K'wan's 'False Idols: A Reluctant King Novel'

Summary

All Of It with Alison Stewart – K’wan’s ‘False Idols: A Reluctant King Novel’

Date: July 10, 2024
Guest: K’wan (author)

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Episode Overview

In this episode of "All Of It," host Alison Stewart talks with celebrated author K’wan about his prolific career in urban fiction and his newest novel, False Idols: A Reluctant King Novel. The conversation explores K’wan’s creative roots, the personal and cultural contexts shaping his storytelling, the evolution and stigmas around street lit, and the power and meaning of writing both as art and as survival.

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Main Discussion Points

1. K’wan’s Creative Upbringing and Path to Writing

• Family background in the arts: K’wan describes growing up with parents who were painter and writer by passion but could not pursue their dreams. He believes creativity is "in the genes" (02:06).

  • Quote: “My mom and dad never got to pursue their dreams to the level that I’m working to do now, so.” (02:16)

• Initial passion for painting: He started as a painter, with everyone expecting that to be his direction (02:28–02:37).

• Writing as therapy: Writing, especially during his mother’s terminal cancer, became a means to process grief and anger.

  • Quote: “I just started writing. I would vent and put my emotions on paper. So that was my way, because I didn’t have anybody to talk to, because there’s nobody who can really understand it unless they’ve been in my shoes. So the writing was therapy for me, this is how I was expressing myself on the pages.” (03:18-04:18)

• Autobiographical elements: Early works, especially Gangsta, loosely reflected people, places, and experiences from his own life (11:09–11:45).

2. The Origin Story of “Gangsta” and K’wan’s Hustle

• Publishing journey: Faced rejections from mainstream publishers who told him there was “no market” for his stories (06:15–07:30).

  • Quote: “A publisher even told me, like, oh my God, you can’t even write a query letter. You’ll never make it as a writer.” (06:15)

• Discovery by Vickie Stringer & Triple Crown Publications: He became the first author signed, and their initial pressing of 10,000 books sold out rapidly (07:32–09:37).

• Grassroots distribution: Sold books directly on the street and even at a crack spot—demonstrating both entrepreneurial spirit and a connection to the community. (09:43–09:57)

  • Quote: “We would sell them on the street. We would hustle outside with the vendors. I even once did a book signing at a crack spot. I didn’t know it was crack spot when I signed up for it. Did they bought books though?” (09:45)

• Selling pitch: Eschewed rehearsed sales; focused on genuine conversations and pitching books to men in prison or living the lives depicted.

  • “I wrote for men who were in prison and would never come home again. And the only time be able to walk the streets is through the pages of my novels.” (10:31)

3. The Power and Impact of Gangsta

• Unique magic: The emotion infused in Gangsta—written at his mother’s deathbed—cannot be intentionally recreated. The book’s personal resonance explains both its popularity and his fight to reclaim the rights years later (11:50–12:33).
  • Quote: “I literally wrote that book on my mother’s deathbed with no expectations for it. It was just me bearing my soul.” (11:50)

4. On False Idols: A Reluctant King Novel

• Reading from the prologue: K’wan delivers a vivid excerpt that sets the tone of brutality and transition within a criminal monarchy (12:49–13:27).

• Series context & setup: The story picks up after the downfall of an old criminal regime, showing contrasts between past and present rulers. New power dynamics are crueler, and young Shadow—who never wanted to be king—is forced into leadership (13:31–15:29).

• Themes: Struggles of inheritance, loss, and forced adulthood—echoing broader themes of family pressure and generational trauma.

  • Quote: “It represents the pressure a lot of young people feel when their parents are trying to live vicariously through them. They are not allowed to live their own lives. They have to be with who their parents want to be.” (15:29)

• Tone: K’wan likens the story structure to Shakespeare or Game of Thrones, rather than typical mafia or gangster tales (16:02).

  • “I didn’t want to do it like a godfather. It’s more like a Game of Thrones, you know? … He never wanted to be a king.” (16:02)

5. Urban Fiction / Street Lit: Label, Stigmas, and Identity

• Origins of ‘urban fiction’ label: Recounts being dubbed “the embodiment of hip hop fiction” by industry people due to his appearance (16:40).

• Discomfort with industry labels: While the industry calls it “urban” or “street” fiction, he considers himself a “crime novelist”—his books are crime stories in urban settings (16:40–17:57).

• Misconceptions and depth: Fears the “urban fiction” label leads to reductive stereotypes, overlooking the poetry, complexity, and social commentary inherent in the genre (18:02–18:36).

  • Quote: “They’re not just, bam, bam, I sell crack, I shoot guns. There’s so much more than that. But if you just see like, this is the urban fiction section, and you automatically think street… Some of them are really, really heartfelt stories of adversity and trial.” (18:02–18:36)

6. “Write to Eat”: The Drive and Purpose

• Personal motto: #WriteToEat is both a tattoo and a philosophy—writing is survival, livelihood, and purpose (18:40–19:06).

  • Quote: “This is how I’m gonna feed myself. This is how I’m gonna feed my family. I’m going to write to eat. Almost like singing for your supper. But I’m writing to eat.” (18:42)

• Writing as necessity: For K’wan, writing is life—if he stopped, “I would die. It’s like a shark. If a shark stops swimming, it’s gonna drown.” (19:11–19:24)

7. Film & TV Ambitions

• Approaches and challenges: Has received offers for movie/TV adaptations, but refuses to undersell his stories. Intends to enter film/TV on his own terms, to maintain creative and financial integrity (19:38–20:33).

  • Quote: “They come with these offers, like, sell us the rights to everything and we’ll give you this. And then that’s just that. … When I finally do it, I want to do it in the right situation.” (19:38–20:33)

• Future goals: Aspires to achieve dominance in film and TV to match his status in literature; wants to be remembered as a generational talent (20:42–21:01).

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Notable Quotes & Memorable Moments

• On writing as therapy:
  “I just started writing. I would vent and put my emotions on paper… I didn’t have anybody to talk to, because there’s nobody who can really understand it unless they’ve been in my shoes.” (03:18–04:18)

• On publisher rejections:
  “A publisher even told me, like, oh my God, you can’t even write a query letter. You’ll never make it as a writer.” (06:15)

• On the essence of his fiction:
  “I write more cinematic crime stories. … I write crime novels. I don’t generally write about the typical things you would find in urban fiction. … They’re just in urban settings.” (16:40–17:57)

• On labels and stereotypes:
  “If you just see like, this is the urban fiction section, and you automatically think street… Some of them are really, really heartfelt stories of adversity and trial. But you won’t give it a chance if you have this preconceived notion.” (18:02–18:36)

• On ‘Write to Eat’:
  “I got it tattooed on my hand so that I never forget it. I never lose sight of what keeps food on the table. These fingers going, this imagination going. I write to eat.” (18:42)

• On purpose:
  “If a shark stops swimming, it’s gonna drown.” (19:24)

• On future legacy:
  “I want, when I’m gone, people to look back and say, he was a generational talent. He was something that comes along once in a lifetime.” (20:42–21:01)

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Timestamps of Key Segments

• 00:49: Introduction to K’wan and his origins in street lit
• 02:06: Creative upbringing and early writing
• 03:06–04:18: Writing as therapy through grief
• 06:15: Facing rejection and struggling for mainstream acceptance
• 07:32: Signing with Triple Crown Publications
• 09:43: Grassroots hustle and selling “Gangsta” on the street
• 11:09: Autobiographical aspects of early works
• 11:50: The magic and pain poured into Gangsta
• 12:49: K’wan reads from the prologue of False Idols
• 13:31: Explaining the premise and power shifts in False Idols
• 15:29: Generational/familial pressure themes
• 16:40: Discussion on “urban fiction” vs. crime fiction labels
• 18:40: #WriteToEat philosophy explained
• 19:38: Movie/TV rights and creative control
• 20:42: Ambitions for film/TV legacy

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Tone

The conversation is candid, reflective, and infused with grit—mirroring both the realism and poetry present in K’wan’s work. Stewart provides incisive, empathetic prompts, while K’wan’s responses are decidedly direct and heartfelt, offering insight into the realities of struggle, creativity, and ambition from a key figure in contemporary street literature.

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For Listeners

This episode dives deep not just into the making of a book, but the forging of an artist, and the context around an essential American literary genre. Whether you live and breathe street lit or are new to its power, K’wan’s honesty and tenacity offer lessons on using creativity as both shield and sword—and why rejecting labels can be an act of self-preservation and cultural truth.

Transcript

[A]

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[B]

Listener supported WNYC Studios.

[C]

This is all of it on wnyc. I'm Alison Stewart. Millions of people have read the books by the author Kwon, who got his start selling his debut out of the trunk of his car. An estimated 80,000 copies. That was in about 2002. In the past two decades, he's written more than 30 books. Kwan's newest novel, out this month, is titled False Idols, a reluctant king novel. It's about a criminal monarchy that rules New York City, but it's now in disarray because the throne has become empty. Now Kwan writes in the genre of street lit or urban fiction. The genre often depicts big cities and all that that entails. Friends, lovers, foes, beefs, violence and hard language. And this has been overlooked in the by Main Street Publishing, but that is changing. False Idols is out now and Kwan will be appearing tomorrow at the Greenlight Bookstore in Brooklyn at 7:30pm for a conversation with Tim McLaughlin. And we are welcoming him to the show right now. Hi, Kwan.

[B]

I'm sorry I forgot to unmute. How are you?

[C]

I'm well, thank you. I'm well, thank you. So I read your bio and you grew up the child of a painter and a writer. How was your childhood environment shaped by people, by the creative people you around?

[B]

I think the creativity was more of a it's in the genes. I always say it's genetic. It's a genetic thing, you know, because my mom and dad never got to pursue their dreams to the level that I'm working to do now, so.

[C]

Well, when did you start writing?

[B]

I was a little older when I started writing. I would write for fun little short stories and stuff like that, but I was a painter by nature.

[C]

Oh, you're a painter. That was your original. Oh, right on.

[B]

Yeah. Everybody thought that that was going to be my big aha. Like I was going to be this whole great painter or sculptor. And I ended up becoming a writer, which was totally by accident. And I started writing like I said I would just write. I wrote my first full novel, I think, in 1996. Never did anything with it. And I picked it back up right before my first novel, Gangsta, came out. So that was around 2001. 2002.

[C]

Well, I understand when you were little or a young man that your mom had cancer, right?

[B]

Yes.

[C]

And you used your writing as a little bit of therapy. How was it therapeutic to you?

[B]

It was definitely therapeutic to me because you have to understand, my mom died a very ugly death. You know, we had had an estranged relationship growing up. Because of the era I grew up in, you know, everybody was kind of, you know, it was a different time in New York. It was not the gentrified New York that, you know now. It was a bit of a different time. So as I started to re establish the relationship with relationship with my mother, she got a diagnosis. And so the writing was therapeutic to me because it's like when somebody you love is gonna die, and there's absolutely nothing you can do about it. There's no amount of money, there's no amount of anything you can do about it. It puts you in a place where you feel very helpless. And this helplessness created a lot of hostility. So as opposed to going out and doing something stupid, I just started writing. I would vent and put my emotions on paper. So that was my way, because I didn't have anybody to talk to, because there's nobody who can really understand it unless they've been in my shoes. So the writing with therapy for me, this is how I was expressing myself on the pages.

[C]

What did you write about?

[D]

What was. What was in your heart?

[B]

Whatever popped into mind. I had a lot of rage. So, like, I have a lot of, like. And even still have, like, a lot of angry little poems and these really angry paintings and charcoal sketches. But it was the writing I found that telling this first story, Gangster, was kind of helping me through it. And Gangster was gangsta. Started out as a joke, just me being facetious. I was having an argument with my oldest daughter's mom, and I was just kind of like, dude, why are you just nagging me? Why are you. Just stop riding my back. I'm going through a lot right now. So I started characterizing her in this book. And that led to this wailing, complaining woman who needed someone to wail and complain at. And so I created the main character, Lu Loke. And this character, Lulok, needed someone who to vent his feelings. So I created the character Gutter, and on and on and so on, and so Forth. I wasn't writing it to get published. I was just writing it because the story was coming to me, you know, and to this day, that's how I write. It's the stories come to me and they tell themselves. I'm just a vessel to put them down.

[D]

My guest is Kwan. The name of his novel is False Idols. He'll be speaking tomorrow at Greenlight Bookstore in Brooklyn at 7:30pm so who was the first person that you. Who tried to talk you into doing this professionally? Who said, hey, this is good. You can do something with this?

[B]

You know what? I didn't know it was good until it was published. I had written the story. I had no idea what to do with it. But I've always been a big reader. I still am. So what I would do is I would pull all my books off the bookshelves and I would just see which publishers or which authors have their contact information, and I would reach out. I would write them letters. I didn't know how to do a query letter. And a publisher even told me, like, oh, my God, you can't even write a query letter. You'll never make it as a writer.

[D]

So I hope you saved that letter. Hope you saved that one. I hope you saved that letter.

[B]

It was, you know, it's crazy. This email actually came from one of my favorite publishers in the world at the time, Holloway House. Wow. And I was a big fan of, like, Donald Goins and Iceberg Slim. And for what I was writing, it didn't really fit. It wasn't a mainstream thing. So around that time, you had, like, the Eric Jerome Dickies. You had the Terry McMillan. So what I was doing was a bit of a different animal. So, like. And, you know, street fiction, as they called it, was just beginning to catch on. And you couldn't find it in the bookstores. You could only find it, like, on the vendor tables outside or at the mom and pop stores. So I wasn't having a lot of success reaching out to mainstream, mainstream authors or publishers. In fact, there were a bunch of them quite rude to me. So I'm seeing, like. Because they're telling me there's no market for what you're writing. You're right, because my first book was about gang bangers from California who settled in New York. So they were like, there's no market for what you're writing about. This is trash. We can't sell it. So. But I'm looking at these books outside and they're flying off the papers. And I'm like, well, what am I doing wrong? So. And I ended up reaching out to Vicki Stringer.

[D]

Explain people who Vicki Stringer is.

[B]

Vicki Stringer, she was the founder of Triple Crown Publications. And back then I would. And I was. Ended up being the first author signed to Triple Crown. And it went on to become the biggest publisher of urban fiction to date. Even though they're not the functional crown put up like a lot of numbers. So. And when I reached out to her, I didn't know she was a publisher. I knew she was a writer that had had success, was selling her books independently. So. And my email was kind of like, I'm a thirsty. You know what? Can you point me in a glass of water? Because by this time, I was so frustrated with doors getting slammed in my face. I mean, it's kind of. It's triggering when authors who you looked up to and you praise is the greatest thing since sliced bread, and then you reach out to them and find out they're not nice people. So I was feeling very defeated at the time, and I sent her, I think, a sample of it. And when she read it, she was like, I feel like you're poking fun at me. And I said, well, why did you say that? She said, because this is some of the greatest writing that I've ever seen, and I can't believe that no one will help you. And I'm like, well, here I am. So she was like, I can help you to find a deal and you give me a find this fee, or you can be the very first author that I signed to this publishing house that I'm launching called Triple Crown. So in my mind, I'm like, well, if I sign to another publisher that has a bunch of writers, and I'll just be another number, you know, coggin the wheel, I'll be a part of a stable. I said, but they don't have anybody over here. So I would get all the attention, and I get to learn as we go.

[C]

Yeah.

[B]

So I don't think either of us really had a total grasp on what we were doing. And we put this book out. I think we printed. The first printing was 10,000 copies, which was a lot back then. We printed out 10,000 copies, put the book out with a very plain cover because we couldn't afford a fancy cover. And we just held our breath and the book came out in December of 2002. I want to say by January, all 10,000 copies were gone. And the orders were still coming in. They were coming in faster than we could print them.

[C]

Well, that's part of your legend is that you sold them out of the trunk of your car.

[B]

Where did you do it?

[C]

How did you do it?

[B]

We would sell them on the street. We would hustle outside with the vendors. I, I even once did a book signing at a crack spot. I didn't know it was cracked about when I signed up for it. Did they bought books though?

[C]

Well, tell me your pitch. Tell me your pitch for the book. Somebody like just walking by sees you selling your book. What was your pitch?

[B]

My pitch was kind of like I always sell myself so, you know, and I don't have a set pitch. Like, you know, I know some authors like, hey, you're interested in this? Look, I'll may make a comment about like if you have on a nice pair of shoes, I like those shoes. Where can I get some? Even if you're a lady, they're like, what, what do you mean? I'm like, I'm out here doing X, Y and Z. They're like, okay, well tell us a little bit about the book. So now, you know, I'll give them the brief rundown about the book. Because at the time everybody was writing female based characters in their stories. I was one of the first people, like, I wrote for a different demographic. I wrote for, for the gangsters. I wrote for men who were in prison and would never come home again. And the only time be able to walk the streets is through the pages of my novels. So my books were a little harder and it kind of just took off like that. And like even to this day I don't really have a pitch. I just kind of talk to people.

[C]

My guest is Kawan. The name of his book is False Idols. You know, they say they write, you write what? You know. Were your early books autobiographical? In a way?

[B]

Loosely, yeah. Because a lot of the characters and even to this day are based on people, places and things, you know, real experiences. You can, you can even find me throwing a part of myself in some of the books. So they were basically, I was basically interpreting it like, because when I write I have to look out the window. Even right now I'm sitting in my window, I have to look out a window. And I would just look out at the neighborhood and I would interpret the stories. I would, people watch and think, well, what is his story? What is her story? What do they come from? What are their struggles? What did you know? Like that or just what I knew that were going through things, I would take them and I would, you know, characterized.

[C]

Why do you think gangster took off the way that it did because it.

[B]

Was because of the magic. Now, when I say gangster was magic, and it's a form that I can never recreate. I literally wrote that book on my mother's deathbed with no expectations for it. It was just me bearing my soul. And I don't think that I could ever intentionally show that kind of vulnerability again. And you feel it like if you read gangster, you feel it in those pages. You feel it like this writer has gone through something. This is. This is. This emotional. This is why I fought. So when I. When triple crown and I and I decided to go our separate ways, and that's putting it nice. This is why I fought so hard. I fought for 10 years to get the book back. I didn't want me. I didn't want anything. I wanted the book because it was personal to me.

[D]

Let's talk about your new novel, False Idols. This is second in your series, the Reluctant King. Would you read a little paragraph from a little bit of the prologue for us?

[B]

Sure. Okay. Good spot here.

[C]

Yeah.

[B]

Anthony knocked on the dented brown apartment door and waited. A few seconds later, he heard heavy footfalls approaching. Then the peephole jiggled. After several locks were undone, the door opened, and Anthony found himself confronted by the apartment's tenant, Dolores. At one time, Dolores had been a knockout. Tall, red bone with natural hair that hung down her back with the thing, glaring at Anthony with suspicious eyes. With a shadow of that, Dolores was now so thin that she looked emaciated. Her skin was bruised and popped. Her long, luxurious hair was now withered and falling out in spots. Track marks lined her arms. One still wet with blood. Whatever Dolores had been then, she would never be again.

[D]

What is the par. What is the prologue set up for us?

[B]

The prologue setup is this. Well, it kind of picks up from. If you read the Reluctant King, you know, there was the father monarchy. So the prologue setup is the changing of the guard. These men that are in this apartment doing what they do are a part of the old regime, and monster and the guys who come in are part of the new regime. So it's kind of like saying, hey, you know what? Chances in prison, Ghost is dead. The old ways are done. This is the new program. You get with it or you die. So that was why that whole scene was set up like that and why it was if, you know, it was very brutal, very brutal. And I wanted to show the stark difference between how the organization was ran when Chancellor was in power, who Chancellor was kind and fair, and his brother Chapman is not that. Chapman is cruel and devious, and monster is a monster.

[C]

Does someone have to read the first book to understand the second book?

[B]

I think it would definitely help. So you can understand the fall from grace. Do you understand the family dynamic and really come to know why you have so. Because you're going to automatically dislike some of these characters, even if you've never read the Reluctant King. But if you go back and you'll see the method to the madness and how they came to be this way.

[C]

What do you think is at the heart of the chaos that develops in the book?

[B]

I'm sorry, can you say that again?

[C]

What is causing the chaos?

[B]

The chaos is to fight for the crown. Chancellor was king. Ghost was his heir. Ghost was murdered. So by right of succession, it should have been his youngest son, Shadow, who was the next to wear the crown. But his uncle stepped over and took it and then branded his family enemies of the crown. So he was conspiring against his brother the entire time. So in the midst of this chaos is Shadow, who's this young kid who. He just wants to go to college and be a kid. And so now he has this responsibility on his shoulders. Like he comes from a life of privilege, and now it's poverty.

[C]

They lock up his house.

[B]

Yeah. He's trying to figure out how to navigate this. And at the same time, his mother's putting undue pressure on him. Like, you need to be a man. You need to be. And he. It's not his fault. He's not his brother. He's a kid. But it's the pressure. The pressure, the pressure. And it represents the pressure a lot of young people feel when their parents are trying to live vicariously through them. They are not allowed to live their own lives. They have to be with who their parents want to be. So it's Shadow trying to figure it out, and the people around him who are helping him or hindering him in this quest to figure out who he is and where he fits in in the world.

[C]

Sounds like Shakespeare.

[B]

Thank you. It's kind of Shakespearean, and that's how I didn't want to do it. Like a godfather. It's more like a Game of Thrones, you know? And that's why the book is called the Reluctant King. Shadow King. He never wanted to be a king. You know, he was the one that was most. Not like the rest of his family. Lolly is off the hook. Chance was the boss. Ghost was a sociopath, and Shadow just wanted to be a kid. He never wanted any part of what they had going on.

[C]

Kwanya, a lot of your books have been described as urban fiction. They call it street lit. I know those have been sort of hotly debated. People have feelings about them. How do you feel about urban fiction?

[B]

I feel like urban fiction. And I was actually there for one of the initial conversations when this came up, and they were like, yeah, this is new. It's the funny story. I go into this meeting and my very first time meeting with the publisher, the president of a publishing house, and I'm wearing a dicky suit and a baseball cap. I don't know any better. I've never been to a meeting in my life. And they're looking at me and they're like, you are the embodiment of hip hop fiction because they thought it was a costume. And this is just like how I just who I was. So hip hop fiction is because the books, they call it hip hop fiction because of the close relationship to rap music. It took on the whole urban fiction or street fiction thing because a lot of us come from this demographic. But if you ask me, Kwan, what do you write? The first thing I'm gonna say is not urban fiction. I write crime novels. I don't generally write about the typical things you would find in urban fiction. I mean, I understand there's a place for everything, everything in its place. You have to put a label on everything. But I write more cinematic crime stories. That's why, if you notice, on a lot of my books, they'll. It'll say crime novelist. Because that's what I see myself as, someone who writes the commission or the solving of crimes. They're just in urban settings. And because I'm a kid that was raised in the projects, I just fit in the box.

[C]

Do you think it does a disservice some, but I think it gives a.

[B]

Preconceived notion of what you think these books are. Books are, like you said, they're Shakespearean, they're poetic. They're not just, bam, bam, I sell crack, I shoot guns. There's so much more than that. But if you just see like, this is the urban fiction section, and you automatically think street. You automatically think these books are degrading women and just talking about dudes trying to break into the penitentiary. And some of them are not. Some of them are really, really heartfelt stories of adversity and trial. But you won't give it a chance. If you have this preconceived notion of what you think it is.

[D]

On your post on X, you have a Hashtag with right to eat.

[C]

And you have a tattoo as well.

[B]

Yes, it is. I don't know if you guys can see this tattoo in my hand. It's slogan I came up with because I said, this is how I'm gonna feed myself. This is how I'm gonna feed my family. I'm going to write to eat. Almost like singing for your supper. But I'm writing to eat. And so I got it tattooed on my hand so that I never forget it. I never lose sight of what keeps food on the table. These fingers going, this imagination going. I write to eat.

[D]

Aside from eating, what motivates you to keep writing?

[B]

I love it. I love it so much. It's like air. It's like. It's something. I feel like it's something that I didn't do. I would die. It's like a shark. If a shark stops swimming, it's gonna drown.

[D]

Fellow author Terry woods had her novel True to the Game turned into a movie, which has been extremely successful, spawned a few sequels. Have you had any interest from movie theaters or movie folks?

[B]

There's been a ton of interest over the years, but this is the thing that I found, especially in the early days, again, urban fiction, a lot of us come from a certain demographic. So you have some people that want to pee. Pee on your head and try to convince you that it's raining. So they come with these offers, like, sell us the rights to everything and we'll give you this. And then that's just that. And that's not really known. Nope. I mean, like I said, there's been interest, but I want to. When I finally do it, I want to do it in the right situation. I want to do it from a perspective of when I'm going, this is still feeding my family. I don't want you to just give me a couple of dollars and take my stuff. And you make the line. She like, what's the guy that did the squid games? And he made a lot of money, but Netflix made so much more. Yeah, I just want to find the right situation. Like I said, there have been interest, and I write my own scripts, so that helps.

[D]

What goals do you have? What goals haven't you accomplished? Like, you've got all this. You're writing. You're writing your scripts. Is there something that you want to do that you haven't done yet?

[B]

I want to be as dominant in film and television as I am in writing novels. That is the goal. I want, when I'm gone, people to look back and say, he was a generational talent. He was something that comes along once in a lifetime.

[D]

The name of the book is False Idols. A Reluctant King Novel. A Reluctant King Novel, yes. My guest has been Kawan. You can catch Kawan tomorrow with False Idols at Greenlight Bookstore in Brooklyn at 7:30pm for a conversation with Tim McLaughlin. Thank you so much for making the time today. Really appreciate it.

[B]

Thank you for having me. I appreciate you guys.

[A]

Surprise beach day. No excuses. I'm in.

[C]

Gimme five.

[A]

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[B]

Let's go.

[C]

Ooh, Gecko. I just love being able to file a claim in under two minutes with a Geico app. Could you sign a. Sign what? The app?

[A]

Yeah, sure.

[C]

Oh, it rubbed off the screen when I touched it. Could you sign it again? Anything to help, I suppose.

[B]

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