Steve Thomas: Alex, welcome to the podcast.
Alex Segura: Thanks so much for having me. Excited to be here.
Steve Thomas: I’ve been a lifelong comics fan, so I excitedly read the previous book in the Marvel Crime Series with Jessica Jones. Daredevil has a weird place in my comics history in that I’ve always loved the character and the situation he’s in and everything, but it’s a comic that I never really ever collected on a regular basis. I would just kind of peek in and out and, “Oh look, he’s in this issue of Spider-Man. Oh look, now he’s visiting the Fantastic Four! How great!” Things like that.
I think I was too young for the Frank Miller run to really hit me right ’cause I guess I was in a really superhero stage at that time and I didn’t want to see somebody fighting ninjas and all this stuff.
Alex Segura: Yeah. I mean, the tonal shift, historically, I wrote a history book on Daredevil while writing this novel so I was already reading all the comics for the novel just as story research, but then it became literal nonfiction research. But the one thing, and I am a Daredevil fan, so I was an avid reader from the drop as a kid, as a young comics reader, one thing you notice is that he starts off very much like a B-level Spider-Man. Like, he’s got lots of jokes, swinging through the city, has a very bizarre rogues’ gallery. And you see some of the noir elements and horror elements start to kick in later. But it’s not until Miller steps in and really says, I’m gonna treat this as a crime story, as a film noir, that those elements are more evident. And that really has been such a huge influence on the character moving forward. I think everyone is riffing off what Miller and Janson did, and Miller and Mazzucchelli did, which imagine that’s a great impact to have on a character.
Steve Thomas: More than almost any Marvel character, he really transformed it 20 years or whatever after creation.
Alex Segura: Yeah, I guess you could make a case for Claremont, but Claremont was also on the X-Men for almost 20 years so it’s hard to not have that level of influence with that time. Miller was on Daredevil a couple years and then came back a few times, but I feel like every time he came back, it had a huge impact. Like, he redid the origin with Man Without Fear, did Born Again, which really reset the character in a powerful way.
Steve Thomas: Going back later, I love it now, but I guess when they were coming out probably when I was 9, 10 years old, I was like, “Yay, John Byrne Fantastic Four!”
Alex Segura: You wanted the big budget stuff. Yeah.
Steve Thomas: Yeah. “Who’s the Hobgoblin?”
Alex Segura: Yeah. That was a great story.
Steve Thomas: Yeah. Although that was veering into that street level crime stuff too, the Roger Stern Spider-Man stuff.
Alex Segura: But that’s a classic run too.
Steve Thomas: But anyway, we won’t talk about eighties comics just for the whole hour.
Alex Segura: I mean, I’m fine with that. No complaints here!
For me, I think Daredevil was in stark contrast. I was a Spider-Man guy, X-Men, Batman. And while Batman was street level, he had a lot of resources and was also flawed, definitely some trauma there, but very driven and clear in his path. Whereas Daredevil felt, to me, Daredevil explored the gray areas in a way that a lot of superhero protagonists did not. He was a messy guy. He made bad choices. He had a lot of Catholic guilt. He was not the best romantic partner. Had a long string of failed relationships.
Like, when your ex-girlfriend becomes a ninja assassin, yeah, maybe you made some weird choices in your past. But I liked the complexity even as a kid. I was like, this guy’s got some more depth to him and more wrinkles, which isn’t to minimize other characters like Spider-Man. They were just a lot more clearer in purpose.
Steve Thomas: It feels like when they created him, they didn’t have a clear idea of what they wanted to do, except, “I don’t know, Spider-Man’s popular. Let’s do something else like that!”
Alex Segura: I think it was really literally Stan saying, “Justice is blind. Let’s make the character blind,” like very literal. Sometimes that worked really well, like with the Fantastic Four and Spider-Man and those great creations but I think at his onset, Daredevil was not part of that kind of upper echelon of Stan Lee creations but was a great idea and it evolved into this fantastic character.
Steve Thomas: So before we get into Enemy of My Enemy can you tell me, since this is a library-focused podcast, what were your early experiences with libraries, either as a reader or as an author, how do you interact with libraries now?
Alex Segura: I take my son to the library every week. We do a class there on Mondays, and I literally bring an extra bag because he checks out so many books and it’s the highlight of his week to go to this class. And then after, I think he goes more for the books than the actual art class, and the art class is a lot of fun.
Libraries were a safe haven for me. They were a resource and a just a place where knowledge and the search and thirst for knowledge was welcome and supported. I remember especially in middle school, I would go to my school library after school every day and check out a new book or bring the book that I’d read the night before. So much so that the librarian once came into my social studies class and she was like, “Oh, you! You’re in the library every day,” which didn’t do wonders for my, like, social popularity in middle school, but it’s true!
I didn’t have the money to be buying books all the time. It’s also not just about the money, it’s about the environment. A place that celebrates reading and celebrates the knowledge and becoming informed and knowing about the world around you. It’s truly a public resource I think folks should not take for granted, that sometimes is taken for granted. It’s really such an essential part of culture and community and a great resource for people in need of tools and things that they just don’t have, services that they don’t have.
Kids in New York, at least, kids get lunch during summer at the libraries and there’s resources that go beyond just books and there’s obviously laptops and computers you can use to apply for jobs or fill out forms or do your taxes. The Queen’s public library system, which is where I live, is, just, I’m always amazed. I get their newsletter and I’m just like, wow, it’s such a amazing thing that exists.
So yeah, very much pro-library. I always tell my kids like, I love supporting indie bookstores as well, but let’s just check it out from the library. It’s gonna be there. There’s ways to request it. I use Libby for my reading. So yeah. Team Libraries!
Steve Thomas: Do you remember, other than reading Daredevil, do you remember where you really got the bug for crime fiction?
Alex Segura: It’s funny, I just did career day at my kids’ school and so I visited both of their classes and you kind of have to gauge your message based on the age group. And so my daughter is in first grade, but I was talking about the first time I read a Sherlock Holmes book was one of those Classics Illustrated, which had a aged down version of the story. So it wasn’t the original Conan Doyle stuff, but it had these cool illustrations. And I remember reading Hound of the Baskervilles, and before I got to the end, I’d figured out who the killer was and I was like, “Oh, that’s so cool that the writer left enough detail in there for me to figure it out, and the story was enjoyable enough that I didn’t mind that I figured it out!” In fact, I felt like I was smart.
And that’s when I realized the power of a good mystery. It’s not just solving the mystery, it’s earning that mystery. It’s something I really think about a lot when crafting my own stories. And it really does apply to Enemy of My Enemy, not to bring it full circle, but there is a mystery there and there are enough clues there that hopefully by the end you’ve either figured it out because you took the clues and put them together, or by the end you feel like, “Wow, I should have figured that out because all the stuff was there.” That to me is the most powerful kind of mystery. I will toss a book across the room if I get to the end and it’s like, oh, it was the supporting character that you never saw beyond chapter two for a few pages. That to me is just like lazy writing. I get why people do that sometimes because it’s a lot of work to plant a mystery and plan it out and really leave the clues and revise and make sure it’s meaningful. But that had a lot of impact on me as a kid, and that was a library book that I checked out!
Steve Thomas: Yeah, those Classics Illustrated were a really good entry to it. I think some people don’t like them because they’re too aged down, but I think a little kid can understand the story basically of Hound of the Baskervilles, but you don’t need all that other stuff in it that is part of the story, obviously, and needed as an adult, but we wanna get kids into this stuff.
Alex Segura: It’s a story, and the illustrations help, like, I have this debate a lot of times with parents like, “Oh, I want my kids to not read graphic novels.” I’m like, be happy that they’re reading, celebrate whatever they wanna read. I don’t put a lot of restrictions on what my kids read. Obviously I don’t want ’em to read adult, you know, as a parent you are the guidepost of what they should read, but I want them to be exposed to as many stories as they can because that’s gonna really influence their love of story. So to me it’s like whatever gets them into the stuff and eventually as adults you’ll realize, oh, I’ll read the source material. I’ll read the original Mark Twain or Conan Doyle, or what have you.
Steve Thomas: We talked about it a little bit here and there, but tell us about Enemy of My Enemy.
Alex Segura: Sure. Enemy of My Enemy is a Daredevil Marvel Crime Novel. It’s the second in the series. You don’t have to read them in order. Theoretical, they’re in the same universe, quote unquote, but I don’t pick up the plot from the first book, which is a Jessica Jones novel by Lisa Jewell, who’s an amazing author, wonderful person and friend. And then Shawn, S. A. Cosby, picks up what I do with a Luke Cage novel coming out next year.
But Daredevil: Enemy of My Enemy, the focus is obviously Daredevil, Matt Murdock, who by day is a defense attorney, a very well known defense attorney in New York City, and by night he puts on the Daredevil costume and seeks out vigilante justice. His main enemy is a man called Wilson Fisk, the Kingpin, who I’m trying to keep this 101 for folks who maybe aren’t super into the comics, but Kingpin is basically the main mob boss of New York City, and he has control over a lot of industry and on the surface, and to most people, he’s just known as a humble spice trader, who’s lucked out and runs a lot of businesses. There’s rumors that he’s a criminal, but he’s Teflon as they say.
Enemy of My Enemy starts out with Matt Murdock realizing that the Kingpin has been murdered, which obviously creates a sense of relief for him, that he feels bad about. This enemy that he’s struggled with, who has literally destroyed his life and caused him great harm is off the board and what we soon realized is that the main suspect in the killing is Frank Castle, who everyone knows as the Punisher, who is quote unquote a superhero, but is a vigilante who has decided he is judge, jury, and executioner. So unlike Daredevil or Spider-Man, or the Fantastic Four who have a strict, no-killing code, Frank Castle doesn’t believe in the justice system and he believes that he should decide who lives or dies.
Both the Kingpin and the Punisher are threats to Daredevil and problems for Daredevil. So there is that sense that he feels guilty about of relief, that these two people might be off the board, one literally, and one might be sent to jail. But when Daredevil realizes that there’s more complications to the case and that Frank Cassel like anyone else, whether guilty or not, deserves a fair trial, he decides to take the case as Matt Murdock while investigating the crime as Daredevil.
So that duality felt like a really compelling premise to me when I was coming up with it. And also this idea that challenges the root of Daredevil’s core character, that he believes that justice is for everyone, but also as a human, he’s like, “I’m kind of glad Wilson Fisk is gone and I don’t have to deal with him as a hero anymore.” So that interpersonal struggle felt really true to the character to me.
My big goal with Enemy of My Enemy was to make it appealing to a casual reader, like someone who’s not a big, deep rooted Daredevil fan, but also interesting to folks like us who know the character, who’ve read the character in various forms, who’ve watched the show, so there’s a ton of Easter eggs and fun cameos, but those cameos and Easter eggs are not distracting enough that when you’re reading it and you are a casual reader, you’re not like, “Who is Ben Urich?” Everyone is introduced. If you haven’t read a Daredevil comic, you’ll understand what’s going on immediately. And there are a ton of fun little Easter eggs, but it’s not distracting, I hope.
Steve Thomas: Yeah. Like you said, you can just use a name that a comics fan would go, “Oh, that’s Stilt Man!” Or whatever, you know?
Alex Segura: Yeah, yeah. Like there’s little stuff like that and little nods to continuity, and I know exactly in my mind where this book happens in the canon, but it’s also a great pickup for like a casual reader who likes the show or has watched Daredevil in other media and is like, I wanna know more about this character. I want to, and I wanna read a novel. Which is always good too.
Steve Thomas: Yeah. Yeah. And is that something that you wanna just keep as a secret as where does it fit in the continuity? Or are you willing to say where you think it fits in?
Alex Segura: No, it’s not a secret. I think for me it fits around, like right before the Brian Bendis run, which I love, the Brian Michael Bendis run with Alex Maleev on art. It fits, but it also kind of deviates, it’s its own continuity. The novels are not tied into the comic book canon. But for me it, it was fun to kind of think about, “Well, where would I fit my run?”
Steve Thomas: And I think the best Daredevil stories are like that where you’re getting, he’s the lawyer, so you’ve gotta kind of write a legal thriller at the same time you’re writing a crime because you gotta make it an interesting case, but then also an interesting crime, is that something that you think about of how am I gonna make the trial part of this interesting?
Alex Segura: Yeah, no, that’s definitely a factor. I think the way I pitched it to Marvel was like, it should feel like a John Grisham novel with superheroes. You need the Law & Order kind of courthouse stuff. Otherwise it doesn’t feel like a Daredevil story, otherwise it’s interchangeable. It could be Batman, it could be Moon Knight. And for me, the core of Daredevil is that duality of by day, he’s this attorney who is struggling to make sure people get the fair trial they deserve, guilty or not. And at night, it’s really an interesting contrast ’cause this guy follows the law by day and then at night he puts on this red costume and literally punches people into submission. How does he grapple with that and how does he handle the gray areas that he’s living in? I think the novel shows that he does struggle with it to some degree.
Steve Thomas: What he’s doing is illegal, but he’s doing it in the pursuit of justice, fitting in those gaps of, well, the justice system can’t take care of this, so I’m gonna take care of this.
Alex Segura: Yeah. And it’s also like, how far is too far? Obviously in his eyes, the Punisher goes too far. He doesn’t believe that a vigilante should decide someone’s life, and that’s where he draws the line. The Punisher obviously has no line. So it’s like this challenging code of conduct, and he knows that by day he follows a law to the letter but in this other role, he has to bend the rules to make sure justice is served. So that’s a challenge.
Steve Thomas: And characters like The Punisher can go, “Well, what’s the difference? You go out and punch people all night long and just ’cause I go the next step and kill ’em, you’re really illegal too. So I’m not any different.” And I think you do a good job, and generally people who write the Punisher well, do a good job of explaining his point of view, even as flawed as it is.
Alex Segura: I mean, he is a murderer, and he definitely chooses to enact justice completely on his own, but the dynamic was fun to write because it’s very much almost like a Clarice / Hannibal Lecter back and forth. Like the Punisher is behind bars and Matt is coming to him trying to figure out, ” Why are you in here? I don’t think you did it because I found X and Y. Like, why are you here? You’re the Punisher. You could leave anytime you want.” And so that obviously plays out in the third act and there’s some interesting stuff that happens, but like Matt, challenging the Punisher’s philosophy or grappling with why he’s doing this is really a big thrust in the novel.
Steve Thomas: Have you ever gotten to write a Daredevil comic?
Alex Segura: I’ve never written in the comics. I’d love to at some point get that opportunity. I’ve gotten the chance to write a lot of other characters, but Daredevil is definitely one of my favorites.
Steve Thomas: Marvel knows your name now!
Alex Segura: Yeah. Marvel, if you’re listening…
Steve Thomas: You’ve written Spider-Man and a couple other things for them.
Alex Segura: Yeah. I’ve written Spider Society. I just finished up a run on Star Wars. I’ve done a few other short stories. I got to write Moon Knight, Galactus, it’s been fun. And I’ve written other novels with Marvel Heroes, so yeah, you never know.
Steve Thomas: Do you approach a story differently when you’re writing it in comic form or novel form? I mean, obviously in the structure you are, but like how you’re coming at the actual story itself, or is it just how you lay it out differently?
Alex Segura: Comics are so much more collaborative in terms of, I have to tee up the artists and then see what they visualize and come up with the script based on that. Also you don’t have as much runway. A novel is almost like an arc of comics, like six or seven issues of comics in terms of just story and pacing. For the novel, it’s much more internal. You’re in Matt Murdock’s head, you hear his thoughts, you hear what his conflicts are, whereas comics are visual and you see the action and that you can always have a ton of narration boxes, but no one picks up a comics to see captions and then maybe some art behind it. You’re there for the visuals. And as a reader, I love comics that are visually engaging.
I would say the comics are also almost algorithmic. Like you can only have one action per panel. You can only have so many panels on a page, so many balloons in a panel. Which isn’t to say it’s a formulaic, but there’s only so many buckets you can fill to get a page done, whereas a novel, it’s much more open-ended.
Steve Thomas: Yeah, I remember that Man Without Fear series that you mentioned, like the origin that it was Frank Miller writing and John Romita Jr. on the art. And I remember there were whole sequences where it’s just pages where there’s no words on the page.
Alex Segura: Yeah. Yeah. One thing I tell artists, if I am able to give them this leeway, is you’re the artist, you’re the director of the movie. Do whatever you want. However you choose to execute the script is better than anything I could micromanage. I mean, obviously if I need something on the page, like I need this to be a tight shot, and this is the expression, but in terms of action, I’ll just say you make this look great, you’re the artist. Don’t feel like it has to be five panels. If you can do it in three and it has much more impact, I will then come back and finesse whatever the captions or the dialogue is to make it work.
And yeah, Man Without Fear is just two great artists working together. And if John Romita Jr is drawing your story, you probably don’t want say anything ’cause the key to a good comic is that if you don’t look at the captions or the words, you should still be able to tell what’s going on.
Steve Thomas: I remember that was always the thing of what created the genius of Stan Lee and Jack Kirby is that Stan would sometimes write at odds of what Jack had actually written, and somehow that magically became the Fantastic Four and the Marvel Universe.
Alex Segura: Yeah, it’s like a very Lennon / McCartney kind of push pull, like Stan and Jack, as I’ve read, would talk through the story and he’d just send them like a page breakdown and then Kirby would make 22 odd pages of art, and then Stan would come in and add his Stan-isms and sometimes counter to what Kirby was trying to do, but that’s the magic of it.
Steve Thomas: Yeah. Yep. And when you were working on this, since it’s part of a sort of series, not really a continuing into each other kind of thing, did you have conversations with the other authors or was that just done through editorial stuff of like, “Oh, make sure to include this and that.”
Alex Segura: Oh yeah, we had conversations. We had a kickoff call with the three of us and our editor, Adam Wilson at Hyperion Avenue and basically just so we would each get a sense of what our stories would be. So we weren’t doing the same kind of novel back to back to back, and from the kickoff, the stories were very different. Like my story’s very much a Hell’s Kitchen, kind of peak Daredevil story, like Daredevil in New York, he’s a lawyer. You know, there’s been so many iterations of Matt Murdock. Like, he’s lost his law license. He’s been a lawyer. He’s been a defense attorney, a prosecutor, but I wanted to really lean into the iconic, classic Daredevil conceit that he’s a defense attorney by day and Daredevil by night and has a lot of baggage and things like that.
So we talked that through, and Shawn, S. A. Cosby and I are close friends, so we’ve chatted throughout the process and at the end of, without spoiling anything, at the end of my book, there’s a very clear teeing up of what’s to come, which was a lot of fun. And yeah, so little nods to each other, but it never felt like we had to make concessions to make it work. Each book is very different and very much in our style, so I think it’s three different flavors that happen to be in the same universe.
Steve Thomas: Yeah. Well, I hope it’s really successful and Marvel continues to do stuff like that ’cause I think that’s an interesting thing to do. I like the novelizations that don’t, like, in your head, you sort of know where it fits in, but it’s its own continuity. You don’t have to watch the shows, the movies. You don’t have to have read the comics. It’s just, here we go.
And one thing I wanted to mention, I know we’re sort of being fair for Matt as a lawyer, we didn’t mention but one of the things about Daredevil is that he has some superpowers as well, ultra heightened senses, and you even talk about that in the book, he kind of is like, “I think this is fair for me to know what somebody’s heartbeat is, so I can tell if they’re lying or not, but is that cheating for me as a lawyer to know, ‘Oh, the judge is liking what I’m saying now, or the jury does not like this. Let me try something else.'”
Alex Segura: Yeah, I mean, he definitely has an advantage. So if you don’t know the origin of Daredevil, Matt Murdock was pushing an elderly man out of the way as a truck loaded with quote unquote radioactive chemicals is barreling down the street. And he becomes exposed to these chemicals and they blind him, so he can’t see, but then every other sense is heightened so he can hear a conversation happening like two blocks away. If he focuses on it, he can hear your heartbeat and hear if it jumps, meaning you’re lying. He can tell when your pulse is speeding up, he can smell what you had from lunch. So all his senses are hyper heightened, and he uses that to his benefit by day and by night.
So that is a big plot point and a big ethical thing he grapples with, like he overhears something that he knows he’s not supposed to be hearing from someone he’s close to. And he has to ask himself, do I violate that trust and use this information? And that’s kind of Matt Murdock in a nutshell. Like, “Do I do this thing that I shouldn’t do to help seek justice?” And nine times outta 10, he does that thing but then there’s consequences, and that’s a big part of the story as well.
Steve Thomas: Because you imagine even just on an everyday case, he’s hearing when the prosecutor’s leaning over and whispering to their colleagues, like, well, he overheard that whole conversation!
Alex Segura: He can hear it. And that’s like, you know, is it ethical? I mean, if you can do it, I guess you can, but that’s something he has to come to terms with and then ask himself like, if this information is useful for me and is it fair? And that’s really at the core of the character. He really lives in these gray areas and is a messy, complicated person and to me, that’s fascinating to read.
Steve Thomas: Yeah, definitely. And so you’ve done these Marvel books, you’ve done Star Wars books, you’ve done Archie. What is the fun part, and I guess maybe the challenges, of working with preexisting worlds like that as opposed to like your own mystery series that you’ve got where you’ve got complete free reign?
Alex Segura: Yeah, I think the challenge is obviously you’re in a set sandbox. The joke I always use is you can’t make Jughead a vegan. He likes burgers. I guess he could have an Impossible Burger, but you know what I mean? Like, you have to stay true to the characters and you have to realize that you’re like a drop in this big bucket, and so somebody else is gonna want to pick up the toy and play with it later and you can’t break the toy.
Whereas with my own characters and I’ve created superheroes, I’ve created obviously my own mystery novels. If I want to eliminate a character, I can do that if it serves the story and I don’t have to answer to the rights holder ’cause I am the rights holder. But there’s also a lot of fun in writing characters you grew up with. And for me it’s like, wow, I’m writing Spider-Man, I’m writing Daredevil, I’m writing Star Wars, and you’re adding to this great tapestry of story. And it’s a great honor and privilege to do that, but you also have to be able to play the game. You have to understand that at the end of the day, someone can tell you, “Matt Murdock wouldn’t do that.” You have to be okay with that because it’s not your character, even if you feel like you have a deeper understanding or whatnot. I’m not saying that happened, but there’s more of a back and forth and you have to understand you’re renting the car, so you have to keep it in nice condition so when you return it, somebody else can drive it. Whereas with your own stuff, it’s really up to you and for better or worse, it’s your call.
Steve Thomas: I mean, if you want to kill Pete Fernandez at the end of the last book, you can.
Alex Segura: I thought about it. Yeah. No, but he’s, he’s doing okay. He’s doing a lot better these days.
Steve Thomas: Do you think you’re gonna write any more of those?
Alex Segura: Thomas & Mercer is gonna reissue the first five, and I actually just wrote a short story for an anthology that features Pete going to Key West and doing something bad. And he showed up in Alter Ego, which was my last crime novel. He shows up briefly and has a cameo or he is actually a pretty key supporting character, so he’s around.
Steve Thomas: Yeah. And if you like comics, Secret Identity and Alter Ego are both good reads for you too. Not superhero stories in and of themselves, but they are in the comic book world.
Alex Segura: Yeah, I like to call it “Kavalier and Clay” meets a Patricia Highsmith novel.
Steve Thomas: A lot of the Archie comics you’ve written have been musical in nature, so it’s either about the in-universe band, the Archies, or they’re meeting KISS, or the Ramones. Are you a musician yourself? Why do you like that angle in particular with Archie?
Alex Segura: I love music. I love music. I hesitate to call myself a musician. I used to be in bands in my 20s, played guitar and stuff like that. But once you become a parent, you kind of have to pick your hobbies and what things are gonna persist and so I love music. I’m a big music fan. I love the idea of the Archies as a band. The Archies comic, which I co-wrote with Matt Rosenberg, with art by Joe Eisma, it sounds depressing, but it really is a story about failure, like failing at something you love, but realizing that your friends are always going to be there. That’s really like the big arc, but it’s also funny and they meet a lot of bands and it’s a fun adventure. So it’s very much an Archie story, but I like to think that we injected it with some meaningful heart as well.
Steve Thomas: That’s great. Do you have any other comics projects coming up soon?
Alex Segura: Yes, I’m writing the monthly Dick Tracy comic for Mad Cave, co-writing it with Michael Moreci and art by Geraldo Borges. It’s a great little noir comic featuring the man in yellow, not Curious George’s dad, but the detective in yellow and it’s been really fun to revisit this property and modernize it a bit while still holding onto the key things that make it great.
I love Dick Tracy. I think he’s got a great rogues gallery. The response has been amazing, so I’m hopeful that it can keep going for a while. I just finished up a run on Star Wars, the main Star Wars book for Marvel. I did The Question at DC which completed last year, and so, yeah, some other stuff in the hopper that I can’t announce yet.
Steve Thomas: Yeah, there’s always that stuff.
Alex Segura: Yeah, that means you’re busy.
Steve Thomas: Yes! A busy writer is a good writer!
Alex Segura: Yes, exactly.
Steve Thomas: All right. Well Alex, thank you so much for coming on the podcast. Like I said I haven’t quite finished the book yet, but I’m gonna finish it this week, and I’m excited to figure out what those last twists and turns are.
Alex Segura: Yeah, let me know what you think. Not on air, but I hope you enjoy it and thanks for reading and thanks for having me.
Circulating Ideas 