Books Are Usually Better. Usually.
Books are usually better—at least, that’s the pattern Mark keeps coming back to after years of reading first and watching later. But every now and then, a film breaks the rule…
Books are usually better—at least, that’s the pattern Mark keeps coming back to after years of reading first and watching later. But every now and then, a film breaks the rule…
Writers collect craft books the way other people collect unread classics and half-finished notebooks: with tremendous optimism and the vague sense that owning them counts as progress. But a few books earn their place beside the desk because they’re not just inspiring—they’re useful. In the first of this series, Mark looks at why The Story Grid has become one of the writing books he returns to again and again: because when a manuscript goes sideways, this is the book that explains why.
This weekend, Mark is trading the keyboard for lumber, screws, and soil as he builds twenty raised beds in the backyard. There’s a quiet satisfaction in work you can see at the end of the day—and a surprising connection between gardening and writing. Both are acts of optimism: you do the work now, trust the process, and hope something good will grow.
Trends come and go. One month it’s a trope, a cover style, or a subgenre everyone is chasing; six months later, the industry has already sprinted off after the next shiny object like a Labrador with three tennis balls and no self-control. At Stories Rule Press, we’ve made a different choice. We pay attention to the market, but we don’t build our catalogue around trends. We start with the story—and whether it’s the kind of world a reader can disappear into and want to return to years later.
There’s a point in many manuscripts where the story quietly pulls back. The conflict softens, the dialogue becomes safer, and characters make the reasonable choice instead of the revealing one. The result is a manuscript that is technically good—but often forgettable. The moments readers remember are rarely the comfortable ones.
Lately, Tracy and I have been watching The Americans, and it has completely hooked us. Not because of the spy story—although that’s excellent—but because everything about it feels real. The relationships are messy, the choices are complicated, and the 1980s setting feels lived in instead of staged. It’s the kind of show that doesn’t just entertain you for an hour. It lingers afterward and leaves you wondering what you would have done in the same situation.
The first quarter of the year has disappeared in a blur of drafts, edits, releases and looming deadlines—business as usual at Stories Rule Press. Mark is deep into the next Thomas Billings thriller, Tracy is preparing new fiction and nonfiction releases, Taylen is starting an all-new fantasy series, and Cameron has another big-concept science fiction novel on the horizon. Different genres, different voices, same mission: story comes first. Always.
The most common problem I see in manuscripts right now isn’t bad prose or weak dialogue. It’s stories where the protagonist could simply walk away—and nothing meaningful would happen. If your character can shrug and go home, they probably should. So why don’t they?
Some movies adapt a book. A rare few understand it. From Stand By Me to The Bourne Identity, these are five films that prove story always matters more than spectacle, budget, or special effects.
What if the best story you’ll read next isn’t by the author you already know?
That’s the thinking behind a new direction at Stories Rule Press. Instead of focusing only on individual authors, we’re starting to build collections around something bigger: the kinds of stories readers love to fall into.
If you love thrillers, romance, fantasy, suspense—or any story that keeps you reading long past your bedtime—you may be missing books you’d love simply because you haven’t met the other writers behind them yet.
That’s about to change.