Building Character-Driven Action Adventure Stories with Lawrence Connolly
Building Character-Driven Action Adventure Stories with Lawrence Connolly – How To Write the Future podcast, epsiode 179
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“Written from the point of view of one character and then another scene from the another character. Now, we would never shift point of view within a scene, but each scene, each segment of the book is from a different point of view.” – Lawrence Connolly
In this How To Write the Future episode, “Building Character-Driven Action Adventure Stories with Lawrence Connolly,” podcast host Beth Barany interviews author Lawrence Connolly, where they explore his upcoming exciting projects, including a feature film with his brother and his new novel. They also dive into using deep POV to create characters that are emotionally compelling to draw a reader into the author’s world and share advice for writers working on film adaptations.
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About the How To Write the Future podcast
The How To Write The Future podcast is for science fiction and fantasy writers who want to write positive futures and successfully bring those stories out into the marketplace. Hosted by Beth Barany, science fiction novelist and creativity coach for writers. We cover tips for fiction writers.This podcast is for readers too if you’re at all curious about the future of humanity.
This podcast is for you if you have questions like:
– How do I create a believable world for my science fiction story?
– How do I figure out what’s not working if my story feels flat?
– How do I make my story more interesting and alive?
This podcast is for readers, too, if you’re at all curious about the future of humanity.
ABOUT LAWRENCE C. CONNOLLY
Lawrence C. Connolly’s books include the collections This Way to Egress, whose titular tale of psychological horror was adapted for the Mick Garris film Nightmare Cinema; and the Bram-Stoker-nominated Voices, which features Connolly’s best stories from The Magazine of Fantasy & Science Fiction, Twilight Zone, Year’s Best Horror, and other top magazines and anthologies of science fiction, fantasy, and horror. A third collection, Visions, was praised by Publishers Weekly for featuring an eclectic mix of “entertaining and satisfying” SF. His novels include the eco-thrillers Veins, Vipers, and Vortex. World Fantasy Award winner T. E. D. Klein called Veins “a crime thriller as intense and fast-moving as a Tarantino movie.” This fall, Caezik Science Fiction will release his new novel Minute-Men: Execute & Run, a globetrotting adventure that combines elements of military science fiction, gaming, and medical suspense in a thrilling reinvention of the superhero genre. He is collaborating with brother Christopher Connolly and Academy Award-winning producer Jonathan Sanger to develop a feature film based on Execute & Run. He is also the writer of Mystery Theatre, a podcast produced by Prime Stage Theatre, who premiered his adaptation of Frankenstein in 2022. His newset commission, a play based on the life and works of Edgar Allan Poe, opens in November 2025 at Pittsburgh’s New Hazelett Theatre.
CHRISTOPER CONNOLLY BIO
As a content creator, Christopher developed the Intellectual Property for Minute-Men, an action franchise about commandos with short-lived superpowers. Currently being developed as a feature film, the concept is also the basis for Minute-Men: Execute & Run, a novel written by his brother Lawrence C. Connolly and scheduled for release this fall from Arc Manor Publishing. More at MinuteMenNovel.com. He also began a designing career in the New York fashion industry in the 1980s, and is currently owner/president of Phoenix Design & Print and Thirty Three Design Solutions, companies that have produced work for Fortune 500 companies as well as the world’s top designers and performers, among them: Jeffrey Deitch of Deitch Gallery (NYC), Sotheby’s Auction House, Martha Stewart Living, Edun Fashion / Bono and Ali Hewson, and the Yoko Ono Coffins Exhibit. Also
Website: https://lawrencecconnolly.com/
Facebook: https://www.facebook.com/search/top/?q=lawrence c connolly
Instagram: https://www.instagram.com/lawrence_c_connolly/
Transcript for episode 179 – Building Character-Driven Action Adventure Stories with Lawrence Connolly
Introduction and Host Background
BETH BARANY: Hi everyone. Welcome to How to Write the Future Podcast. I am your host, Beth Barany, science fiction and fantasy author. Also a creativity coach, editor, and teacher and speaker, and obviously podcaster and filmmaker. I do a lot of creative things. And I host this podcast because I really believe that when we envision what is possible, we help make it so. I love science fiction and fantasy. I write it, and I love interviewing authors who are working in that space because we can learn so much from each other’s visions.
[00:35] Guest Introduction: Lawrence Connolly
So I am very pleased today to welcome in special guest, Lawrence Connolly. I just wanna say welcome Lawrence. So glad that you’re here.
LAWRENCE CONNOLLY: Great to be here, Beth. Thanks for having me.
BETH BARANY: And I was hoping that you could share with everyone a little bit about you, what you do, what you’re up to, and then we’re gonna dive into some fun questions.
LAWRENCE CONNOLLY: All right.
[00:54] Lawrence’s Writing Journey
Well, I got started on this back in the eighties and I started writing for the science fiction magazines and it was an exciting time.
Now, I remember back then that a lot of the established writers were bemoaning the fact that the market was not as good as it used to be, but it was pretty darn good. There were a lot of magazines, a lot of science fiction magazines, and, a young guy starting out could send to the magazines and, if, writing a halfway decent story, get a reply back from some of the editors and those replies that I received from my first batch of stories, they were kinda like my MFA program and that’s how I learned how to write. Within a year I was writing for the magazines. I was writing for Amazing Stories. Rod Sterling Twilight Zone magazine came out and I began writing for them. My stories began getting picked up by Years’s Best Horror and for various Martin Harry Greenberg anthologies.
And then I began getting calls from Hollywood to to option some of those stories. So it was, it was an exciting time. That’s how I got started. And I, I had so much fun doing it. I I’m still doing it today, and not complaining at all. It’s a great life.
BETH BARANY: That’s so wonderful. And you seem to specialize in thriller action, adventure, horror, sci-fi, cop, that kind of thing, action adventure.
Would you say that’s about the half of it?
LAWRENCE CONNOLLY: I say that’s pretty good. You know, I have done some fairly quiet, creepy, weird stories too. I do like those. As a producer, in LA was just telling me recently, what is hot now, the things that are going now, that are being optioned now really are the action adventures whereas a novel, a novel is going to be, is going to need to be translated into another language, but an action adventure film that pretty much plays anywhere.
And so, writing action and adventure novels and stories is a good way to make sure, or to, you may try to make sure that, somebody calls up or, gets in touch with my agent and says, we would like to option this story, this novel. And, so yes, lately I have been doing things that I would consider action and adventure.
And, the new novel that’s coming out certainly falls into that category.
[03:03] Exploring Lawrence’s New Novel
BETH BARANY: And actually, we’re here today to highlight your new novel, which, by the time this airs, will probably already be out. So for those watching on YouTube, you’ll be able to see in Lawrence’s background part of the cover.
I was really enjoying that cover. Can you tell us a little bit about this novel that’s coming, and hopefully we’ll be out by the time we go live and yeah, give us the short, pitch on that.
LAWRENCE CONNOLLY: Yeah, sure. It’s titled Minute Men: Execute and Run, and it is about a team of wounded warriors who are from, who were maimed in the most dangerous places on earth.
They were there serving, they were trying to help, but they were maimed in the process and they became forgotten. But they then get a second chance through a biotech firm that offers to rehabilitate them, but inadvertently imbues them with these incredible powers. Now, here’s where we step away from the comic book world and try to get into the science fiction world because in a comic book, Superman can fly and he can, use his x-ray vision and he can do all manner of things and never get tired.
But the human body, if it ever had superpower, it would burn out really quick. And that’s what happens with these guys. That’s why it’s called the Minute Men, because they can’t sustain their powers for much longer than a minute. And that’s the crux of the story, because these people from different walks of life and different parts of the world, they’ve gotta set aside their differences and learn to work together, because when they’re behind enemy lines on a mission and one of them uses his power and then goes down, that person is counting on the others to not only carry on with the mission, but to get him out of there. And I say him, although the Minute Men team is men and women. And so regardless of whether it’s one of the women who are down or one of the men who are down, the others have got to carry through with the mission and protect the ones who are down and get everyone out of Dodge alive.
BETH BARANY: I love the team element that you have here, as well as you’ve got such a great setup for, the team having to work together and then all the problems that can happen because their power’s only a minute long. What a great premise. I love that.
[05:23] Character Development and Deep POV
As you were working on this process or even, it sounds like you’ve got this cutting edge science and technology, and then how do you make sure that the your characters are compelling, emotionally compelling, that the readers can really attach to them and not get lost in the whizzbang tech?
LAWRENCE CONNOLLY: Thank you for that question. I I should go back to the origin of this project, which involves my brother Christopher Connolly and, and Chris is an artist and he was working on this idea for a screenplay or a novel. He’s a writer, but he is not a professional writer, so he communicates through images mostly and, I should probably just preface this by saying there’s one thing that writers often say. There’s often advice that writers give to younger writers, and that is if anybody comes up to you with an idea, says, I’ve got an idea for a story, all you have to do is write it. That’s not really a deal because Beth, we’ve got tons of ideas.
We’ve got more ideas than we’re ever going to write in our lifetime. But my brother was different when he came to me and said he had an idea, he didn’t just have an idea, he had a portfolio of sketches, of character sketches and character profiles, and he laid them all out on the table for me. And there was a pile for, uh, for, for a character named Daniel Hayes and a pile for a character named Christian Chase.
And I looked at all of this and these characters were so fully realized that I said, I want in, I wanna write a story about these guys. And so, your question really does anticipate or does point me to what got me into this project in the beginning, and it wasn’t so much the idea of the one minute superpowers, it was these people won me over these characters that he spread out on the table. And so I took this and I began working on it, and because I always had those piles of sketches in my mind, I determined very early on that this had to be an ensemble piece where we would have a scene written from the point of view of one character and then another scene from the another character.
Now, we would never shift point of view within a scene, but each scene, each segment of the book is from a different point of view, not first person, but very close third person. And so that’s how I like to get the characters in shape to appeal to the reader. I like to put the reader very close to the characters, let the reader hear the character’s voice because these sections are in slightly different voicings, and these sections deal with different points of view, and they see things from different angles and they know different things. So there might be a scientist who really knows the mechanism that has transformed these guys. But there is another person who’s not a scientist, she’s just a young woman. She’s she’s right out of high school and what she knows is what she can see.
And so we get to see the story through her eyes in a very different way. Short answer, make them appealing by putting the reader close.
BETH BARANY: I love that so much. And for anyone listening to the podcast for a while will know I have resources for this. I have two resources I just wanna point out to folks.
I have a whole Plan Your Novel Like A Pro book where I teach people how do you develop your characters, how do you really develop a plot, out of them. And I’m very character centric, like, so I love hearing how you evolved this story starting with your brother’s amazing art.
And then the second resource I wanna offer folks is, is how do you do close third person point of view? And I have an offering that one of the few books I published that isn’t mine called Mastering Deep Point of View, that gives you the tactical way on how you could actually craft wise do that in your fiction.
And I just have to say, I love that you are doing that because I know as a reader, I love that. I love getting deep into the heart of my characters as a reader and also as a writer, but where I get to know what they think and how they feel, their perspective, their take on things, their morality, their, what they really value.
So it sounds like you’re really giving us a story from each of, and it’s four main characters right in your story?
LAWRENCE CONNOLLY: That’s right. And it’s a great opportunity to do something and I, I’m excited about it because, as some of the characters are channeling or processing some of the things that are happening to them, some believe certain things about their powers and how their powers function.
And, so the scientist in the group has a different view of how things work than the person who’s never, you know, studied science. And this gives me the opportunity to really present the science fictional aspects of the story through a number of different points of view, and let the reader kind of experience it and see it and draw their own conclusions as to how things are actually working, because, sometimes a scientist doesn’t fully understand as well as the person who is going through the superhero transformation. So, the very close third person narrations are what drive this story and really, I think, make the science fiction aspect easy to understand without any long lectures, but we just get the chance to see it in process and in function and see how people think about it.
BETH BARANY: You alluded a little bit to this, but the perspective that the team will be having on what they’re going through, it might not always be easy, and there might be some ethics behind it, the right and the wrong of it in your story world.
[10:51] Ethical Dilemmas in Fiction
So I was wondering if you could share with us how are you weaving real world ethical dilemmas into this, into the world that you’ve created here for the minute story.
LAWRENCE CONNOLLY: Yeah, they’re, they each have had experience in some of the most dangerous places on Earth. And so we see this novel as taking place in the day after tomorrow.
It’s not our world, but it is a world that has inherited some of the consequences that we are dealing with today. And so we’re talking about writing the future. This is a story that takes some of the things that we know are going on in the world, imagines what they will be like a little bit farther in the future, and then has these characters contending with them.
And so how do I take the things that are happening today and use them to drive the story and Minute Men: Execute and Run? I just extrapolate to the very near future. Try to imagine how things will be then, and then try to portray them as realistically as possible.
BETH BARANY: What are some of the ethical dilemmas that your characters have to deal with that maybe reflect today’s world? When is it okay as soldiers have the mandate to, they can kill, right?
It’s ethically mandated murder essentially, to put a blunt name on it. But, arena of war, there’s another term for that. It’s accepted, it’s acceptable, and and so I don’t know how you’re dealing with that in your story,
LAWRENCE CONNOLLY: This character right here, the character right behind me, the woman who is dominating the picture behind me, that’s Dr. Christian Chase and she is a doctor. She is served with Doctors without Borders.
She does not like using her power on people. And as you can see, her power is quite dramatic, quite violent. And, she also has a problem with using it because you can’t do this. And of course, this is a a graphic rendering of what she does. She has this ability of bioelectric pulse and she can’t use it without hurting herself.
She doesn’t wanna hurt other people, but she also doesn’t wanna hurt herself. And every time she uses it, she scars, she disfigures her face, as a result of this. She will often push back against the other men of the team, the other people in the team and say, I don’t want to do that, I don’t want to use my power for violence. And they might say to her, well, you just don’t want to hurt yourself, that’s all that’s about.
No, it’s not about that. It’s not about me. I will hurt myself to save you guys, but I will not use my power against people. But because things are never that cut and dry, things are never that easy. She finds herself in situations where she does crossover.
You talked about the fog of war, the violence of war. And when she is in the thick of it and her people are in danger and the people coming at them are very dangerous and very bad, she will, she will actually crossover and, and invest in it fully. And then afterwards she will pay that price. She will think about what she has done.
And there is another character who is very young. She’s never been in war. She was a a kickboxer in high school and she knows her power as it was before she was transformed. She doesn’t fully understand it now, and there is one scene where one of the soldiers, one of the, a former Marine, goes in to get her after she has dealt with a situation and realizes she has just killed the people who were coming at her. Now, she thinks she’s disabled them because that’s what she’s used to doing as a kickboxer. But he, and he decides not to tell her. I can’t tell her, this will destroy her if I tell her that she, because when she wakes up, because now she’s down, her power is out. She has to be carried out of the war zone. She re she will maybe not perform the next time so he decides to keep that from her.
So these are dilemmas that we face as people. We are not, we don’t want to be violent. We think of ourselves as, we may think of ourselves as nonviolent, but there are situations that might push us over and we might find ourselves doing things we don’t expect us to do.
And afterward we have to live with this. And this is as much a story about where the characters are coming from before they acquire their powers as it is to where the characters go after they begin using their powers. I hope that was a little more on point.
BETH BARANY: Absolutely. And I really love that. It’s very attractive to have fiction that explores this because we all wonder, and you know, I’ve read my fair share of comics and I am a fan of the superhero stories, you know, well, what would I do if I had that power?
What would I do if I had to live with the consequence of my power that was so destructive? And I think that’s an exploration that fiction is such a great place to explore that in so I’m really excited for your project and I could see how attractive that is and makes me wanna go into that safe place of reading a book that allows me to wrangle with these dilemmas and, oh, would I behave like this person or would I behave like that person?
Yeah, fiction is so great for that.
[16:00] Advice for Writers on Film Adaptation
I wanna ask you if you, now moving toward advice for genre fiction writers who who are interested in collaborating with film producers to adapt their work for the screen? I’m very interested in this topic personally, as someone who has done this. I’ve written, I’ve taken my own series, Henrietta The Dragon Slayer.
I wrote a TV pilot. We took a part of that and we filmed it. Then I’ve gone on to write some more. I wanna film it. I wanna make a TV show. So the whole adaptation, working with filmmakers, working with the film industry, and also things are changing dramatically in that industry. I’ve been paying deep attention working with filmmakers.
Anyway, your take on that for writers who are like, oh, what if my book came to screen? How do I make that happen? What advice do you have to writers who are curious about coming into this adaptation space for film?
LAWRENCE CONNOLLY: Yes. Good question. The old adage that you’ve heard that, that I’m sure a lot of our listeners have heard, is that, Hollywood don’t call us, we’ll call you.
And so my advice and the only advice that I can give is the advice that comes from personal experience. And when I started writing, I was just writing very visually and writing in a way that is not like a movie because writing, because fiction is not like a movie. In fiction you might have a scene opens up and it’s close on a pair of boots that are walking in and the boots go up the stairs and then you pull back and you see the people.
You can’t do that in fiction. You don’t do close on boots walking up the stairs. You’re in the character’s head. So there’s that big difference between film and fiction in that we are all about the experience of the person in the story. Whereas in film, it’s really about the experience of the viewer, the person who is watching the movie and watching people go through these things.
But that aside, using the third person limited usually, which is the way I like to write my stories. I try to have the story come alive as visually as possible, and this is just something I did because I liked doing it that way. It seemed right to me and fortuitously it is why I began getting calls early on from people who wanted to produce my work.
I did four stories for amazing stories, and then I did a number for Twilight Zone and about two or three years into the writing life I got a call for one of the stories that was in Twilight Zone. A producer in Hollywood wanted to produce it as a short festival film. And then the next week I get a call from the former editor of Amazing Stories who has teamed up with a production company and they want to option one of my stories that was in amazing stories.
And what happens then is that you sign a deal and it’s nice to get an agent at this point because the agent will really help you work through this. But what you want to do is you want to sign an option agreement. And the option agreement is nothing more than an agreement that for a sum of money that the writer receives, the producer gets to say, I represent this property. And then as a writer, I kind of just sit back, work on the next story, and let the producer call me back and say, Hey, we got some money for a film. or maybe never call back because the thing goes into development limbo. But, once you do begin working with someone, again, I can only speak from personal experience. I’ve had very, very good, good fortune to work with some people that I admire. I worked with Mick Garris, the producer of Showtime’s Masters of Horror. I worked with, uh, David Slade, the Emmy Award winning director of Black Mirror Bander Snatch, and these people, these producers, Mick as the, producer of Nightmare Cinema and David as the director of my segment, because Nightmare Cinema is an anthology film, and so David and I co-wrote one of the segments of that film. These individuals just seem to share my vision. They seem to know where I’m coming from, and so there were never any real speed bumps along the way. Although, I will tell you this and I’ll share this with our listeners so that they will not make this mistake. I didn’t make it, fortunately. I almost did. We were on set for Nightmare Cinema. And I was watching the monitor and I was standing beside Mick and David is in the other room directing and directing the scene.
And I said to Mick, I said, that’s not right. That’s, but I’m not gonna say anything. Okay. I’m gonna trust the vision of the director. And Mick says, you know, that’s a real good idea, so I just keep my mouth. And it turned out it was right. I mean, everything that we put into our stories doesn’t translate to the screen, but sometimes the things that do end up on the screen are just right for the screen. And you have to trust the process. So you have to work with people that you believe in.
And right now I’m working with a couple of guys. I’m working with Jonathan Sanger, who is the Academy Award winning producer. He produced the Elephant Man and Vanilla Sky and Flight of the Navigator, some really terrific films and his producing partner M. Jones.
And last year Jonathan and M. Jones had a film out. A Biopic called Cabrini, which was really terrific and a beautiful, beautiful film. These guys have a great, what shall I say? They have a great range and I’m very excited that working with ’em and, and, and working with ’em so far has been a pleasure.
And, uh, so we are hoping that, um, that this film goes through a development and that we will someday, I hope very soon, have an adaptation, a Minuteman: Execute and Run produced by Jonathan Sanger and M. Jones. That’s what I’m hoping for. So I’ve been very fortunate. I haven’t bumped heads with any producers or any, any directors.
Maybe I haven’t had enough experience in it, but, uh, my advice to the writers is trust the process, trust the producers, trust the directors. Get a good agent, get a good option agreement, and then after the film goes into production, get a good contract. Make sure your agent’s watching out for you.
But, uh, but beyond that, trust these guys that you’ve signed on with because they know their craft.
BETH BARANY: And it sounds like also you were very lucky with having people who really got your story and got your vision. And you know, I’ve heard some horror stories of people who got optioned.
A big example is Michael Connolly. He got optioned, it allowed him to step away from his day job of being a a crime reporter and just be a full-time novelist. But then the projects that came out of it weren’t always exactly to his liking. And then he was able to pair up with the team that he works with now who’ve done Bosch and Ballard on Netflix. I’m just a huge fan. That’s all. That’s why I know these things as I’ve been a fan for a very long time. And he said that it became more collaborative. It became more working with people who really understood him and included him in the process, and that was more of a positive experience for him.
So, and I only know it from the indie side because I’m the writer, director, producer, and I have to say that I allowed my team to give me lots and lots of input. If they had a better idea, I took it. If they could solve a problem and that I didn’t have the answer to, I took it because they have experience in film and I’m over here as the writer and the one kind of wrangling the behind the scenes, and then I got to be in the role of director, which was totally new, totally unexpected, learned a lot. Still wanna understand that role much better, but probably would offload that if I could. Just because there’s so much else going on as the other two hats of of writer producer.
[23:39] Writing the Future: Insights and Conclusion
So as we wrap up today, I wanna end with a question that I like to ask my guests because of our podcast name, which is How to Write the Future.
And I was wondering what it means for you, to to write the future.
LAWRENCE CONNOLLY: Yes. To write the future. I think it’s important to keep in mind that that the future that we write about is the present for our characters. You see, the future is not a place to inhabit, a place to be. It’s a place to live through.
You get through this future, you do things in this future. So this is why, Dystopia don’t does not work because, it doesn’t work for me anyhow. Dystopia is characters living in a place that is, um, it, it’s, it’s done in. It it’s over. We are struggling in this terrible world and, and Utopia, is, we are living in a place that we’d like to be but we, you’ve talked about this before, and this is something that, let’s see, Rupert Reed in 2017 coined this term, Thrutopia, right? And Thrutopia is the future that we live through to get to the Utopia or if we mess up to get to the Dystopia. But more fascinating to read an account of characters struggling to make the world better in a world that is imperfect than to read a story about characters who are living in a perfect world, or characters who are living in a doomed world.
The way I see it as writers, it’s our job not only to write the future with a W but to write it with an R to show how we can get there and make it right. And that’s what, I’m hoping that Minute Men, the Minute Men series of books will do because, um, even though our characters have to go through a lot of stuff to get where they’re going, our plan is that when this series runs its course, they will get there. At least I hope so.
BETH BARANY: I hope so too. Oh, that’s wonderful. I love what you said. And we will be dropping some links in the show notes to our previous episodes about Thrutopia. I interviewed at least two writers, who I met through the course I took on Thrutopia and who are working in that space also as creatives.
So, as we finalized today’s episode, I wanna, uh, invite you to let people know where can they find you? Where can they, uh, learn more about Minute Men and get on your list and be notified of this incredible series that’s dropping?
LAWRENCE CONNOLLY: The best place to go is lawrence c connolly.com.
And that’s, Connolly with, C-O-N-N-O-L-L-Y. There’s not a whole lot of different letters in there. You know, there’s no e in there anywhere. So, Lawrence c connolly.com. you can find, uh, just about everything that you need to know about me there. I am also, I’m a novelist short story writer. I also have, I am a playwright. I have a new play opening this November. I did an adaptation of Frankenstein just a couple of years ago. You can read about those on my website. And, um, not to spread myself too thin, but I’m also a musician and there’s a music tab there. You can go there and listen to some of my music.
So, uh, lawrence c connolly.com is probably the best place. And the next place that people might want to go is, um, con, that’s CON as in Connolly, COM as in communication, COM. Con com entertainment.substack.com because, there, my brother and I have the newsletter for the Minute Men book, and it’s got a lot of cool stuff in it.
This is no run of the mill newsletter. There’s a whole bunch of art that my brother created. We’ve got videos, we’ve got some of my music there. We’ve got interviews, we’ve got really cool stuff there. I hope that our listeners will go check it out, and I hope they’ll check out the book when it comes out October 14th.
BETH BARANY: Absolutely, and we’ll be sure to put a book cover on the screen. And I just wanna say, shout out to your substack. I subscribed. I love it. It was so fun looking at the visuals that you have, and you have wonderful engagement quizzes and opportunities to win things, and it is just fabulous. That’s so wonderful.
Well, thank you so much, Lawrence, for being a guest today on how to write the future. I really love what you’re up to. Your enthusiasm is so vibrant. You have so many helpful things to say to writers and our fellow creatives, so thank you so much for being a guest today.
LAWRENCE CONNOLLY: You’re welcome, Beth. It’s been a pleasure and maybe I’ll see you in LA next year.
BETH BARANY: That would be so fun.
LAWRENCE CONNOLLY: Take care.
BETH BARANY: Alright everyone, take care, Lawrence. That’s it for this week, everyone, write long and prosper.
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ABOUT BETH BARANY
Beth Barany teaches science fiction and fantasy novelists how to write, edit, and publish their books as a coach, teacher, consultant, and developmental editor. She’s an award-winning fantasy and science fiction novelist and runs the podcast, “How To Write The Future.”
Learn more about Beth Barany at these sites:
Author site / Coaching site / School of Fiction / Writer’s Fun Zone blog
CONNECT
Contact Beth: https://writersfunzone.com/blog/podcast/#tve-jump-185b4422580
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CREDITS
- EDITED WITH DESCRIPT: https://www.descript.com?lmref=_w1WCA (Refer-a-Friend link)
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- SHOW PRODUCTION BY Beth Barany
- SHOW CO-PRODUCTION + NOTES by Kerry-Ann McDade
c 2025 BETH BARANY
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