Welcome all new folks to the Professional Writing System, Help with Writing whether you use AI or not and the support Channel for WordCrafter.Pro, very shortly adding BookWeaver, and PlotCrafter (squashing bugs) If you are reading this and not here for WordCRafter.Pro that's cool too. We are a community of writers who use AI to help write stories that are meaningful and real (or so we hope). My goal for everyone here is to be productive, successful, and prolific in your writing. No matter how you want to write. We are here to help! So a big welcome for: And apologies for the delay..... @J P @Ebone Holmes @James Ford @Jacob Perry @Abdullah Muhammad @Laguna Oasis @Liora Vale @Kimmy Miller @Haider Chattha Welcome to the Room!!

For the last two days I haven't been able to get Crap out of Gemini.. or rather all I've been getting is crap. 1800-2000+/- words is all I can get at a time, none of it very good and it just QUITS. and happily scampers on. I was getting great results out of Gemini 2.5 flash last week, this week nada. Testing other cheap models but they all seem really slow and off this week. Are we in the midst of a robot revolution and missed it??

Comp Titles: The Author's Most Misused Marketing Tool Comp titles are the most powerful positioning tool an indie author has. They're also the one most authors get completely wrong. A comp title tells a reader, a retailer, and an algorithm: "If you liked that, you'll like this." It's a shortcut that bypasses the need to explain your entire book. Done right, a comp title does more marketing work than a blurb. Done wrong, it makes you invisible at best and actively misleading at worst. The Three Ways Authors Get Comps Wrong Using titles that are too big. "It's like Harry Potter but for adults" is not a comp. It's a wish. Harry Potter is one of the best-selling series in publishing history. Comparing yourself to it doesn't tell a reader where to shelve you. It tells a retailer you don't understand the market. Comps work by setting specific expectations. A title that big sets expectations no debut or mid-list author can meet. Using titles that are too old. Comp titles have a shelf life. Most industry guidance puts it at three to five years for a useful comp. If your target reader discovered your comp title in college and graduated a decade ago, that comp is pointing at a version of the market that no longer exists. Readers change. Genres evolve. A 2012 comp in a 2025 pitch is a red flag. Using titles from the wrong market position. A traditionally published bestseller and an indie series with 40,000 Kindle Unlimited page reads per month are in different market positions even if they share a genre. Comping up too far creates a mismatch between the expectation you set and the experience you deliver. What a Good Comp Does A good comp title answers three questions simultaneously: Who reads this? Where does it live on the shelf? What feeling does it deliver? The best comp pairs are one slightly bigger title for brand recognition and one peer-level title for precise positioning. Something a reader would recognize, and something a reader in that community is actively talking about right now.

What has everyone been up to this week? Post a response below: ***** This is unfortunately yet another one of my long wordy posts If you've kept up with some of the postings of late I've been spending a lot of time with genre's and and the new BookWeaver app. Below is a sample of a Chapter from a BookWeaver book I'm about to publish. This is the first one I have brought in to WordCrafter.Pro to run through the editorial room and finish. It is unfortunately not a favorite story, but the writing is very good. This was a test of multiple things. This was a budget model, Gemini 2.5 Flash, which doesn't write bad prose, but does need a good outline and beats to stay consistent. Enter the story threading engine for this, that does some interesting tings under the hood that I need to add in to the editorial team or a light chapter by chapter pass in the Writer's room. Because the apps are FUNDAMENTALLY different in operation there are a couple jumps to make. There is NO N8N in use here at all. I do not like its outputs and how slow it is. 22K Words in half an hour from a basic premise. I read through the Story Bible and Outline created and did some light edits here and let it roll. I ran the consistency checker on it and dis some more editing a couple regenerations. Any guess's as to the cost to create this? 25K Words, 9 Covers, Editing, and export to epub. Answer is at the bottom of this post. Okay, so I did cheat on this one. Remember I said I took this to WCP for final editing? I do not yet have an accounting of how much I spent there in the editorial room, so that function has been added as well. I spent several hours last night in the editorial room in WCP with this one and cleaned it up a bit more and followed their suggestions for most of the fixes. And also learned something new and interesting I will document in a video later today. In the Editorial skillroom I let Oracle do her cold read and let the editorial team do their first pass analysis. I answered their questions and asked them to "show me their fixes" and reciedved a very long chapter by chapter set of repairs to copy/replace or do by hand. This is supposed to be a mostly automated book right? My response to them after this was this "make the changes above to the actual chapter context chapter by chapter, stop at the end of each chapter so I can save them" And it did just this for the 4 chapters that need major fixes. I saved them to the binder, renamed them properly, moved the old versions to a folder named "old" and read through it.

I spent last night actually writing again to try to finish and publish something from my backlog. Discovered some wonderful minor issues in formatting that will be fixed this weekend so you might also see a new addition to WordCrafter.pro's feature set by Monday And I have a new skill for the pro tier to use directly in Claude, a consistency and continuity checker. This does NOT replace the editorial room's 50 point checklist but was built to test BookWeaver's story threading engine. Every Tom, Dick and Mary is throwing out a new automation engine every couple of days and most of them are producing really pretty crap. Each one i look at teaches me something new. Mostly what NOT to do, that's why Im taking more time with this. I've written over 20 books in the BookWeaver system testing and reiterating and its about ready to roll Full books - Word, PDF, Epub Audio books Basic Editting Kindle Metadata Raw export to take to another tool like WordCrafter.Pro or your other favorite editor My question and what has really held me up is how to charge for this one. Currently there's no config or api keys to setup. You log in, answer a few questions, have the option of editting at each stop or just say go and you can have 100k words in an hour that is pretty good. Still could use polish and editting (because if AI was perfect we'd all be out of work). 50K or less in about a half hour. Pick your title and pen name, get your Kindle Metadata and decide to export or create an audiobook version. So each AI call costs, I currently have it at 3 levels of quality none of which are bad, just different models. Audiobooks are using 3 engines at different voice levels, elevenlabs is the most expensive. Final edits, rework/regenerate and calls to nanobanana for covers and editting covers. Leaving audiobooks out the most expensive book Ive created was $20. This was not the longest, this was the one I liked the most and spent more time editting, regenerating and doing backside coding for found errors. The average cost for the infrastructure overhead right now is $200/month, this will scale as more people use it but this figure is good for about 100 users or so. And the average cost per book is under $10. Would you want to pay $20 or so for 100K word publishable book? How many books a week or month would you want to use this for?