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**#AmWriting**

#AmWriting is a podcast and Groupstack hosted by KJ Dell’Antonia, Jess Lahey, Sarina Bowen, & Jennie Nash. Listen, read and join up for hard-won advice and inspiration to help you play big in your writing life and finish work that matters.

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Latest Episodes:

You’re Not Stuck—You’re Holding Back Apr 03, 2026

Show notes

This episode is connected to:

* Hot Seat Coaching #1

* Hot Seat Coaching #2

When you find yourself spiraling over a structural choice—looping between two different plot points or debating a table of contents—it’s easy to treat it as a technical puzzle to be solved with logic. But as book coach Jennie Nash explores in this episode, the hardest writing decisions usually aren’t about craft; they are about courage.

Inspired by a profound "hot seat" moment with writer Andrew Parella, Jennie discusses how the simple question "Why is this so hard for me?" can reveal where you are "playing small." Whether you're deciding the scope of a nonfiction argument or the emotional vulnerability of a memoir, being stuck often means you are hovering between a safe version of your book and the big, ambitious version that actually wants to be written.

This session is a call to align your head with your heart and step into the bigger power your project is asking of you.

#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

Transcript

Jennie: [00:00:00] This is a right big episode where I bring you short conversations about the mindset shifts that shape the work. Today I am talking about something that Andrew said in our hot seat coaching session the other day. That’s just really captured my attention. If you listen to that episode, which I’ll link to in the show notes, you’ll be able to hear him say this, but I wanted to take some time to talk about it on a right big session because the question was just so profound.

What he asked himself was just simply, why is this so hard? So what was happening was we were talking through a writing decision he was struggling with. It’s one of those decisions where as a coach you can feel the writer circling around it, going back and forth, trying one thing, then another just sort of spiraling and not sure about how to move forward.

And I. Was prepared to say the thing that I always say as a book coach, which [00:01:00] is, okay, let’s go through all the options. Let’s make a pro con list of how to proceed with this, of what your different choices are, and we can step back and look at the possible directions. That’s the analytic way that I was thinking to approach this decision.

But Andrew had actually already solved the problem, and he had solved it not by going through all the options or using his mind. He had solved it by asking, why is this so hard for me? Which is a question of the heart. So what he did was he took it out of the intellectual sphere and he took it into this sphere.

Of feeling I was there ready to start diagramming possibilities and using our head to figure this out. And he was the one who was like, well, wait a minute. Let me look at why this is hard. And what he realized was that the reason it was hard was because the decision was poking up against why this book so much to [00:02:00] him.

What he actually said was he realized he was playing small. He was circling around a decision ‘cause he wanted to do the thing that would make the book big, but he felt like he should do the thing that would keep the book small. He was pinging back and forth. Between his desire and it was showing up as a structural decision in the book about how he would approach.

In this case, it was the reality of vampires in his story. And one way would be, I can handle this. I’m capable of this. I can wrap up my hands around this. And the other way was, oh no, that’s gonna be a big scary book that I’d be having to. Handle and tackle, and I’m not sure that I could do that. So by not making this decision, he was holding himself back.

He was hedging his bets. He was not fully committing to the version of the book that he really wanted to write. And as long as he was stuck in that place, every single decision was going to feel wrong. He was never gonna [00:03:00] land on one that was like, yes, this is it. And this moment stayed with me. So hard because I think a lot of writing decisions that feel technical or structural are actually something else.

They’re about whether we’re willing to write the book that wants to be written. So imagine for example, that you’re writing a nonfiction book and it’s about burnout at work, and you keep getting stuck on how to frame it. Is the book a step by step guide on managing stress? Or is it about something bigger about, say how the culture of work itself is totally unsustainable.

The first version is contained, it’s small, and the other version is making a much bigger claim, and it’s asking that writer to step up into a much bigger kind of power. So if you’re circling that structural decision endlessly, you might think that it’s different choices about. What the chapters are gonna look like are the table of [00:04:00] contents.

But the real question is, am I willing to say the bigger thing, am I willing to go out there and say this bigger thing? Or imagine this for memoir. Maybe you’re writing a book about moving to a new city and the first year of showing up in a new place and building community, but there’s something you keep avoiding, which is that there was a breakup that happened before you made this move and that precipitated your.

Coming here and you keep asking yourself, does this even belong in the book? Will it derail the narrative? Is it taking it in a different direction? Should I have a prologue? Should I start it at chapter one with that breakup? Should I just assume that people are gonna know, should I not put in it at all?

But the real reason that decision probably feels hard is that that decision changes what the book is about. Uh, it stops being a story about a new city and a new adventure, and it becomes a story about rebuilding [00:05:00] a life. So it becomes a bigger story. And in order to write big, you have to embrace that bigness of it.

So what Andrew’s question does, why is this so hard is shift. The focus inward to what you’re hesitating about, to what version of the book you might be avoiding to what version of your own self as a writer you might be avoiding because every writer has a story about who they are and how they’re showing up.

There’s the safer version of that story, and there’s the bigger version. There’s one that might be more honest or more ambitious or more emotionally exposed, and when we try to write the smaller version of that story, whatever it is, the whole project will start to wobble because we’re not in alignment with our goal.

So maybe your scenes don’t quite land, or the structure of the book feels wrong, or every decision feels impossible. And it’s not [00:06:00] because you don’t know enough about your story or your material or craft, or your skills need sharpening. It’s because you and what you’re doing aren’t aligned yet. So the next time you find yourself circling some decision about your work.

Whether it’s rewriting the same paragraph over and over, or asking everyone you know what they think, or debating some decision. It’s definitely worth pausing and asking this question, which is not what is the right choice here, but why is this decision so hard for me? Odds are good that your project is asking you to step into a bigger power than you’re comfortable with, and you’re still debating whether you’re actually willing to do that.

You’re debating the commitment of the whole thing. It’s a really brilliant move to make. And I would urge you to listen to Andrew talk about asking that question on our coaching call because it was so profound to hear him talk about it, and it was such a good [00:07:00] reminder for me that I have to remember to help the writer get out of their head and into their heart.

Thanks for listening. Now let’s get back to work and finish what matters most.

Outro: The hashtag am Writing podcast is produced by Andrew Parella. Our intro music Aply titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their [00:08:00] work.

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Live with Jennie Nash Mar 23, 2026

Show notes

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

10 Years of #amwriting: Looking Back and Moving Forward Mar 20, 2026

Show notes

After ten years of the #amwriting podcast, KJ, Jess, and Sarina are marking a milestone—and a transition. In this episode, the longtime hosts reflect on what the writing world looked like when the show began and share their best advice for writers trying to do meaningful work. They also pass the microphone to Jennie, who will carry the podcast into its next chapter.Moving forward, Jennie will keep the show focused on helping writers do their best work and make smart decisions about their writing lives. Expect familiar features and new conversations, including Write Big solo episodes, Book Lab breakdowns of listener submissions, coaching sessions with writers across genres, and Margin Notes exploring the thinking behind creative choices. The mission remains the same: helping writers play big in their writing life, love the process, and stick with it long enough to finish what matters most.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.TranscriptJennie: [00:00:00] Hi, I’m Jennie Nash and you’re listening to the hashtag am Writing podcast. The place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most.KJ: Hey everyone. I’m kj and you are listening to the hashtag am Writing podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most.So today is a big day. We’re we’reJess: big day.KJ: Yeah. We’re celebrating the 10th year of the hashtag am writing podcast, which I have to say is officially the longest I’ve been able to sustain any job-like thing. Um, and we’re announcing that we’re going in a new direction. So this is really cool. After a decade of talking to y’all, um, Jess and I and then [00:01:00] Sarina, who is at minus a decade. I don’t wanna, um, have decided to step back and hand over the reins to Jennie.Jess: YeahJennie: It is, it is such a big milestone and such a big deal. And before we. Actually say goodbye to the three of you. I mean, it’s not forever. You’re coming back as guests, all of you, all the time, hopefully.KJ: Oh, heck yes. Absolutely. You, you, you and I have already planned all the things, so don’t get too excited and, and weepy here folks, but things are just, things are gonna be. New and fresh and more interesting and, uh, more craft filled and more inspirational. When I need inspiration to write, I look for one of our episodes.That’s Jennie. So I think this is gonna be, this is gonna be great.Jennie: I think it’s gonna be great too. But before we actually say goodbye, I mean, 10. Is a long time and I thought it would be fun to ask you all what it was like 10 [00:02:00] years ago when you started, and Sarina 10 minus whatever the time is, but what was the writing landscape like as a whole maybe for you, and then all this wisdom, all these years that you’ve shared.What’s, what’s the thing that sticks in your head the most is what you would want to leave with, with the listeners, what is the your best piece of writing advice from all of this time? So. Jess, why don’t you start? You’re the og.Jess: Well, I, I definitely wanted to start. For those people who have not been around since the very beginning, you have to understand that it’s really horrifying when people say they go back and like start from the beginning because, um, and we’ll be posting pictures in the show notes.I have a ton of pictures throughout the years, but we originally, um, we, we would go into this little, I had a tiny, tiny house and we would go into the eve space off of my daughter’s room. And it was raw insulation with a light bulb, and we sat on the floor and it was [00:03:00] like. Maybe at the tallest point, maybe four feet high, so you had to kind of crawl in.And I have a picture of us, um, podcasting from inside there. And it was, and it was very hot in the summer. It would get very, very hot. My house did not have air conditioning and um. But it was delightful and it was this thing that we had talked about doing for such a long time, and I was so proud of us.And mainly it was kj. KJ was the one who said, we’re not gonna talk about this anymore, we’re just gonna do it. So she got us into gear and just brought her stuff over to my house in her basket and said, let’s go. Let’s do it. And we bought microphones and everything and it was. It was a big new adventure.And if you had said, then, how long do you think this is gonna last? I don’t know that I would’ve said 10 years. But there’s, you know, then Sarina came in and, and Sarina has, has been a part of this as a guest since the very beginning too. And a couple of things that I wanted to share were that one time Sarina and KJ and I, uh, were doing a [00:04:00] double, a double header episode and I forgot to hit record for both of them.And so. We did this incredibly fun, very long episode, broken into two pieces that, um, it went off into the ether and. I did learn from that. And then at the same time, by the time we were sort of on our game enough to be able to really interview people, we went up to Maine to interview Richard Russo and we went to record at his daughter’s wonderful bookstore in Portland, Maine.And um, I had three modes of recording. I had, um. Two microphones and I had a handheld digital thing that I had on the table between us and, um, mode one failed and mode two failed. And so the only thing we had was, you know, our little digital handheld on the table in between us. So. There’s a lot of stuff like that.There was the moment I got to text KJ and tell her that we were getting David [00:05:00] Sedaris, there was the day she emailed me to tell me that we were getting Anna Quinlan. You know, and I just so many cool things that, um. It makes me so happy that we’ve produced something good out of all of that. And one last thing.The, the, the thing that I think I’ve learned the most is there is no one right way to do this. That every single time I hear about, like whether it’s the, you have to write, writer write every day, you have to write every day, or you have to write in a certain way, or you have to write in a certain place, or you have to write with the door closed, or you have to write with the door open, all of those things.Um, none of those are rules. None of them are rules. They’re things that people do and I’m really glad that I’ve had the opportunity to talk to a lot of people about all the different ways they do it.Jennie: That’s amazing. Um, kj, do you remember this, uh, light bulb and no insulation time? KJ: Oh yeah. I don’t remember the time you didn’t record particularly just ‘cause it happened more than once. And [00:06:00] the other thing I would throw in is that the more famous, the guest, the. Less interesting. They were, it was almostKJ: always true. Jess: It wasn them. It was, yeah. I think we got all jacked up about like, I don’t know. It just,Jess: I don’t know.Wasn David Sari’s advice to young writers was the worst.KJ: Yeah. It advice really wasJess: anyone has ever given, itKJ: was,Jess: yeah, a writer. He said, don’t submit your work. Don’t ask. Don’t try to get you, wait for people to read it. Wait for people to ask you if they can read it.KJ: Yeah,Jess: that’s which this, this is, KJ: this worked for him. He is an NF one and it will not work for you.Jess: Right. Yeah, I think thatKJ: my favorite, I’m just gonna, I’m just gonna lay it out there. I’m not even gonna put any caveats on that. That won’t work.Jess It won’t work.KJ: No. I think it’s always been the most fun when we get in deep into the craft and anytime someone is too practiced with their answers or it’s the same answer they’ve given a million times.You’re [00:07:00] right. It was cold and it was, um, it just wasn’t good.Sarina: Yeah. So the more fun people were always the people who were really in it with us.KJ: Yeah. Yeah.Jennie: So, Sarina, do you know when you came in, do you know what the, the n minus number is?Sarina: No, because I was a guest star even before we got out of the, the, um, kgs closet.It’s true. It’s true.KJ: One of those not recorded episodes was recorded in the eve space. That’s true. We had, we roped during fairly early.Jennie: Yeah. In that 10 years, you’ve probably written more. More than, well, how many books have you written in that time? Sarina, I mean,Sarina: um, 50. At 50 50 ish.Jennie: That’s crazy. That’s crazy. So what do you know now that you didn’t know then?Sarina: Oh, so much, so much that, like giving advice, you know, I, I [00:08:00] now feel like less qualified to give advice than I did then, you know how that goes. Like, the job gets harder, not easier. I have a, a good working vocabulary for why, but it doesn’t make me feel like anybody’s, you know, special savior.Jennie: Yeah. Yeah. What do you remember about starting in and the, the, um, all these episodes? What sticks in your mind asSarina: you know? Um, I loved the opportunity to talk to people who I think are fantastic. I also learned that I am not a fantastic interviewer and that, and that, um. That isn’t a skill of mine that I, it’s, there’s so many things, like I’m so busy, I write so many books.I can’t learn to be the interviewer that you deserve. So I only. Did interviews selectively and sometimes they were just so fun. Like, [00:09:00] um, the, the person who broke broke the mold about the interview being interesting, the more famous they are was Emily Henry. ‘cause she was Oh yeah. She was fun to talk to.She was just right there with us and, and ready to have a good time and, and so wise and also so, so nice. And that, that’s really great when you can talk to somebody who’s killing it in your own genre and you know, they’re just so wonderful about it. Um, and then, you know, then we had the odd, very sweaty interview where nothing seems to go according to plan.And I won’t name the author because I do admire this person very much, but they were not. Willing to take any expertise onto themselves. So KJ and I just sweated all the way through this interview trying to get this person to, to tell us KJ: Say something. Say anything.Sarina: Yeah. Tell us how you feel, you know?KJ: Yeah.Sarina: And it could not be done.KJ: Nope.Sarina: So, you know, that one, I, [00:10:00] I will never re-listened to that one, but, um, but I really, what I got out of it, honestly, was spending time with all of you guys, and you teach me things every single day. And another thing about this job is that I find that I have to relearn the best lessons over and over again.And when you are compelled to speak lucidly about your job, you know, a couple of times a month, um, it forces a certain reckoning with your own skill and expertise. Like I might say that I, you know, don’t want to be anybody’s, um, masterclass, but I really do know a lot at this point and, um, every time I talk to you guys and we’d, and we gathered together like this, I always learn something.Jess: I love, I think Sarina is the most amazing explainer and teacher. And so getting to learn, um, especially, you know, in these [00:11:00] recent, uh, nerd Corner Publishing Nerd Corner episodes, it’s been so cool to just learn from her. It’s really, really fun. And, you know, if, if we take it all the way back, like the first, your first romance novels, you know.We’re just coming out when we just, when we started this thing. It’s just been such an incredible journey from there to where we are now. The other thing that’s been really cool is that this podcast has made me really accountable to my goals and to, you know, not that. You guys also do that for me. But saying things out loud in front of other people has always been my, the thing that has saved me, whether that’s about my recovery or, um, you know, whatever it is.Um, people talk to me all the time and say, you know, was it hard to come out publicly about, you know, being an alcoholic? I’m like, absolutely not. It’s what’s kept me sober. And I feel the same way about the writing, that when I talk to, um, the listeners that I, I feel like. Someone may [00:12:00] come along someday and ask how that, uh, that goal of mine is going. And, and I like that.Jennie: Yeah. That’s so good. Kj, what, what are your best memories and, um, best, best advice that you’ve gotten or, or given?KJ Well, you know, spend 10 years, so it is a long time ago, but I do remember the time Jess was riding her dinosaur to my house to record and got hit by a snowplow. Mm-hmm. Um, that was, that was good times.Jess: Yep.KJ: We have Snow Fred Dinosaurs up here. Yep. In New Hampshire. Um, the Sedaris thing that was, that was just funny and also really cool ‘cause I have such deep admiration for, for him, and I’m quite certain that if somehow he ever heard. I, he would not care. We think that was terrible advice.Jess: What’s also really was really funny about that one is this is an only David Sedera sort of situation where, oh Lord, he, he has said very specifically that he, during COVID, he refused.To get Zoom, any [00:13:00] kind of zoom sort of situation. So we had to, we went all the way to Concord to,KJ: this wasn’t Coco COVID, this was before that. No, no, no. I, I know, but I’m saying like, he has, this is not new information. He has said very publicly that he doesn’t do likeJess: Oh, yeah. So he wouldn’t even, even let us have somebody bring him a laptop to his apartment.Right. And set it up for us, which we were like, happy to do, butKJ: Yeah. Yeah. We had to go there.Jess: So he called and yeah, we went to NHPR in Concord and, uh, our, and our wonderful producer Andrew was. Able to get everything connected for us. Um, but it was one of those moments where, you know, we are constantly talking about how to like bend over backwards to get marketing and get people to listen to what we have to say.And yet, even though he puts obstacles in the path of people who want to hear what he has to say, they will gladly jump through those hoops, uh, for him.Jess: Yeah. Crazy. Yeah. I mean, you know, so kind of him to do it.KJ: Yes. Anyway, I mean, that was super funnyJess: and, and I am looking at my wall that [00:14:00] has the postcard, the thank you postcard that he sent us.So when he says he sends thank you notes to everyone, he sends thank you notes to everyone because we got one. And from what I understand, he sends them to every bookseller, every person who drives them everywhere. He sends thank you notes to everyone.Jennie: Wow. That’s what I think of when I think of you, Jess.mThat’s a thing you do too. You’re so good at that. Well, I, I have to say that I have been a listener for this whole time, and the thing that you all brought was. This authenticity, this sense of what it’s really like to do this work. And you all are writing such different things and so accomplished at those things, and your willingness to kind of just open, open it up and share what that looks like with no, you know, varnish over it or, or you know, polished.Just like, this is what it’s really like and this is who we are and this is how it happens, and [00:15:00] that the work gets done in such. Messy circumstances and, um, that lesson and, and that generosity of showing people that that’s true. Which kind of goes to what you were saying, Jess, like there is no way, but, but also just doing the work is the way and.That’s what you have all modeled and continue to model, and obviously,KJ well, that’s what I want people to take away from this. Mm-hmm. Is listen. Okay. We’re joking that 10 years is a long time and 10 years is a long time. It’s a long time to do anything. But also 10 years ago I had one book to my name. And you’ve never heard of it.It was called Reading with Babies, toddlers, and Twos, and it got me all my other jobs. Jess had no books to her name. Mm-hmm. 10 years ago, Sarina Couple not, you know, just, just, just barely getting…

Full show notes at the publisher

"I Had the Full Heart of the Question In My Hand." Mar 06, 2026

Show notes

It’s very rare for me to demand that the readers of my #AmReading substack pre-order something. And the bar to be my “Just One Book” is high. But here we go: The book is The Fountain—debut speculative fiction from Casey Scieszka—and you’ll want to read it, but even more, you’ll want to hear us talk about what it took to pull this big, beautiful novel from her Tuck-Everlasting-loving soul. And here’s the question her agent asked her that is now stuck on a post-it on my computer and may be my next tattoo: How can you reveal these things in action?Casey is reading:Open Throat by Henry Hoke (“It’s funny and deeply tender and unlike anything I’ve ever read.”Follow Casey on Instagram and Substack: Spruceton Inn.Transcript Below!EPISODE TRANSCRIPTKJ Dell’AntoniaThis is the Hashtag AmWriting Podcast, the place where we help you play big in your writing life, love the process, and finish what matters. I am KJ Dell’Antonia, and today we’re talking with Casey Scieszka. And I meant to ask Casey how to pronounce her last name before we started. How’d I do?Casey ScieszkaI think you did great. Especially over in Poland, we say “SHESH-kah” over here, but I’ve been corrected many times. I think it’s supposed to be more like what you said. So… bravo!KJ Dell’AntoniaOkay… SHESH-skah… SHESH-kah… all right, off we go. Y’all, you’re going to want to know how to spell it, because you’re going to want to order Casey’s debut novel, The Fountain, and it is spelled S-C-I-E-S-Z-K-A. But to carry on with my introduction, Casey is a ridiculously well-traveled innkeeper in upstate New York, and we are just going to let that fantasy sit there for a minute without talking about the amount of snow she’s going to be shoveling tomorrow, because we’re recording this in January and are talking about the fact that I can see her and she is wearing a full-on puffer. So… romance, Hallmark, innkeeper, debut novel—all the things—and also a puffer and snow shovels and pipes and, yeah. You will hear this episode just as Casey’s first book, The Fountain,, comes out, and that is what we’re here to talk about, because I happened to have gotten an advanced copy of it, and I happen to actually have read it—which does not always happen—and even more relevantly, loved it. Therefore, here we are. And Casey, welcome to Hashtag AmWriting.Casey ScieszkaThank you so much. I am so thrilled. I’m like really just beyond that you enjoyed it so much.KJ Dell’AntoniaAh, I’m so—I’m, I really did. I will be encouraging everyone to pick it up. It’s mind-boggling that it’s not… and it is your debut. So I’m going to go ahead and—is it, is it really? Like, I mean, I know it’s your debut, but like, is it the first book you’ve written? Oh no, you’ve, you’ve got a kind of a memoirs situation out, right?Casey ScieszkaI wrote like a young adult travelogue with my now husband that he illustrated about when we lived like in China and West Africa and wound up literally out in Timbuktu. So I had some experience that way, but that was nonfiction and for a totally different audience. All that said, this novel is my first published one, but you better believe I have a bin in the drawer.KJ Dell’AntoniaThat’s what I meant.Casey ScieszkaDrawer. (laughing)KJ Dell’AntoniaYeah. Yeah. So, The Fountain, is—just as briefly as possible—it’s the story of an immortal woman who really would like to die, for excellent reasons, because immortality is a weight that is really, really heavy, and you convey that beautifully and wonderfully in this book. And so I want to just start right off—I maybe should let you describe the book—and then I’ll just warn you that my next question is going to be, “Man, how did you have the guts to swing for the fences like this?”Casey ScieszkaWell, I think it probably began when I read Natalie Babbitt’s Tuck Everlasting as a fifth grader in English class, which is about a family that—or a little girl who comes across a magical spring that an immortal family is guarding, and then she has to decide, ultimately, throughout the book, what she’s going to do with this information and this knowledge while other people are hunting it down as well. And those questions just haunted and delighted me for decades, and I kept returning to them, and at some point I was working on a novel, had a whole manuscript going, was deeply frustrated, and I started a little something on the side where I was like, this will just be a short story. We’ll see where this goes. This is nothing, and I think, because… I don’t know, maybe you’ve experienced this before too, where if you’re not looking it directly in the eye, sometimes it can just take off, and it all of a sudden had a life of its own. Essentially, this grown-up version of Tuck Everlasting, where it’s about a woman who has come back to her small hometown in the Catskill Mountains, where she was born in the 1800s, 214 years later, to figure out what did this to her so she can reverse it and finally be released.KJ Dell’AntoniaWow, you really have the… the short pitch. What’s your book about? Down! Congratulations! That’s a tough one. Yeah, you, you nailed it. That is what it is about. And I will say that it took—one of the things that I loved about it, and that I like in a book—is that not only was I not sure at some points what the protagonist wanted for herself, I was not sure what I wanted for her. All I knew was that I wanted “something” for her. And that makes for a really interesting reading experience. Because normally, you know, you find yourself sitting there going, well, just, you know, just tell the person, or just, you know, kiss them or accept your reality, or you’d normally—you know what you want—like, take the ring, Frodo, or whatever. Or don’t take the ring, Frodo. And now there’s no book. But, and in this one, we didn’t. How hard was—was that for you to write—sort of, I don’t know… did you know what you wanted the protagonist—or what you wanted the reader to want for her? Or…?Casey ScieszkaYes and no.KJ Dell’AntoniaHow did you feel about that?Casey ScieszkaRight. Yes and no, and yes and no. I think when you’re writing, ultimately, later on in draft, you have to be very clear about what your character wants. But in the early process, I had no idea. The whole thing, like I said, began as a short story, and that’s really just the first chapter or two, and then I was essentially hunting with her. When I was writing that first draft, I was like, what are we looking for? What has happened in the past 200 years in your life that would make you feel one way or another? And then every time I had a different little angel or devil on my shoulder, whatever you will, who was the—well, what about this point of view? What if? Wouldn’t this type of—wouldn’t someone say, well, living forever would be amazing, because you could share that type of science with other people, and you could, you know, have these wonderful medical advances or, you know, things like that? I could then have other characters essentially embody those, those other points of view as well. Although, I’m really glad that you say that in your reading experience, you still weren’t quite sure what she wanted, because I definitely didn’t want, you know—I mean, no, no author wants characters to just be symbols for points of view.KJ Dell’AntoniaOh yeah, no, absolutely not. And I should say that I know that she wants to reverse this. That’s never in question. But this sort of—there—you’re always aware of the question of what does she really want? Because that’s kind of only part of it to want…Casey ScieszkaRight.KJ Dell’AntoniaAn end to this pain, but, but why and what other alternatives there are. And then, of course, I just—I did not know how you were going to end it. I could not imagine how you were going to land that plane. It must have been a tough one. Did you always know where you were going? We will not in any way spoil this.Casey ScieszkaRight. No spoilers.KJ Dell’AntoniaNo, no spoilers.Casey ScieszkaI’d say that about halfway through my first draft, I just saw the ending. I was like, “Oh, this is…”KJ Dell’AntoniaThat’s amazing.Casey ScieszkaThis is like that very last moment. I was like, this is where I need to get. And those handful of chapters before the penultimate one, whoa, boy, those were the ones that are like I wrote, like seven different books, you know?KJ Dell’AntoniaOh yeah.Casey ScieszkaCompletely different versions to actually get there.KJ Dell’AntoniaSo what was your… what’s your hope for the reader experience of this book? Besides, you know vast entertainment and pressing it into the hands of their friends.Casey ScieszkaRight. Naturally.KJ Dell’AntoniaYeah…Casey ScieszkaBeyond that…KJ Dell’AntoniaWe love that.Casey ScieszkaUm, I mean, I love books that essentially look at what it means to be human and what makes a life worth living. And those are the type of questions that I hope someone would then linger on in their own life after putting down the book. Even in between chapters, you know? That you would be able to reflect on the choices that each character is making and think, like, oh, I would do this. I wouldn’t do that. Or, you know, to kind of just bring that back into your own life that way. Because… I don’t know. Time is perspective, like ever—what is—what does it mean to live forever? What is a long life? Is it? You know, when you’re when you’re little, a summer lasts an eternity. I guess what I’m saying is like our perspective of time is always bendy, and that was an interesting challenge in trying to write a 214 year old woman, where it was very tempting to just turn her into a superhero, where I’d be like, “Oh, well, she’d know 10 language.”KJ Dell’AntoniaShe’d know things, yeah.Casey ScieszkaAnd she’d be like, amazing at all these things. And I had to be like, Casey, you have a lot of time on your hands as well. Like, you’re, you know, you’re 40 years old. And do you know 10 languages? Do you know five languages? Like, what are, like what are we talking about here?KJ Dell’AntoniaOn that ratio you should at least know two. (laughing) Uh, maybe three. If we’re going to say 200 is 10… you know you got, yeah, you should have at least two.Casey ScieszkaExactly. So just kind of examining, like, why would I—why would I have expectation, different expectations for someone simply because they’ve lived longer, and, you know, those types of things?KJ Dell’AntoniaSo you mentioned that you had a bunch of books in a drawer. So what’s bigger about this project than maybe the thing that you put aside to focus on it? Is it bigger?Casey ScieszkaI don’t know if it’s bigger. I think I just had, I had better tools in my toolbox at this point. Like I might return to that other one, but I didn’t have the full heart of the question I was getting at there. I think I had more of a premise, or something like that. Whereas this one, when I was writing, I felt like the problem was I had own—like in the writing was like I had too much meat, I had so many questions, I had so much I was wrestling with. And then it also really helped that, I mean, it’s, its set in a small town in the Catskills, and, spoiler alert, that’s the type of place that I now live.KJ Dell’AntoniaRight.Casey ScieszkaAnd knew. People always tell you like, write what you know. I am, I am not, secretly, 214 years old. I know you can’t see me on camera, guys.Multiple Speakers(both laughing)Casey ScieszkaMy skin’s not that great for a… you know? But, but I do know what small-town life is in the Catskills. I do—there are some characters who are opening up a business. I know what it’s like to open a business. Like, it was really fun for me. I felt like I had this endless well of inspiration to keep pulling from that way. And that was something I couldn’t have written 10 years before. You know?KJ Dell’AntoniaYou also handled the depth of the questions that you’re dealing with remarkably tightly. Did you have to clear away a lot of like… asking for a friend…(laughing). Did you have to clear away a lot of mulling over these questions by people or? I guess what I’m getting at is these are really deep and big questions, like you said, but I don’t feel—you did not Atlas Shrugged these. You know, there’s not like a 20-page dissertation by John Galt in the middle of it. How hard was it to keep that from happening? Or did it come a little more easily for you?Casey ScieszkaI think, nothing, nothing, none of it comes easily. We know this.KJ Dell’AntoniaYeah.Casey ScieszkaI mean, sometimes you reach the flow state, you know? And it is funny to even think back on these things, because I have a, like, a willful blindness, almost in the same way that, like, I have given birth to two children, and, like, I can’t believe I did it a second time, you know? But it’s by, you know, it’s by design, some—perhaps similar with writing. Once you know how the sausage is made, sometimes it can be hard to do again. But anyway, all of this is to go back and actually answer your question. I was very wary of doing the… this is how I feel about something info dump. And one of the things that my agent as an editor has been helpful with from early drafts was, how can you reveal these things in action? So anytime I was tempted to just start explaining things, I was like, Casey, is this happening in action? Like, is this a character actually finding something out? Like from another character in a natural way. So that…KJ Dell’AntoniaThat’s a great question.Casey ScieszkaRight. That really, that really helped me. And then also sometimes with the writing I did, just let myself write a whole bunch, you know, because sometimes, especially if you know it’s the beginning of your writing day, maybe it’s, it’s that equivalent of the throat clearing—you’re just or the dog who’s doing circles before they sit down, like you’re, you’re getting around to the thing that you actually want to say. And then when you re read it, you’re like, “Oh, well, those first four paragraphs can go, and here’s where I actually start to say…”KJ Dell’AntoniaYeah, here’s what i meant to say.Casey ScieszkaYeah. Yeah.KJ Dell’AntoniaTake this. Put it up at the front— delayed all this. Yeah. No. I get it. So how long did this take you?Casey ScieszkaWell, I started the short story in 2021 and then it comes out now. I will say we had, like; everything was in the can, if you will, at least, like a year and a half ago, just kind of waiting for this springtime pub date. But, yeah, it’s a journey. That’s a—I feel, you know, like another thing you don’t want to hear when you’re like, 25 and are like, I’m going to write a book, and you hear an interview with someone who’s like, it took me 10 years, and I was like, my god. And I’m like, well, girl.KJ Dell’AntoniaI can do it faster than that.Casey ScieszkaThis one is five years. But…KJ Dell’AntoniaYeah, yeah, no, it takes, it takes a long time, and it’s hard, and it takes a lot of painful thinking, and yeah, all of those things are true. So now, now that you can look back at this project with hopefully a little bit of distance, and you’re about to be talking about it a lot, I suspect. What do you love most about it?Casey ScieszkaOoh. I love most that these characters feel so real to me still that I sometimes catch myself wondering, like, what they’re doing. You know?KJ Dell’AntoniaThat’s amazing.Casey ScieszkaLike I lived with them, and I just, I’m so excited that I actually, like made—was able to make that for, you know, not just myself, though, that I surely entertained myself in the process. But it is such a humbling dream that this story is now existing in other people’s brains, that these are characters who have felt real to other people as well.KJ Dell’AntoniaWhat, as you look back, what would you say was the hardest part of the process?Casey ScieszkaAside from all of the waiting?!KJ Dell’AntoniaAll of it! Aside from all of it.Casey ScieszkaWhich felt like…KJ Dell’AntoniaYeah I was going to say aside from…Casey ScieszkaIt felt…

Full show notes at the publisher

Write the Book Readers Can’t Stop Recommending (Write Big, Ep 14) Feb 27, 2026

Show notes

In this Write Big episode, Jennie Nash is joined by AJ Harper, author of Write a Must-Read: Craft a Book That Changes Lives—Including Your Own, to talk about a more meaningful way to define success as a writer. AJ shares her concept of writing a “Top Three” book—one that becomes a reader’s personal favorite, the kind they keep forever, recommend constantly, and return to again and again. Together they explore why chasing external metrics like speed, bestseller lists, or book deals can distract from what really matters, and how focusing on writing something truly beloved often leads to those wins anyway. Links from the Pod:

Ep 416: The Art of Helping Writers Do Their Best Work, with AJ Harper

Write a Must-Read, AJ Harper

Love Medicine, Louise Erdrich

The War of Art, Steven Pressfield

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Ep 492: What book format benefits authors most? Feb 20, 2026

Show notes

Hello and welcome to Nerd Corner with Sarina and Jess! I love these episodes because I will never, ever know as much about the publishing industry as Sarina Bowen, and I learn so much from her. This week, she answers a question she got from a listener, paraphrased thusly:

Dear Sarina, I want to support you and your work, so which format of your books do you profit from most?

The fact that we live in a world where any reader is interested in the answer to this question soothes my troubled soul.

So let’s break it down: hardcover, paperback, audio, ebook? What about borrowing from the library? What about subscription services such as Kindle Unlimited?

Here are a few helpful links that expand on the topics we discuss in this episode:

The Top Five Reasons Pre-Orders Matter

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What Finishing a Book Teaches You About Showing Up (Write Big, Ep 13) Feb 13, 2026

Show notes

In this Write Big session, Jennie Nash talks with podcast co-host Sarina Bowen about what it really feels like to finish a book—especially the anxiety and pressure that can come with “finishing energy.” Sarina shares a powerful mindset shift: there is no summit in a writing career. You may reach the end of a draft (or even launch day), but the work doesn’t magically get easier—there’s always another book. The key, she says, is learning to love the hike itself and stay connected to your curiosity so you can keep showing up.

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Quit Laughing at My WOTY It's Not Funny. Jan 30, 2026

Show notes

Our Goals for 2026: Jess is gonna finish a novel.Sarina is going to figure out what she wants a long haul writer career to looks like.KJ is going to write this book as hard as she can and for as long as it takes.Jennie is going to claim her authority in the writing space.Our Words of the Year are …Meanwhile: Fan of Heated Rivalry? You’ll want to read these books by Sarina Bowen!Ready to talk about your own goals and words? COME ON IN. We are here for that!Hey - if you’ve been curious about becoming a book coach, Jennie’d like to invite you to a live training she’s doing on February 4th, at 5pm PST / 8pm EST. She’s going to be talking about how to become the kind of book coach writers love to pay. You can sign up at bookcoaches.com/liveWOTYs … in the episode! If you want to know what was so funny, you’ll have to listen.Transcript Below!If you love us enough that you got this far…SPONSORSHIP MESSAGEHey, it’s Jennie Nash, and if you’ve been curious about becoming a book coach, I’d like to invite you to a live training I’m going to be doing on February 4th, at 5pm PST, which is 8pm EST, and I’m going to be talking about how to become the kind of book coach writers love to pay. You can sign up for that at bookcoaches.com/live. That’s bookcoaches.com/live. (bookcoaches.com/live) I’d love to see you there.EPISODE TRANSCRIPTJennie NashHey everyone, it’s Jennie, and this is the Hashtag AmWriting Podcast, the place where we help you play big in your writing life, love the process, and finish what matters. All four of us are here today to talk about our Word of the Year for 2026 and our goals. This is one of our favorite episodes to do, and we’ve all been kicking our words around, and we’re ready to share them with you. So Sarina, do you want to go first?Sarina BowenOkay!Jennie NashI just know you are kind of ready.KJ Dell’AntoniaRight off the diving board. No throat clearing, no chit chat. Yeah, we’re just alrighty.Sarina BowenAll right, so I’m Sarina, and I write novels, and pretty much that is all I write. So my goals tend to look kind of the same from year to year, but my, but how I feel about them, changes. So in 2026 I plan to write two to three books, and when I do, I will be rolling off of two contracts with two different publishers. So that means that the other part of my 2026 is really asking myself what I want to do next. Because, you know, finishing energy is a really hard thing, but I’ll be like extra super finishing energy here, because I’m finishing a commitment. And, you know, I used to have goals, like, I’m going to write more books. I’m going to write all the books. And I don’t anymore, because there were, there was a while there where I only wrote books, and then last year, I did a really nice job of meeting my goals that I would also go and have more fun and take more vacations. And it worked. I did that. It turns out that planning fun takes a lot of energy and time. Oh my goodness, it was I, you know, I so I was either off having a wild time, or I was like, you know, nailed to my desk, and, yeah, so I need to do a slightly better job of that this year. Although looking at the schedule, it’s a little hard to see how, because I’m spending a big chunk of March and part of April in Australia and Hong Kong, and then...Jennie NashWait you can’t just throw that in and not say why. [laughing]Sarina BowenOh, well, I’m, I’m visiting. I’m doing four reader events in Brisbane, Sydney, Melbourne and Perth.Jennie NashIt’s so exciting, so exciting.Sarina BowenAnd you know, time will tell if accepting this invitation was, in fact, a good idea. When I get home, I will be—it’ll be June, and I will be launching my second book of 2026, which is a romance and so, but, but then, you know, I will have turned in half of what I’m turning in this year, and I will be able to have big thoughts about what I do next. And that is the thing that is going to be hard about this year, not turning in files, but, you know, deciding what does it mean to me? And also a thing that I realized last year, while balancing my busy life is that in this job, there is no summit. It’s not like you climb that big hill and then you stand there and you hear an angel choir, and then you know that the only thing that greets you after writing a big novel is that you will pretty soon, eventually write another one. So you have to enjoy the hike itself. And I am really working on that.Jess LaheyI actually have just—I have just to address what you just mentioned Sarina, I have put in my calendar in June. Since we love to—I happen to love the mid-year check-ins on goals. I put a little note to self, to future Jess to revisit Sarina’s goals at mid-year so that we can talk about maybe what that second half of the year, what comes next, stuff is going to look like. So, expect that to come back around.Sarina BowenOkay, I hope there’s some clarity by then, so I’ll get right on that.Jess LaheyWell, and I would also like to mention that you mentioned, you know, all the work you’re doing and doing fun and stuff like that. You also went back to skating this year, and you, I have loved watching you learn, relearn something fairly new, and gain skills and get determined to like, be able to do that. What’s it called, when you change the side of the blade you’re on? When you turn?Sarina BowenYeah, all that edge work...Jess LaheyIt’s very exciting.Sarina BowenAnd those three turns. Yeah. So that is part of my leave the house and have fun plan, and that has worked out really well. It—when you do something that’s so outside of your usual, like, we could just stipulate by now that I’m pretty good at writing a novel, because I have turned in a number of them and sold a number of them, but I am really not good at skating. So when you take yourself so far out of your element, and you do something that is so foreign to you, you learn, relearn all those weird little tricks about how you learned anything, and the fact that last year I could not do a three turn to save my life, which is where you turn around on one foot. And I tried and I tried and I tried and I tried to trick myself into it. And I’m like, okay, I’ll take off on two feet, but land on one. I just every single thing didn’t work. And then this year, now I can do it. And also, I woke up at four in the morning once and thought I could do a waltz jump tomorrow, and then the next day I did, in fact, just do a waltz jump. And I hadn’t even been thinking about it. It wasn’t even on my list of things I was going to try that week. So learning something really, really new is really just great for your brain and your attitude. And I don’t know what the next thing that I do like that will be, but, yeah, I’m a fan.Jennie NashBut I must reflect back to you that a few years ago, you were, I think the goals had to you were working so hard and just, you know, book to book to book to book and, like, look at you now .You’re going on all these trips, and you’re learning to ice skate, and I know you and KJ are learning Mahjong.KJ Dell’AntoniaMahjong, yes.Jennie NashAnd you write in coffee shops like, you’ve kind of really changed that, that vibe. It’s cool.Sarina BowenI have! I did it right? Like I said, I’m going to have more fun. I’m going to learn to write out of the house. Like I sat in a room and said to you that this was going to happen. And I did, right? But the, but then, but then, writing the actual books, it magically did not get easier. So I am having more fun, but it’s still hard, and that’s how I’m coming to this new realization that, like you know, I need to stop being surprised that the actual job is hard, but it’s just like a piece of the fun that I’m having, and if and I can only write books that I’m probably going to enjoy, because it’s still hard and it still takes a lot of hours.Jennie NashThat’s amazing. I feel compelled to ask you, what are you most enjoying about what you’re writing right now?Sarina BowenWell we are at maximum finishing energy, because I am finishing a revision, which is scary, right? Because then you’re sending it off into the world of telling yourself that it’s done. And I have to say, I have not enjoyed it all that much. This has been one of the more one of the more stressful weeks. But, yeah, I—but there are moments as I look through this manuscript, because I’ve just reached that point where you hate every living word of it, right? Where I read a line and I laugh, and then that’s just a good sign.Jennie NashLike I’m so clever, look at me.Multiple Speakers[all laughing]Jess LaheyI actually just, just for fun. I just dropped—I got to go—I traveled an hour and a half to go so that I could go sit in a coffee shop and work with these guys, because I miss them so much. And I took two pictures of Sarina while she was working there, and in one, she had this look on her face... I just dropped it in our group text just now, where she’s got this look on her face like this is the hardest, worst thing I’ve ever done. And then I also took one of her smiling and looking like her usual happy self. But it was—I love having those two pictures together on my phone, because it’s so representative of the slog. How there are these moments of really having fun and engaging with the book and loving it, and then there’s those moments of editing where you’re trying to just finish it and get all the words in the right order.Sarina BowenYep, it’s, it’s, you know that the push and pull and the trick to liking this job is that when you’re in that trench of I have to be finished with this. I have to love it, and I have to set it free. You have to remember that the other side is out there. That like the drafting happy, I haven’t made any big mistakes yet, I haven’t sealed off all the x’s yet, like that’s waiting for you on the other side of it. You know, if you get too deep in one place or the other, so that you can’t remember, the other one is out there for you. Then, then that’s a trap. It makes the job harder.Jennie NashWell, thank you for that. Jess, do you want to go next?Jess LaheySure! Yeah, so last year, last year was weird. Last year, my, my, I’m going a little bit into what my word was last year; it was ‘amplified’ because it led, it sort of guided a lot of my goals last year, which had to do with just reaching more people, but during the year, during the course of the year, reaching and educating more people on the topics that I feel really strongly about, like mental health wellness, the specifically substance use prevention, as it relates to things like self-efficacy in kids and feelings of competence in kids. I realized sort of part way through the year how much more I was enjoying and feeling engaged when I was talking to the kids, and how much more impactful I felt when I was talking to the kids, and that shouldn’t be surprising. But, if you’re not a speaker, and if you don’t spend your time speaking to adults and kids and especially teens, you should know it takes, you know, maybe three to four times as much energy to talk to the kids as it does to the adults. In fact, yesterday, I was trying to explain to someone why a virtual event to a lot of kids, doesn’t work. I can’t project that much energy through a screen to captivate a big room of kids. It’s just it’s really hard to do. And anyway, so I realized about halfway through the year that I really wanted when I when I thought about the word amplify and expanding on the number of kids that I reach per year, and the depth to which I am able to reach some kids in particular, it comes it comes down to not just people, but just kids specifically. So I talked with my agents, and we’ve agreed that I’m going to try to incorporate more kids this year. That even if it’s more exhausting for me, it’s more fulfilling, and so that’s one of my big goals for this year, is to figure out how—yes, I still have to talk to adults, and I have to help them understand how to talk to their kids about substance use and mental health and how to see, know, love, support the kids you have, and not the kids you wish you had and all that stuff. But when it comes down to it, I have to figure out ways to get in the room with kids more and...KJ Dell’AntoniaYou’re a kid-travert!Jess Lahey[laughing] Apparently.KJ Dell’AntoniaWhich some people get their energy from being with people, and some people get, you know, it takes—that’s extroverts and introverts. So you’re a kid-travert, you get your energy from talking to kids. That’s delightful!Jess LaheyIt’s in the moment. In the moment, it’s much more exhausting. But there was a—I spoke at a school in Los Angeles. It was one of the best days I had in front of kids. And the number of emails I got afterwards explaining why it was meaningful to them. You know, I love when the kids, anytime a kid reaches out, it’s this huge honor, because, you know, I’m, who am I? I’m some adult that comes into their school because their teachers say that, and now their teachers say they have to listen to this bozo. They don’t know who this person is. But over time, I’ve figured out ways to help them trust me a little bit more, even before I get there. Like creating these videos where I introduce myself ahead of time. So I’m trying to figure out all the ways in to getting being a trusted adult, becoming a trusted adult to more and more kids, is something that’s incredibly important to me, because that’s where the great education stuff lies. So that amplify word changed for me over last year, and it’s reflected in this year’s goals as well, which is, get in front of more kids. I track those numbers really carefully. Last year, I was in front of just shy of 10,000 people generally, and a couple of 1000 kids. And I just want to change that ratio a little bit so that it’s have more heavily in the kid direction and less heavily in the adult direction. Just because it’s fun and really interesting and challenging. That’s the other thing is, when you’ve been doing something for a long time, there are some talks I can do in my sleep, because I’ve done them so many times, and I don’t want to do that, like, why would you want to come and spend time with someone who’s asleep in front of you? But you know, they look good and it sounds good, but they’re not totally invested. And I think everybody can feel that. So I’ve had to find ways to change things up, to reevaluate my content from other angles, so that I’m not getting sick of myself, and so that I can be fresh and new and useful to people. So, and then, like, I have small goals, you know, Sarina was just talking about her skating and looking, you know, trying to do something completely new that makes you a little nervous. You know, the beekeeping thing still makes me super nervous. And as I mentioned in another episode, I think Tim saw me emotionally preparing to do something I needed to do with the bees and he said I have never seen you so nervous and so doubting yourself about your ability to do something, and I realized how good that is for me. And so we will see at the end of this winter if my bees actually made it through the winter, and if they did, I’ll have a hive of bees to deal with, and if they don’t, I’ll have to get a new hive. But that’s been really, really good for me. Sarina, did you want to add something?Sarina BowenI have a question.Jess LaheyYes, ma’am.Sarina BowenDo we have a writing goal for this year?Jess LaheyYes, we do. And that’s actually at the bottom of my list, because it’s new. So I’ve been attending this weekly, really interesting virtual Blueprint for a Book Fast Track. What is it? Jumpstart you guys? With Jennie Nash, this really great book coach and founder of Author Accelerator, and KJ Dell’Antonia and I have been actually writing—working on this novel that I’ve been working on for ages and ages and ages and thinking about at a minimum once a week, and I’m going to finish it this year. 100% I’m going to finish it this year. And I’m really grateful to Jennie and KJ, because…

Full show notes at the publisher

How to Take the (long, elegant) Gloves Off and Write Like You Jan 16, 2026

Show notes

Anyone who ever listened to Jenna Blum do interviews on the A Mighty Blaze podcast will not be one bit surprised to hear that we had a great time talking all things writing but most specifically writing BIG—which Jenna has absolutely done with her current book, Murder Your Darlings. Murder Your Darlings is a contemporary thriller and a real departure from Jenna’s very popular historical fiction—a departure that’s totally in keeping with Jenna’s own enthusiastic, passionate personality. As her agent said, her earlier work was elegant and restrained (although still powerful) but in this one Jenna lets herself loose. We had a wonderful time talking about it, and I know you’ll have a great time listening. #AmReadingThe Plot and The Sequel, Jean Hanff Korelitz Last Seen, Christopher CastellaniYou, Caroline KepnesJoin Jenna on tour—she’s absolutely a joy to listen to on writing and probably any other topic! Dates HERE. And do grab Murder Your Darlings—who doesn’t love a tell-all thriller set in this ridiculous industry we all love so much?Hey—if you’re reading this in January 2026, it’s not too late to join our Blueprint Sprint and get in on a rapid-fire roadmap to writing the book you want to write this year (instead of writing 100K words in search of it… ask me how I know!) First Blueprint post below—upgrade your subscription to get started. Episode Transcript Below! SPONSORSHIP MESSAGEHey, this is Jennie. Happy New Year! If you’re a subscriber to the Hashtag AmWriting Podcast, you can join us in our Blueprint Challenge, which is starting on January 12. We’re going to be working on new book ideas, books where we’re stuck, and books that we’re revising, and using the Blueprint framework to help us get unstuck, get clarity, get confidence, and move forward. KJ is leading the charge this time with some write-alongs, some Ask Me Anything sessions, and all kinds of good stuff to help you on your way. I’ll be jumping in as well, and I’ll be cheering you as you get your books into shape and get ready to write forward in 2026. Details are in the show notes, and we’d love to have you join us.EPISODE TRANSCRIPTMultiple SpeakersIs it recording? Now it’s recording—yay. Go ahead. This is the part where I stare blankly at the microphone. I don’t remember what I’m supposed to be doing. All right, let’s start over. Awkward pause. I’m going to rustle some papers. Okay, now—one, two, three.KJ Dell’AntoniaHey, writers, KJ here. I just interviewed Jenna Blum, and any of you who have listened to her when she does the interviews on the A Mighty Blaze Podcast will not be one bit surprised to hear that we had a great time talking all things writing, but most specifically, writing big, which Jenna has absolutely done with her current book, Murder Your Darlings. Murder Your Darlings is a contemporary thriller and a real departure from Jenna’s very popular historical fiction, a departure that is totally in keeping with Jenna’s own enthusiastic, passionate personality. As her own agent said, Jenna’s earlier work was elegant and restrained, although absolutely still powerful, as you know if you’ve read it, but in this one, in Murder Your Darlings, Jenna lets herself loose. We had a wonderful time talking about it, and I think you’re going to have a really good time listening. Jenna, welcome. Thank you so much for joining us for the Hashtag AmWriting Podcast.Jenna BlumYou’re so welcome. I am the one who’s honored to be here. Thanks for having me.KJ Dell’AntoniaI am really excited. So, listeners, as you probably heard in the intro, which I haven’t recorded yet, I asked Jenna to join us because she’s doing a big thing. She’s making a jump into a new genre for her, and I can totally relate, and I suspect many of you can too. Her new book, which is out approximately now, as you hear this, is kill your dollar, Kill your darlings. [intended title: Murder Your Darlings] And it is one of those, like, if somebody wrote a book just for me, it would be this kind of book, or this possibly exact book, which is such a thrill. It’s, you know, that combination of the thing that makes me my buy now list, which is, isn’t a thing like that thing where you’re like, if you tell me the book is about such and such, I’m like, yes, yeah, just, just take my money. So it’s that, plus that really great, commercial, friendly, accessible, like the voice I want to read. It’s not—I mean, I don’t know if any of those adjectives thrilled you—but easy reading is hard writing, and nobody knows that more than me, and you do that very well.Jenna BlumThat is so kind of you, KJ. Thank you. So I’m going to rudely start out by issuing a small correction, but the...KJ Dell’AntoniaOh no.Jenna BlumActually, no, no, it’s fine. It’s Murder Your Darlings. And they’re...KJ Dell’AntoniaOh, okay, sorry.Jenna BlumPopular phrase. And one of the reasons I call the book Murder Your Darlings, as opposed to kill your darlings, which people tend to gravitate to, is that the book is really about writerly appropriation in the biggest way, about story thievery in the biggest possible go big or go home kind of way. And the phrase kill your darlings is itself an appropriation, which I didn’t know until I started writing this. But the original phrase is Murder Your Darlings. It was coined by a gentleman called Sir Arthur Quiller-Couch in 1914, and he was giving a lecture on good writing, and he said, whenever you think you’ve done something exceptionally clever in your manuscript, by all means, put it in, and then go in and take it out: murder your darlings. And then William Faulkner ran with it, and Stephen King ran with it, and it became really popularized. And I thought, how cool to go back to the original in a book about appropriation. So it’s Murder Your Darlings.KJ Dell’AntoniaIt’s also—that’s better. I can’t believe I got it wrong, because it has this great cover with the quill and the blood. And I—it that’s, that’s better. It’s just it, I don’t know, kill your darlings has also become a very glib phrase. So to switch it to Murder Your Darlings kind of makes—kind of gives you that record scratch moment of like, oh, oh wait. Oh! Right? So I like it.Jenna BlumI appreciate that. Thank you. I mean, I myself was thinking, kill your darling, so I love to, sort of like, care what of that phrase, that Murder Your Darlings had a sort of a weightier sound to it. And despite, like, the joy that I had in writing about writing, and I hope all your listeners just like me, I’m—my must order now books are all about writers, about writers about writing, especially fiction about writing. I had so much joy in that, but the book also has some pretty weighty subjects at its heart as well. So I feel like that weightier murder is somehow indicative of...KJ Dell’AntoniaWell, that brings us really well to the next question that I wanted to ask you, which is, what was your intention around this? This is definitely, you—now I think probably we step out with every book, but this is you stepping out and playing big, which is, you know, is a new theme that we’re talking about around here. So what was your intention for Murder Your Darlings? What did you want it to be?Jenna BlumI love that you’re doing the go big or go home theme. I always think that way. I’m not a quiet writer, not probably, not a quiet person.KJ Dell’AntoniaYou’re not really, no, not—that’s not what I would say. Oh, Jenna, she’s so shy and retiring...yeah. Yeah.Jenna BlumSo I had so much joy and so much fun writing Murder Your Darlings, because all I had to do was unpack my life. She’s such a wallflower. My sister saw a photo of me with a megaphone at a—as an activist at a rally, and she’s like, nobody here is surprised. This is what I’ve been living with for all the years. Anyway. So my intent with this was really just to have some fun, honestly. I have been working on historical fiction, and I’m known primarily for historical fiction, and I was working on historical fiction when the idea for Murder Your Darlings came to me, and I felt like I had two books trying to elbow their way through a doorway at the same time. And because I am more known for historical fiction, and my editor had already green lighted that idea, I was very dutifully working along on it—and it was a terrific idea, I have to say, like on paper. It was an idea on paper that should have been good, but it really wasn’t. There was no juice to it. So I kept writing, and then thinking, right, what was the motivation? What did the character actually want in that scene? And then I would realize I had no idea and didn’t care. And so I was thinking about Murder Your Darlings, which is about a female writer—mid career, female writer who falls in love with a stratospherically successful and very charming male writer and then finds out that he may or may not be killing female writers to take their stories, or is it one of the number of women who are stalking him, especially this very persistent stalker named the Rabbit. And so I had this idea kind of elbowing its way into my head, and I thought, I don’t, I don’t know if I’m qualified to write a thriller. I’ve written a thriller. Who am I to do this? And then I read Jean Hanff Korelitz’s The Plot, which is so good, so contemporary, so fresh, so funny, so smart, so everything. And I stalked her. I called her, got her phone number, called her, and said, how was it for you making this pivot, going from quote, literary fiction end quote, to writing a thriller? And she said, I just write what I want to write and let other people market it. You should write what you write. And I thought, Babu, because I had always loved reading about writers. I’ve always wanted to write about writers, and she kind of gave me—well, she literally gave me permission to do it.KJ Dell’AntoniaAnd like you said, it really has some bigger themes around that. Did they come with? Did they come with the idea? Did some of them come with the idea, and some of them had to get pulled in later? Like, how? How did that piece of it play out?Jenna BlumYeah, great question. I am a writer who always knows what her theme is going to be. I would have a mission statement on the board in my study saying, like, here’s what this book is about, and then I hope it reaches the reader through osmosis, as opposed to me being preached. So the plot has to express that idea. But then I am so plot focused when I’m writing and just wanting to get all the blocking down and get this play down so the reader doesn’t get bored that I have to go back through often and shade in the theme and the emotional resonances I hope are there. And one of the very big themes for me in Murder Your Darlings is of codependency, and what makes a smart, successful woman with a stable life, a good community, who’s a teacher, who’s a writer, who has really built her life for herself, fall for somebody who she knows very well may be sketchy AF. It’s like, okay, I’m just going to keep my hand on the hot stove. You know? Why is that? And I feel like, if you know a woman like this, if you were a woman like this, you are a woman like this. I certainly have been this way my whole life, like falling for the sketchy dudes and feeling great shame about it. I thought, I really want to write this book for all of us, or women or men—I should say this is not gender specific.KJ Dell’AntoniaYeah.Jenna BlumOr that person who’s like, don’t open that door, and you open the door anyway.KJ Dell’AntoniaYeah.Jenna BlumWhy?KJ Dell’AntoniaAnd people are like, so many flags, and you’re like, I kind of like flags.Jenna BlumBut he’s... but he’s so cute.KJ Dell’AntoniaHe looks so good in red.Jenna BlumRight? Exactly. And I have to say that the relationship at the center of the book between Sam, the female writer, and William, who’s the male writer, they do have some really rare commonalities too that are hard for Sam to overlook. And she comes from a trauma background, so she can’t trust her own instincts. And so I wanted to, as in all of my novels, work with people who have survived trauma: how they react in the atmosphere and the aftermath, and how their behavior gets kind of torqued or twisted, and sometimes makes it difficult for them to make the healthy decision, which makes...KJ Dell’AntoniaRight!Jenna BlumGood fiction. Good fiction is about people making bad, bad, bad decisions, so...KJ Dell’AntoniaAnd you make him real too. He’s not just bad for the hell of it. You know, it’s not—I— that’s one of the things that is a pet peeve of mine in books, is when you’re like, yeah, that person had really bad parents that really messed them up. But why? Like, yeah. I mean, you can’t have everyone and their parents mess them up. And I would totally do that instantly. That’s my beige flag. Would you like to know how their great, great grandparents screwed everyone up with epigenetics?Jenna BlumIt’s like the poem, right? Is it the Larkin poem? TheyKJ Dell’AntoniaOh, yeah, “They screwed him up,” yeah, yeah. But I always know, like, who screwed them up? And hey, who screwed them up? And who screwed them up?Jenna BlumThat’s a funny thing. Thank you for saying that. So William, and a third of the book is narrated from William’s point of view, and then Sam and the stalker the Rabbit get the other two thirds of the book, and Sam and the Rabbit go back and forth, and William has his own narration at the center of the book. I have to say, I loved writing William. I really did. He’s first person, like, in the guy’s skin. He is really arrogant, like, really narcissistic, and he was, and could never use a, you know, five cent word when a $30,000 word will do. But I really loved writing him, because, as you said, you’re right, like, he doesn’t, he doesn’t mean to be any of those things. And I mean, we all recognize a narcissist, which is such a hot word these days, and I mean, he is a legitimate narcissist, but he doesn’t need to be narcissistic. He just is that way, and he has his reasons that are very clear for being that way. And it wasn’t until—this is when you ask him, before, what did I put in afterwards?—it wasn’t until I was really done writing his first draft, and one of my writer friends said to me, but like, what were his parents like? And I thought, I don’t care. Like, I don’t care what his home life was like. I don’t care about any of that. But when I did go into that room, because I knew I had to, there were things in that room that were a chamber of horrors, that were like, truly grotesque. And I thought, this actually makes sense to help explain why he’s motivated the way he is.KJ Dell’AntoniaAnd why she would be drawn to him. Like, you know, he’s not just—there’s there is more in there. I, you know, not to excuse, not to excuse William. Is he the first character you’ve written that was, that was like that, deeply narcissistic, and in the first person?Jenna BlumThat is a great question. He’s not the first character I’ve written who is narcissistic. In my first novel, Those Who Save Us, there’s a Nazi officer who is deeply narcissistic and also totally unaware of his own qualities, which I guess actually defines a narcissist, like they have...KJ Dell’AntoniaOh yeah, yeah. I think if you know you’re a narcissist, you’re not a narcissist.Jenna BlumRight? Exactly, right, right. Nobody’s going to be like, I’m a narcissist. Who cares? I love being a narcissist. They’re more like the world serves to please me, and if it doesn’t, then the world is wrong. But this is the first I’ve written from the first person, and in fact, this is the first novel I’ve written anything in the first person. So the Rabbit in this book is first person—the stalker—and William is in the first person. Sam is third person. And I haven’t written in first person since graduate school, and when I did, I was kind of soundly spanked for it. And they’re like; there are graduate school scenes in this book as well. And in Murder Your Darlings, the workshop scenes that I love so much, bec…

Full show notes at the publisher

Finding the Ideal Reader: How the Blueprint Shaped a Physician’s Next Project (Bonus Episode) Jan 10, 2026

Show notes

This is a Bonus Episode, which means that it doesn’t have any of the beautiful audio engineering from our amazing team.

In this Bonus Episode, Jennie Nash talks with physician-writer Carolyn Roy Bornstein about how one Blueprint exercise brought clarity to a long-stalled book project. By identifying a single ideal reader, Carolyn was able to see exactly who she was writing for and shape A Prescription for Burnout with purpose and focus.

They discuss why audience clarity matters and how the Blueprint can unlock momentum at the right moment in the writing process.

Our guest, Carolyn Roy Bornstein, MD is a retired pediatrician, narrative medicine teacher, and author whose work explores the healing power of reflective writing. Her forthcoming book, A Prescription for Burnout: Restorative Writing for Healthcare Professionals, will be published by Johns Hopkins University Press. Carolyn draws on her clinical experience, her own journey through trauma and recovery, and her work with healthcare trainees to help writers—and caregivers—find voice, purpose, and resilience through the written word.

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