more important than ever. We live in a society obsessed with surface-level perfection, yet starving for genuine connection. The Beast's story reminds us that transformation happens through patience, understanding, and truly seeing one another - not despite our flaws, but through accepting our whole, complex selves.

And like Belle and her Beast, I didn't fall in love with Keith immediately. Our story is more like Ashley and Melanie in Gone with the Wind - though that comparison might raise some eyebrows - they were cousins! Stay with me here. In Margaret Mitchell's novel, Ashley reflects on how he and Melanie are suited to each other because they share the same background, values, and understanding of the world. They speak the same language, he says - much to Scarlett's fury, as she could never understand that compatibility built on shared foundations could be deeper than passionate physical attraction. She's beautiful and surrounded by suitors. Why couldn't she have Ashley, too? She didn't discover until after Melanie died that he wasn't right for her. Melanie was Ashley's one true love.

Keith and I discovered we were cut from the same cloth, like Ashley and Melanie. Our backgrounds were similar. Our fathers were born in Colorado, a few hundred miles apart. We both had devout Catholic mothers and fathers who converted to the religion - an unusual parallel that shaped both our childhoods in similar ways. We both love to read, losing ourselves in stories the way Belle treasured every book in that library. We both love movies, sharing that joy of storytelling in another form. We even both played hockey - he played ice hockey, I played field hockey. These weren't superficial similarities. They were the threads of shared experience and values that wove us together. We're the same age, know the same songs, and can speak in "movie speak" as we call it. We constantly use lines from movies, books, and songs to communicate. We're passionate about the Olympics and Oscars.

But our love wasn't love at first sight. It was the slow building of trust and understanding. It was finding someone who spoke my language. We met in February, started dating in July, got engaged in August and married the following February. 

That's the real magic of Beauty and the Beast. It's not about the spell breaking or the prince returning to his handsome form. It's about two people learning to be vulnerable enough to show their true selves and brave enough to love what they find. It is about loving the person who makes you feel comfortable.

And speaking of Disney love stories we cherish - I'm starting a new YouTube series - Writing is Life, and I'll use my storytelling skills to write the next chapter in some of Disney Studios' masterpieces. If you been wanting to become an author, or learn screenwriting from a different angle - or even learn more about AI and animation, visit https://www.youtube.com/@sandijerome and please subscribe! I'm not trying to make money on YouTube; I'm trying to promote my books and screenwriting career.

What's your favorite moment in Beauty and the Beast? Have you found your own love story in an unexpected place? Share in the comments below.

 

Catch Me If You Can

I recently received a 1-star review for one of my books. All the rest are 4s or 5s. I know exactly who did this. Yes, I have high-tech skills, and yes, I'm a computer hacker, but I'm confused about why this person did this. For me, doing this is stealing. It is the low of lows. Their revenge isn't a victory; it’s a revelation.

I once worked for a man who was suspicious of everyone, and he suspected employees were stealing from him. I was provided a free new car to drive as part of my job, but I had to pay for the gas. One day, I was underneath a huge printer, changing the ribbon, and Mr. Boss came into the parts department and asked the manager, "Is Sandi paying for her gas?" I came out from under the printer and took Mr. Boss aside. "Look," I told him quietly, "if I want to steal from you, I will steal the whole gas truck, not just a few gallons a week. With my computer skills, you'd never find it."

Yes, I am a hacker. I started using computers in the 70s, before most hackers' PARENTS were born! Computer science was my minor in college, and accounting was my major. As a CPA, we know where the money is buried. The IRS provides a 10% reward for turning in cheaters, but if I had ever done that, I'd be writing this from my yacht instead of my Florida home. But CPAs are not like lawyers; if the IRS asks us for information, there is no client/CPA confidence. We have to spill the beans. In fact, we have the responsibility to report fraud. Tax professionals, including Certified Public Accountants (CPAs) and tax attorneys, are obligated to report potential instances of tax evasion or fraud by their clients. He once argued with me that 3 years had passed on a questionable deduction - but in cases of fraud, the statute of limitations for assessment of tax never expires. The IRS can go back as many years as it wants to investigate and assess taxes, penalties, and interest. I let my boss know that, and now he had two things to worry about, but theft was his main focus.

Mr. Boss began weekly sessions in which I would tell him various ways I could steal from him. The gas truck theft would be easy, I explained to him. I'm the one who orders and approves the fuel tanks to be filled. I'd issue the purchase order, but then have the gas delivered to one of the parents on a soccer team I coached, who owns a gas station. I'd split it with the guy. A pretty easy way to steal $28,000-$40,000 every few weeks. But I explained to my extremely wealthy boss that there are three types of people. The first type is totally dishonest. They will steal at any opportunity. It is their true nature. But fortunately, most of these people are working the streets, running cons, or sitting in prison. The second group is totally honest. Born honest and raised honest. When they find a twenty-dollar bill, they pick it up and ask around, "Did anyone drop this?" I like to think I am in this group. It is the way my parents raised me. Plus, why would I ever risk everything I have: my CPA license, my home, my family, my freedom –  just to steal? Money has never been a motivator for me. It is only a measure of how much I'm appreciated.

The third group? That's where it gets interesting. They are honest until they're not. Something happens that makes them feel entitled. They feel underpaid or unappreciated. They rationalize. "That person owes me." That's when the trouble starts. I gave a workshop at the annual AICPA conference on employee theft, titled "Catch Me If You Can." I think it is the only CPA workshop where you can't buy a DVD of my presentation. The board was worried employees would use it to steal from their employers! I had so many ideas!

I came up with the title after reading the 1980 book Catch Me If You Can by Frank Abagnale Jr. and journalist Stan Redding. That book inspired the 2002 Spielberg film starring Leonardo DiCaprio and Tom Hanks. The book describes how Abagnale donned a pilot's uniform and copiloted a Pan Am jet, masqueraded as the supervising resident of a hospital, practiced law without a license, passed himself off as a college sociology professor, and cashed over $2.5 million in forged checks – and all before he was twenty-one. It's written in the first person and reads almost like a thriller. Fast-paced and entertaining, Abagnale recounts his various cons and escapes across multiple countries.

Here's where it gets interesting: the book is acknowledged to have been partly fictionalized, and the factual basis for the events has been challenged. Abagnale himself acknowledged issues with accuracy. He stated, "I was interviewed by the co-writer only about four times. I believe he did a great job telling the story, but he also overdramatized and exaggerated parts of it. That was his style and what the editor wanted." More damning, in 2020, journalist Alan C. Logan conducted an in-depth investigation and found documents that contradicted many of Abagnale's claims. Logan's investigation revealed that Abagnale was in Great Meadow Prison in New York between the ages of 17 and 20 (1965-1968). That was the exact time frame during which Abagnale claimed to have committed his most significant scams. So ironically, the greatest con Frank Abagnale may have pulled was convincing the world his cons were real in the first place. Today, he'd probably be a computer hacker.

I'd like to finish with a thought. Is hacking stealing?

I honed my hacking skills when I owned a technology company and received a ransomware demand. I circumvented the hacker and didn't pay the ransom. I have only used my powers for good. Remember, I was raised to be good. But finding out about this 1-star review? I'm not sure I'm at peace with this person. It feels intentional. A type of revenge against me. My best friend wants me to write a "best revenge book" because I have told her so many ways to get a pound of flesh, but maybe I should let it go.

Hey, does anyone want to release an updated "Catch Me If You Can"? The best ideas in Frank's book didn't even make it to the screen, and I have hundreds more. But today, I'm not writing screenplays - I'm creating my own animated series, so I'm going to move on, let it go –  and not let this dark person get inside my head. If you want to see one of my videos that helped me decide to "let it go," please watch my YouTube video - https://youtu.be/LPUMiMM4JE0.

Happy New Year, and more about my web series next month when you catch up with me when you can!

Joyful and Fearless

 

Can I be Fearless?

In 1992, 20th Century Fox handed director Barry Levinson a blank check. Robin Williams was at the height of his popularity, fresh off hits like "Good Morning, Vietnam," "Dead Poets Society," and the voice of the Genie in "Aladdin." The supporting cast included Joan Cusack, Michael Gambon, and Robin Wright. The film had stars, songs, a massive budget, and every ingredient that should have guaranteed a hit. 

Yet when "Toys" was released in December 1992, it opened in sixth place and limped away with just over $23 million at the box office, barely half its budget. Barry Levinson was even nominated for a Razzie Award for Worst Director. How could such a well-resourced project fail so spectacularly?

The answer lies in a perfect storm of missteps that began before cameras even rolled. Barry Levinson and his then-wife, Valerie Curtin, developed the screenplay in 1979, inspired by a newspaper article about Soviet naval intelligence studying American submarine toy models. The script itself became a victim of its own ambition. Despite twelve years of preparation, the screenplay seemed pulled in two directions. The producers kept describing it as "whimsical," while studios kept interpreting it as a dark comedy. 

Even Robin Williams seemed oddly restrained, playing it warm and cuddly when the film desperately needed his manic energy. The result was a film that critics found visually stunning, but the story was confused, and audiences simply couldn't connect with what they were watching. 

But there was one part of the movie I enjoyed: the song "Let Joy and Innocence Prevail," sung by Grace Jones.

I tell you of a girl, her husband was a soldier
Gone to war in some strange country far away
No word had come to her but the rumors of great battles fought
And dying in their thousands and the world full of fear
As the day would turn to evening she would light a pure white candle
And place it in a window bright from where it could be seen
As she placed it in the window softly without thinking
She said let this burning candle be a beacon
Let joy and innocence prevail
Let joy and innocence prevail
Believe that luck will never fail
Let joy and innocence prevail
And one night, asleep
She dreamed she saw her husband fall
In a great white cavalry charge
And waking in tears
She saw the candle burning in the window
She still had hope
And through the window
A man in the distance
But as he came closer
She saw he was a stranger
The stranger said, "I bring a message from a General
A captain has been wounded, his life hangs by a thread
He calls out your name and he wishes you to come to him
But the journey is a hard road and you may be afraid"
And she laughed and said, "No road could be too hard for I am fearless
A captain and a husband, I have gained this bright new day"
And she said with all her heart, she would fly to be beside him
And her love would heal his wounds, restore him to her
Let joy and innocence prevail
Let joy and innocence prevail
Believe that luck will never fail
Let joy and innocence prevail
Let joy and innocence prevail
Let joy and innocence prevail
Believe that luck will never fail
Let joy and innocence prevail
Let joy and innocence prevail!

"Toys" remains a fascinating cautionary tale about what happens when unlimited resources meet unclear vision. But there's another lesson in this film, one that Grace Jones captured perfectly in the film's haunting song. The film's central message, that we must choose joy and innocence over warfare and destruction, resonates today.

A decade ago, my own husband faced his own battle: triple bypass surgery, then a stroke two years later. The doctors wanted him to stay in the hospital for two weeks of physical therapy, but he wanted to come home. He complained about the noise that prevented him from sleeping, the lack of regular meals, and they hadn't started any physical therapy. I was fearless enough to sign those release and liability forms and take him home, even though he couldn't walk and I could barely get him out of the car. 

I became his personal physical therapist, watching YouTube videos and working with him all day. I put my programming projects on hold. In two days, he no longer needed the walker. In two weeks, he was walking to the mailbox. In two months, he was back at Disney, walking three miles a day. Like the woman in Grace Jones's song who said, "No road could be too hard for I am fearless," I learned that fearlessness and joy are not opposites; they are partners. You can be brave enough to defy the doctors, bold enough to bet on love and healing, while still holding tight to the joy and innocence that make life worth fighting for. "Toys" failed because it lost sight of that balance. My husband had lost the part of his brain that gave him balance and the doctors said he'd probably never walk again without a walker, but we've had a decade of travel and spending days at Disney. The walker still sits in the corner of the closet.

I'm writing the 4th book in my Kira and Henry series, War Games, while my husband is fighting his health battles again. When I write YA novels and screenplays, I use the Save the Cat! structure, and unlike Toys, I always know what my story is about and how it should be told. I become fearless and disciplined, but keep the joy of writing, because in life, in love, in the moments that truly matter, we cannot afford to lose it. It is time for me to be fearless again. And it is time to let joy and innocence prevail. 

Note: My April 2021 blog about my fearless granddaughter, Suby, tells the story of my great, great-grandmother on the Cook side of the family, who was truly fearless and went behind enemy lines to bring her captured husband home during the Civil War. 

The above picture is of my granddaughter, Tulaasi, on Mount Cook in the Ben Ohau Range of New Zealand's South Island. She and my oldest granddaughter, Chandra, fearlessly worked for years in Australia, New Zealand, and throughout Europe. My granddaughter, Vrinda, who is required to wear snake-proof boots to work as a field biologist in the Florida wilderness, is fearless. More about them in future blogs

I have been writing this monthly blog for over 6 years, every month - and I have so many stories I've yet to tell!

Happy Holidays to all of you!

Six Degrees of Kevin Bacon

Photo by Gage Skidmore - Wikimedia

 

"You're right," my husband said last night. That was music to my ears. We've been married for over 50 years and have never had a fight, but we've had lots of disagreements. Last week, it was about the crash of the MD-11 and the death of three UPS pilots. When we saw the newscast, I said it was odd—the MD-11 only has two pilots, why did three die? My husband argued, "No, the MD-11 is the DC-10, and there are three pilots; one is the navigator." I wished my favorite producer, Melissa, was around to back me up, but I had seen on Instagram that she's busy producing a TV series. She would have agreed with me because we both knew, while working on the script Hijacked based on the book by Dave Hirschman called Hijacked: The Heroes of Flight 705 about the FedEx crash of a DC-10, that the DC-10 was modified to enable airlines to save money and remove the third pilot/navigator seat and put those instruments on the front control panels for two pilots. But Keith was right too—three pilots did die. Why three?

You might wonder about our many disagreements over the years. Was it about money like most couples? No, we both made good money in our careers. He worked as a technical writer in the nuclear industry and eventually in training for the airlines before going into computer programming. I once was offered buckets of money if I'd move to Hawaii and be the CFO for a group of dealerships, before designing accounting software and starting a tech company. The move to Hawaii was important to this pilot discussion because Keith and I both knew that the airlines consider Hawaii a foreign country and pay international bonus rates to the crew on flights there.

No, our fights were about Kevin Bacon. We'd play a form of this game on our numerous car trips that we took to ferry our four grandchildren from wherever they were living to our house to spend time with them. Eventually, we moved to Florida and bought two houses next to each other to avoid those trips, but in the meantime, we'd play our version of the game. Each of us would say an actor's name at the same time. For example, he'd say, "Sandra Bullock," and I'd say "Pierce Bronsan." Then we'd think about it—they were never in a movie together. Finally, one of us would say I can do this in three steps. Sort of like "Name that Tune." If the other one couldn't do it in less, we'd do our analysis like this: Pierce starred alongside Meryl Streep in the musical film Mamma Mia! (2008) and its sequel. Sandra Bullock starred alongside Brad Pitt in The Lost City (2022). Meryl Streep starred alongside Brad Pitt in the movie Babel (2006). This creates a chain: Brosnan (Mamma Mia!) to Meryl Streep (Babel) to Brad Pitt (The Lost City) to Bullock. Three steps.

Of course, there was always a disagreement; was that Brad in Babel? But it never escalated into a fight because we're both erudite. We're fact finders. While a technical writer in the nuclear industry, his instructions had to pass NRC guidelines, plant policy, and the manufacturer's manuals. He couldn't say things like, "go fix it my way because that is how we've always done it that way." He had to provide references. I was the same way in the tech world and accounting world—it had to be right and I had to prove it. You can't take $50 out of someone's paycheck because "we've always done that." You have to know the law and follow it. I was a CPA, so I couldn't say that. I knew better.

Getting back to the "You're right," my husband did more research, and because the UPS flight was from Kentucky to Honolulu, they needed an international crew relief pilot for that flight to keep the other two pilots from being "illegal" and flying too long. Although the MD-11 only required two pilots, it needed to be "crewed" with three. To their family and those on the ground, I am sorry for your loss.

If Melissa, who has the option for the book and is producing this movie, reads this, I'm sure she will figure this out after the first two paragraphs. Not sure she knew the Honolulu/international part, and she might have thought the third pilot was probably riding the jump seat, like in our script. Over the past year, while producing this movie, I've seen her on Instagram looking at DC-10 cockpits, but most have been modified into MD-11s to reduce the need for 3 pilots and cut expenses. She would have asked like me, "Why three pilots?" The two of us became experts on the D10/MD11 planes. We had done our research.

Since writing this script, I've done a lot of research (with my hubby's help) on how movies get made. Like our software company, movies need investors. It reduces the risk for profit-focused studios and networks. Investors enable independent producers to make movies. But software investors are normally sold on two things: the product and the market. It was easier for us to get over a dozen investors who helped us grow our company before it was sold.

But a movie? They need a third thing—a star. As my screenwriting guru, Cynthia Whitcomb, taught me, "Stars earn their money." A project needs a star to get an investor to jump. Who has all the stars? Agents. But SAG-AFTRA estimates there are over 170,000 working actors. There are over 19,000 talent agents. That's where the problem lies; and where my background in software development is coming in handy.

Just like I saw inefficiencies in accounting software years ago and built a solution, I saw the chaos in the entertainment world a few years ago before I got a manager. Writers that I'd meet at conferences were sending hundreds of individual query emails to producers, agents, and managers who try to answer phone calls and arrange meetings. Agents and managers I met were struggling to track which scripts their clients have submitted, where and who is reading what. Producers today are drowning in thousands of unsolicited emails, unable to find that one promising script they saw months ago AND find an agent with an actor to read it and "attach." The disconnect is costing everyone time, money, and opportunities.

So I created SmilingPitch over 2 years ago, a platform that connects screenwriters, agents, managers, and producers in one streamlined system. It's like having a CRM for the entertainment industry. Writers can manage all their scripts, build professional queries with our Query Builder tool, track submissions, and send targeted pitches. Agents and managers can finally see all their clients' scripts in one place and search by genre when a producer asks for something specific. And producers? They can create wish lists, indicate they're open for queries, and review submissions without the email avalanche—just click Pass, Pass, Pass, Request.

The product solves a real problem, the market is there with over 170,000+ talent, 19,000+ agents, 150,000+ screenwriters and an undetermined number of people who call themselves managers and producers. The platform creates value for everyone involved. That's the trifecta investors look for. But I'm not looking to start another tech company, I'm looking for a star. I have over 20 projects I need to get made. I wonder who Kevin Bacon's agent is? He'd be perfect for six of my scripts, especially First Man, a comedy about our first male 'first lady." See more about that at https://www.sandrajerome.com/ - tell Kevin that I'll rewrite from a former major league ballplayer to a rock star - or a movie star - if he wants. I'm flexible!

Next month, I'll discuss the success I've had so far with SmilingPitch, and yes, it is working; agents are getting their clients to read my scripts. They make me sign lots of forms first, but it is working. I realize this isn't the way things have always been done, but like AI, it is working, and it might be the future.

Stay tuned!

Note: Kevin Bacon at Comic Con photo by Gage Skidmore, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons

Writing a Book Series

 

Why Readers (and Writers) Are All In

When I began writing the Kira and Henry series, I didn't fully grasp the scope of what I was getting into. Now, as I finish the third book (Dangerous Treaty) and the second (Lost in the Enchanted Forest) gains momentum with readers, I understand something fundamental about modern storytelling: we're living in the age of the binge.

COVID-19 had a huge impact on how audiences consume stories. The pandemic didn't create binge culture, but it accelerated and normalized it. Viewers discovered they could watch entire seasons in weekends. Readers found comfort in knowing that more books were waiting for them when they finished one. This shift fundamentally changed audience expectations.

Today's readers approach books differently from previous generations. They're not just investing time in a single story; they're auditioning an entire fictional universe. Before committing, many readers want to know: Is there more after the last page?

Why Series Work: The Reader's Perspective

Readers who connect with your characters don't want to say goodbye after 100 or 300 pages. Series allow them to develop deeper relationships with fictional people who feel like friends. With my Kira and Henry, readers watch these characters grow, face new challenges, and evolve across multiple adventures. That investment becomes more valuable with each installment.

I'm a huge Stone Barrington (Stuart Woods) fan, and Lindsay Boxer is my alter ego. I've read every Women's Murder Club book by James Patterson. In an era of overwhelming content choices, series reduce the exhausting task of finding something new to read. If readers loved book one, they know exactly what they're getting with book two. This trust is powerful. The familiar becomes comforting rather than boring. 

There's genuine excitement in waiting for the next installment. Readers discuss theories, predict outcomes, and stay engaged with your fictional world between books. This ongoing relationship keeps your work alive in their minds far longer than standalone novels. Following Stuart Woods' death in 2022, the Stone Barrington series has been continued by other authors, such as Brett Battles.

Series allow for richer, more complex fictional worlds that standalone books simply cannot achieve. With my multiple series, Kira and Henry, Wilma Wallaby, and Carmen and Cypher I try to add layers to the universe, making it feel more real and lived-in. I also try to send a message to teens; "it will get better." If you've read my previous blogs, I didn't have an easy time with a bully of a big brother and I share that in my Wilma character. I thought I could fly and that I was fearless - but like Kira, I was afraid of failure. How about Carmen? Like me, she's learning to live with AI - embracing it and understanding how it can enrich our lives.

Why Series Work: The Writer's Perspective

For me, writing a series creates forward motion for my characters. As I enter my 3rd act of life, I can live it all over again through my characters. With each book, my characters' voices become clearer, world-building details accumulate naturally, and the story develops a life beyond initial planning. I know Kira and Henry so intimately now that their reactions to situations come automatically.

Each new book markets the previous ones. Readers who discover book three often purchase the earlier installments. Series create superfans who eagerly await each release, leave reviews, recommend books to friends, and engage with your author platform. These dedicated readers become your marketing team. Multiple books provide multiple revenue streams and more opportunities for discovery. Retailers often promote series by discounting early books, introducing new readers to your work.

The Modern Challenge: Visual Consistency

Working with my cover designer, Nilesh, I'm facing an interesting challenge that previous generations of series writers never encountered: how to age characters visually across books using AI tools.

Nilesh researched consistent character generation using AI; a crucial consideration for anyone thinking about animation or visual adaptations, including book covers. The technology relies on creating comprehensive data sets featuring characters in various poses, expressions, and environments. This custom-trained model then generates consistent imagery across different contexts.

As Nilesh explained, standard online AI platforms struggle with the frame-by-frame consistency professional animation requires. Training custom models is the solution, allowing us to generate varied content while maintaining character recognition across the series.

Why does this matter? Modern readers expect visual consistency. Book covers should show character growth while maintaining recognizable features. If Kira looks completely different on each cover, it breaks the series identity.  I plan to move into animation, so this is fantastic that he is thinking ahead. I'm all in!

Benefits of Series for Authors

Writing a series allows you to test the market with book one before making a full commitment. If readers respond enthusiastically, you continue. If not, you can pivot without having written an entire series that doesn't resonate. I read every review that I get, take note of any suggestions and learn before I start the next book. I've received a 1-star review before, but it had no comments. I think it is a special type of person that gives a book a 1-star. I didn't think I had enemies because I avoid conflict at all cost (think of the Gorgonites in Small Soldiers),  but this person wasn't even a "verified purchase." Their 1-star was intentional and might have been done by one of the hundreds of "influencers" who want my money to write a review.

Anything other than a 5-star devastates me, but this 4-star review was priceless.

 "I went in expecting polite castles and maybe a sword fight or two. What I got was a princess accused of treason, hiking into a death zone with her best friend, while pretending she doesn’t have claws. Literally. We meet trolls debating recipes for human, a mountain with mood issues, and a bridge that tries to kill you before you can cross it. But the weirdest part? Those things aren’t even the big problem. The big problem is Kira—because if her people see what’s under her skin, they’ll fear her more than anything she’s fighting. This isn’t a fairy tale. It’s a slow-burn panic attack in a crown, and I loved every nerve-wracking page." 

I  wondered why I didn't get 5 stars, but this review made my day!

Yes, series authors develop more engaged reader communities. These readers leave more reviews (fodder for our egos), participate in discussions, and feel personally invested in your success because they want more books. In addition, writing multiple books in the same universe hones your craft. You learn from each installment, improving pacing, dialogue, and plotting with every book. You don't need the entire series plotted before starting. Many successful series evolved organically as authors discovered what worked and what readers wanted more of.

Is a Series Right for You?

So, do readers want assurance of more content after the last page before investing their time? Absolutely! But it's not just about quantity—it's about the promise of a satisfying journey. Readers want to know that their emotional investment will be respected, that character arcs will develop meaningfully, and that the fictional world will continue to surprise and engage them.

A series signals that you, as the author, are committed to these characters and this world. You're not offering a one-night stand; you're proposing a long-term relationship. Writing a series isn't easier than standalone novels—if anything, it's more challenging because consistency matters enormously. But in today's binge-conditioned market, series offer unique advantages for both readers and writers.

Whether it's Kira and Henry navigating their next adventure, Wilma Wallaby solving mysteries, or Carmen and Cypher using AI to understand this world, series storytelling matches how modern audiences want to consume fiction: deeply, repeatedly, and with the comfort of knowing there's always another chapter and story waiting. The journey doesn't end with one book anymore. Today's readers want to know there's a whole spectrum of stories stretching into the future. And honestly? As a writer and reader (I have had an Amazon library since 1998 and own 2087 titles), I always want more! Onward!

AI Isn't Coming for Writers—It's Already Here

As writers, we often find ourselves drowning in the administrative side of our craft. While our hearts yearn to lose ourselves in character development and plot twists, we're frequently pulled into the tedious but necessary tasks that surround storytelling: crafting synopses, designing back cover copy, creating pitch decks and flyers, and generating loglines. This is where AI has become not my replacement, but my most efficient research assistant and administrative partner.

For example, I recently finished writing a book. When I decided to open each of the 38 chapters of Machiavelli Princess with a quote from The Prince, I initially faced what felt like an insurmountable task. Without AI assistance, this would have required re-reading The Prince entirely, taking detailed notes, organizing the quotes by matching thematic content to each chapter, cross-referencing to avoid repetition, and formatting final selections. This process would have consumed weeks, delaying the book's completion.

With Claude AI, I simply described my chapters and received approximately 60 carefully selected Machiavelli quotes, each paired with suggested chapter placements based on thematic resonance—all delivered in under 60 seconds. Those weeks that I didn't spend hunting for quotes? I spent them rewriting my book, developing my protagonist's internal conflict, and refining dialogue that actually moves the story forward.

The Screenplay Coverage Revolution

Perhaps nowhere is AI more valuable than in screenplay development. I've learned to never send out a script without coverage, and while I won't admit how much I've spent on professional coverage over the years, Claude delivers the same three-tier evaluation system the industry uses for the cost of a $20 monthly subscription.

When I submit a script to Claude for coverage, I receive comprehensive feedback that might progress like this:

Pass - Initial feedback highlighting fundamental structural issues: "The protagonist's motivation becomes unclear in Act II, and the antagonist lacks sufficient stakes to drive conflict."

Consider - After revisions: "Character motivations are now clear, but pacing drags in the second act. The climax needs more emotional weight to match the setup."

Recommend - Final assessment: "Strong character arcs with clear motivation drive compelling conflict. Pacing maintains tension throughout. Ready for professional consideration."

What makes this process invaluable isn't just the speed—receiving feedback in minutes instead of weeks or months—it's the consistency. Claude doesn't have "off days" or personal biases about genre preferences. Each revision cycle provides specific, actionable feedback that moves the script forward. I've spent entire days in this revision loop, making targeted improvements until I achieve that coveted "Recommend" status.

Reclaiming Creative Time Through Administrative Efficiency

The most transformative aspect of working with AI lies in handling the business side of writing—tasks that are essential but drain creative energy:

Synopses and Treatments - Claude transforms a 120-page screenplay into a compelling two-page synopsis while maintaining essential story beats and character arcs, completing in minutes what once required 2-3 hours of careful distillation.

Back Cover Copy - Creating that perfect hook that makes browsers become buyers—traditionally a 1-2 hour wrestling match with marketing copy—now happens in seconds, with multiple variations to test.

Loglines by the Dozen - Need 20 different approaches to your story's one-sentence pitch? Claude delivers them instantly: the thriller approach, the character study version, the high-concept hook.

Query Letters and Pitch Materials - For each lead on Inktip and ISA, I craft personalized messages highlighting how my script meets their specific posting needs, generating multiple styles and approaches for that make-or-break first impression.

This approach has industry validation. Bestselling author J.D. Barker (James Patterson's co-writer) openly discusses using Claude for blurbs and back covers in his Heart of Show Business interview with Alexia Melocchi. As a New York Times bestselling author who publicly embraces AI for these tasks, Barker signals a fundamental shift in our industry. He's not using AI because he lacks talent; he's using it because he recognizes the difference between creative storytelling and marketing copy.

The Critical Line: When AI Goes Wrong

Recently, I was asked to review a book where the telltale signs of AI-generated writing became unmistakable within a few paragraphs. I gave it a diplomatic 5-star review, noting only that "It almost seemed AI-generated at times due to the thickness and style of the prose." But then came a brutal 1-star review on Amazon from another reader that exposed the real problems:

"The story itself is not bad... For me with the abrupt shifts in scenes with terse explanations, it felt rather disjointed... starting on page 139, Jack and Breanna make their most significant find. On page 144 they make the exact same find again with the exact same wording. Also, on page 182, a board is found that identifies the ship. By page 201, it's an engraved gold cross that identifies the ship."

The reviewer continued: "I don't think the author understands how fighting/movement happens underwater (he said that a cannonball 'whistled by' when thrown)... There are constant unnecessary line breaks. Page 104 has only 'play it' on one line and continues with 'safe. And when it went bad...' on the next."

This wasn't AI assisting a writer; this was AI replacing a writer. The result? Contradictory plot points, impossible physics, repetitive scenes, and formatting chaos that suggested direct copy-paste from AI output without human editing or understanding. Every time that I use Claude, he reminds me that "Claude can make mistakes..."

Here's how you can spot AI-written creative content:

• Repetitive phrasing and sentence structure - AI falls into predictable patterns with similar sentence lengths and constructions
• Overly dense, "thick" prose - Every sentence packed with descriptive language, creating unnatural weightiness
• Inconsistent details - Contradicting earlier story elements without human oversight
• Unnatural dialogue and action lines - AI struggles with natural conversation flow and physical movement
• Formatting chaos - Bizarre line breaks, and AI—likes to—use "em-dashes" in almost—every paragraph.

The Dividing Line

The contrast between these approaches couldn't be clearer, and it reveals the crucial distinction that will separate surviving writers from those swept away by the technological tide: AI should amplify your humanity, not replace it.

AI excels at: Research, formatting, administrative tasks, marketing copy, multiple draft versions, and time-consuming organizational work.

Humans must handle: Character development, plot creation, dialogue, emotional truth, thematic depth, and the critical editorial eye that ensures consistency and believability.

The accounting is staggering. As a CPA, I appreciate the numbers! Traditional administrative tasks consume 20-30 hours per project. With AI assistance, I complete the same work in 2-3 hours, reclaiming 18-25 hours for actual writing. For a writer completing 3-4 projects per year, that's 54-100 additional hours returned to pure creative work, more than two full work weeks of storytelling time. At my pace of 10 pages per day, that's another TV pilot, feature screenplay or book annually.

This transition mirrors the shift when screenwriting software emerged. Some writers wanted to keep using yellow legal pads and paying typists. Others recognized how much faster they could write and produce properly formatted scripts using Final Draft. The choice then, as now, determined who thrived and who fell behind.

The Human Heart Behind Every Story

AI is not just coming for writers; it's already here, replacing those who don't understand the difference between assistance and substitution. Every day, more AI-generated novels flood Amazon's marketplace, churned out by entrepreneurs who see writing as a get-rich-quick scheme rather than a craft requiring human insight and experience.

But the writers who will thrive in this landscape are those who understand that technology is a tool, not a replacement. We're not competing with AI, we're partnering with it to become more efficient, more productive, and ultimately more creative versions of ourselves.

The choice is ours: We can spend our precious creative energy hunting for Machiavelli quotes and formatting synopses, or we can let AI handle those tasks while we dive deep into the work that only humans can do: telling stories that matter, creating characters that feel real, and crafting narratives that touch the soul.

The tools are powerful, but the storyteller must remain human. Use AI to clear your schedule for writing, not to do the writing itself. Because at the end of the day, readers don't connect with algorithms; they connect with the human heart that beats behind every authentic story.

Your readers will know the difference. And so will your reviewers.

What's next? My manager wants me to create short trailers - reels, and I'm learning how to use those AI tools.  Wish me luck - I'll need it. But thankfully, Claude is researching and comparing the features of each tool and then writing me a tutorial with step-by-step instructions. Yes, AI is here - and I'm ready! Here's my first attempts.

Churchill's Mum  https://youtu.be/SLRkNX9GZGU?si=q8mWLMM3kpvw90x5
Carmen and Cypher https://youtu.be/bCcWGtOPLpE?si=Qiik2jvwiWrZCXSQ