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    Latest Episodes:
    Writing And Creativity In Midlife With Jordan Rosenfeld Sep 30, 2026
    Show notes

    How can you keep writing when midlife brings grief, exhaustion, rage, and a creativity that seems to have dried up? How can you accelerate if midlife brings you more energy? And how can you market your books authentically when your energy and your interests have changed? Jordan Rosenfeld shares what she learned from writing through her own pause. In the intro, how to write short stories [Novel Marketing Podcast]; Bestsellers: Excavating the Tools and Techniques of Successful Novels – Kristen Tate. Plus, Hugh Howey: The AI Bubble Explained; NEO writing software; Will the AI Bubble Destroy our Retirement? By Mr Money Mustache; Future Vision X Prize winner, The Gifted; and my Cathedral Zero trailer; How to Market a Book Fourth Edition survey. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jordan Rosenfeld is the author of psychological suspense novels and books on writing craft, as well as an editor and writing coach. Her latest book is Writing Through the Pause: Mining Midlife for Powerful Writing. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes What midlife is, and why so many changes seem to arrive at once Disenfranchised grief, empty nest, perimenopause and the losses nobody talks about A fallow period is a germinating period, not a dead one Don't isolate, try something new, and learn to write as play How to market your books in a way that reflects who you are at your core Vulnerability, curation and how much of yourself to share online You can find Jordan at JordanRosenfeld.net. Transcript of the interview with Jordan Rosenfeld Jo: Jordan Rosenfeld is the author of psychological suspense novels and books on writing craft, as well as an editor and writing coach. Her latest book is Writing Through the Pause: Mining Midlife for Powerful Writing. So welcome to the show, Jordan. Jordan: Thank you so much. I'm so excited to be here. Jo: Yes, this is an excellent topic. First up— Tell us a bit more about you and how you got into writing and publishing. Jordan: Absolutely. I'm really one of those annoying writers who's been writing all my life since I was a little girl, and it was all I really wanted to be or do. I'm a Gen X-er, so of course we grew up before the internet, and I read for pleasure and escape. So I was really dogged in figuring out how does one go about becoming a writer, because it was the only thing I wanted to do. I remember going to the library and checking out—eventually, later in my 20s—this massive tome, I forget what it was called. Like the Writer's Guide to Publishing, one of those big old things that has all of the editors, agents and stuff. It was really just figuring out how to do it and sending snail mail queries and going to writing conferences. So I think I was just dog on a bone with it, really, since I was young. Like anything, once you get your toe in, it's a little easier to keep publishing. I laugh because the first traditionally published book of mine was actually a book on writing craft before I had published any of my novels. So that felt strange, but I wasn't complaining at the same time. Jo: So when was that, and what has your career looked like so far? Jordan: So I published Make a Scene: How to Craft—oh my gosh, I'm forgetting my own subtitle—Crafting Powerful Scenes in 2005, which means I pitched it in 2003. That was the beginning of my era as a writing craft teacher as well. I was right out of graduate school at that point. Then eventually I published my first novel. When I say my first novel, I just mean the first one that hit the world. It wasn't my first one written, but Forged in Grace. Then I eventually started putting out a writing craft guide every couple of years, just thanks to the wonderful people at Writer's Digest. I just found a niche early on. Sometimes that just happens. I also like to point out that I was pitching books at a time before this whole concept of platform was a big deal. So you could be just any old body without a big following, because we didn't really have social media. I did write for the magazine, the Writer's Digest magazine, which I think gave me a leg up in the book part. So writing craft became my niche, and then I always have really found success with small press for my novels. So my current publisher is called Sibylline Press, and they are a publisher of women 50 and over, actually. That's their whole thing. Jo: Oh, okay. That's interesting. Well, we're going to come back to the book in a minute, but just in terms of that journey, it's quite interesting. You mentioned platform there, that changed, and Writer's Digest publishing themselves got into trouble, didn't they? They got bought by a different publisher. Jordan: Yep. Jo: So you've been through some changes. Well, we're going to be talking about change in general, but changes in the industry have also happened. So how have you navigated all that change over time? Obviously a lot of listeners to this show are independent authors as well, so thoughts on how things have changed in the industry. Jordan: Well, what's interesting is Writer's Digest actually went bankrupt. They got bought by another company who just mismanaged it, called F+W Media, and they went bankrupt. So a lot of us authors were terrified that all of our books were going to just revert. I mean, it was fine to have the rights back, but we didn't want to republish ourselves at that time. So they did end up getting bought by Penguin Random House, which means our books are still alive in that traditional way. So Forged in Grace, my first novel, I was in the process of querying agents, and then a friend of mine and I decided to start this thing. This was 2012, '13, this independent publishing collective. So we were going to act like a publisher but publish books. Basically it was people doing work trade. We had someone who did cover design and someone who could do layout and marketing and all these things, and we came together. So I did publish my novel that way, and actually it was the time when Amazon was still quite favourable to indie authors. You could really make a decent amount of money. Then my partner and I just… It didn't last. There were a lot of different reasons why we didn't, and it has nothing to do with the idea, which was totally working. I have really seen how the capitalist machine seems to continually come in and eat away at whatever profits there are for independent authors. I've seen authors have to become marketers. We went from being people who could write, and then someone else would handle that, to having all of us have to do it ourselves, and now content creators. So I think a lot of us feel really exhausted, which actually is not unrelated to the book of mine that's coming out. So I worry. Of course, we haven't even talked about AI, if we even want to, but I do worry a little bit about the future of publishing, but I'm not a pessimist in the sense that I don't think it's going away. Jo: Oh, no, absolutely, I agree. Changes, I think, are what this is all about. Well, let's get into the book then. Let's start with a definition. So what are you defining as midlife, and why is this such a change for many people? Jordan: It's a very buzzword, midlife. So I will say it's a mental state as much as an age, because a lot of people start calling themselves or saying they're in midlife in their 30s, right? So it's not a hard age, even though you might say it's in your 40s or 50s. For me, it's really the point at which I find people start to realise that they have less time ahead of them than behind. You might find yourself maybe a little past what I'm calling the striving stage of life, where you're focused on building career and identity and family, and all of that. It also seems to coincide for people with multiple challenges at once. So maybe you're dealing with health issues or perimenopause or aging, and maybe you're helping your parents or your fledging teenage children, if you have children. So there's a lot going on for people, it seems, at this stage of life, and I've interviewed 28 people for my book who range in age from 37 to 81. So there is definitely a wide range of age. Jo: Yes, I think that's interesting. I almost wonder whether it is a realisation of changes. I mean, again, we'll just say menopause because I feel like for me, that's when it really kicked in, was there was a health hormonal shift, and I started feeling very different. I started questioning a lot of things, and so much came up for me that I almost felt was out of my control. I think that was the biggest thing that happened for me, was realising, “This is out of my control,” and I don't particularly like that. It felt like there was a lot of grief at midlife, and you mentioned there parents. Obviously some people's parents are dying, children are leaving. Is grief a big part of this, do you think? Jordan: Absolutely, and I like what you said about it often is a stage where people feel out of control of things, their bodies, their life circumstances. There's also a little bit of a, did I do everything I wanted? What will the next X years of my life look like, if they can get there? Grief is a huge part of the transition, and I think grief is interesting. Right now, I'm in empty nest. I just fledged my son a month ago, and it did hit me harder than I thought it would, even preparing. So there's these kinds of grief we don't really give cultural credence to. You can call them disenfranchised grief, where nobody died, and in fact, the things happening could be conceived as positive if you let them. But a child moving out of the house and you having to completely rearrange your identity, there's a grief involved in that. Or not seeing that child that you love so much. Aging, dealing with aging parents in a healthcare system that doesn't offer supports, while you're trying to be a creative person. Or the perimenopause thing is huge for a lot of people, because a lot of people were not told anything about this transition, and it can last 10 to 15 years for many people, and radically change your mind, your mental energy, your capacity, your executive functioning. It's huge. So I definitely started writing this when that was happening to me, the perimenopause transition, but I also like it. As a creative person, I like the idea of a pause for anyone being a number of things that can happen in midlife. Jo: Yes, and I think that's really important because, as women, that's one thing, but men go through different things, and people who identify in different ways go through different things. So we're not saying that it has to be specifically around menopause at midlife. I think there are lots of different ways that this can show up, and of course, this is a show for writers. You're writing the book for writers. So in talking about creativity, let's talk first about if people find that their creativity has just dried up, that it's almost died. How can we learn to accept a fallow time, or perhaps accept and embrace a time of not plenty? Jordan: That's a great question. First of all, I really looked into the idea of what fallow means, and you realise that a fallow period is not a dead period, it's a germinating period. It's necessary, right, for crops to come back. So I really love this metaphor of not seeing it as dead or gone, but as germinating. I took a lot of relief and inspiration from this, it only exists as an audiobook, by Clarissa Pinkola Estés. She's the one who wrote Women Who Run With the Wolves, but she wrote a book called The Creative Fire, and she describes creativity as an infinite creative source that is never gone, but what happens is our access to it gets blocked. So when I conceive of a fallow period as something in me is blocking access to my creativity, not that the creativity is gone, that was the first key for me. I also recommend that people work backwards and ask themselves, what life experiences, frustrations, disappointments, what burdens have you been dealing with? There's usually a path back to what is preventing you from having access. And I really find the first thing is you need to apply gentleness and patience with yourself, and second, honestly, it sounds silly, but really reframing this idea that your creativity is not gone. It's not dead. It's germinating. My therapist gave me the term rooting. She's like, “Oh, you're rooting,” like you're putting down roots, but you don't know what, if anything, is going to flower or bloom. I was like, “Oh, I'm rooting. I'm not dead.” So I think it's a lot of reframing what we can do about it, rather than just conceive it. Jo: Yes, I remember listening to that audiobook. I remember her voice saying la chispa. Do you remember? La chispa. I don't know if that means fire, but I remember it. I've listened to that, and you brought it up again. La chispa, yes. I feel like that Women Who Run With the Wolves is just such an excellent book that we come back to at different points in our lives. On other things, I feel like sometimes—you mentioned the word exhausted earlier—sometimes people are just exhausted. You are just tired. You're fatigued, and perhaps you just need a break. It doesn't need to be anything more than that, right? You can just say, “I've got a lot going on. Maybe I just need to not do anything.” Jordan: Absolutely. Actually, I find a lot of creative people are very driven in different ways, not necessarily ambition-wise, but driven to create or driven to express themselves. So sometimes that drive energy persists even when you don't have the energy for it. So then we go into all this mental stuff about, “Well, something must be bad and wrong and broken,” rather than, “Oh, maybe I do need to be resting or conserving energy for myself right now.” I think really it's having that confidence or trust that it's going to come back that is hard for a lot of us at midlife. We really think it's gone. I do think that this is a stage of life where really getting support is necessary, whatever that looks like. I understand that things like therapy are not always accessible to everyone for cost reasons or time, so maybe it's your best friend or someone you see at the coffee shop or the gym or partner, anything. Or it's two people who are both feeling creatively stuck and frustrated who say, “We're just going to get together once a week and see what happens,” talk, laugh, that kind of thing. I just want to add that I really feel that if we're relying on our usual, typical, or former ways of doing things at midlife, they often fail us. It often requires a shift. Jo: Yes, I also think that our mentors in books—I mean, you've mentioned there the Clarissa one, and of course your own book. I found when I needed to withdraw, I was reading a lot of books on the power of the older woman. Reclaiming the crone. I mean, I love this reclaiming language. The hag. There's these words that we could reclaim around becoming older, and the cultures t…

    Full show notes at the publisher

    Time Freedom: Rethink Your Work And Money With Brian Herriot Sep 23, 2026
    Show notes

    How can you design your year around seasons of work and rest instead of waiting for financial freedom? And how do you build the money confidence to take extended time off when you come from a scarcity mindset? Brian Herriot shares his ideas on time freedom after a career as a financial advisor and consultant. In the intro, The end of the spectrum [Seth Godin, Akimbo]; List of money books; Lessons learned from 15 years as a full-time author entrepreneur; My author timeline since 2005; Producing AI-narrated audiobooks with Simon Patrick. Plus, please do my short How to Market a Book survey (by 7 Oct); and here's my Cathedral Zero Trailer. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brian Herriot is a financial advisor, professional speaker, and the author of Time Freedom: Rethink Your Work and Money to Create a Life You Love Now. He's also the host of The Time Freedom Podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing, speaking and podcasting can build authority without social media What time freedom is, and how it differs from work-life balance and financial freedom How to design your year around seasons of work and rest The three money personalities: minimiser, manager and maker How to build flexibility into your work whether employed or self-employed How a book that leaves nothing out can be the foundation of a business You can find Brian at timefreedom.life. Transcript of the interview with Brian Herriot Jo: Brian Herriot is a financial advisor, professional speaker, and the author of Time Freedom: Rethink Your Work and Money to Create a Life You Love Now. He's also the host of The Time Freedom Podcast. So welcome to the show, Brian. Brian: Thank you so much for having me. Jo: Yes, this is a great topic. First up— Tell us a bit more about you and how you got into writing and publishing. Brian: I am a financial advisor, and now I am an author officially. I found writing just short of three years ago. I was actually doing some research on behalf of my wife, because she's always been an incredible writer, in the fiction side of the world. So I was researching different writing programmes and things like that, and came across one that I thought, “Hmm, this is for nonfiction, and boy, it sounds very interesting. I think it's something maybe I need to do.” The reason why I was looking at all, even for myself, is I was transitioning into a new line of work, and it was work where you needed to develop some authority and visibility. Everything everybody was telling me was that I needed to do a lot of social media, which I did not want to do. I forget where I heard it, but they're like, “Or you could do the author speaking thing.” And I thought, “Ooh, that sounds a lot better.” So that's the path that I ended up on. Jo: Interesting. Can you tell us what that different path you were looking at was? Brian: Well, a lot of what you see, at least online, if you're to develop a personal brand and try to attract business—in this case into my financial advisory firm—everyone says, “Well, you need to develop an online presence.” In the business world from a long time ago, I had used LinkedIn, but not for anything like developing a personal brand. So then all the advice started turning to, “Oh, well then you need to get onto Instagram and TikTok.” I don't know, I've always viewed all that scrolling as a waste of time, and I'd rather put my mind towards something more productive. So I was just so apprehensive to try and get into that space, that I just kept putting it off and putting it off and putting it off until I heard a podcast. I've always listened to lots of podcasts, and I heard a podcast that said, “Well, instead of developing authority that way, the other path that you could take would be through writing.” Because it's obviously longer form, you can put your thinking into it. Then that can lead to help getting into speaking as well. Between those two you can develop some of the same authority that you could if you went the social media route. There was also the podcasting part, which I do love, and that's been one of the most fun things I've been doing lately. So I do podcasting, writing and speaking instead of social media. Jo: I love that, and I know a lot of people listening love that too. I don't think this is an age thing, I think this is an aptitude for short-form video thing. I'm the same as you. I'm not really into the short-form video. For people listening, this is an audio-only podcast partly because I don't want to do video. Brian: And that's beautiful. That's the beauty of working on your terms, right? Which we'll talk a lot about. Jo: Yes, exactly. So I love that from the beginning you were like, “No, I'm going to go the long-form route and reach people that way,” because you absolutely are. I personally would always rather read a book than watch a whole load of snippets or video online to learn about this kind of topic. So let's get into the book. Let's start with that concept of time freedom. What is time freedom, and how can we change our mindset to believe that it's even possible? Because it feels like we're working harder than ever. Brian: The way that I like to explain this is first by discussing what time freedom is not, because of how it fits. And I have this right up front in the book. There's this whole concept of work-life balance, right? And work-life balance to me, at least, coming from the professional and the employed worlds, is that you're just stealing an hour during the day here to then make it up later in the night. Sftentimes, at least when I was living with work-life balance, I was probably more busy than I even was if I would've just worked straight from 8:00 to 5:00. It's very week by week focused, day by day focused, and that is not time freedom. On the other side is this idea of financial freedom, which time freedom also is not in my mind. Financial freedom is where, I mean, the simplest thing is you're either retired or you're independently wealthy or in some other way you do not have to work anymore. So you've got this absolute freedom, which for me is boring, because I get a lot of joy from the work that I do. So in the middle is the idea, I think, of time freedom, where you do still have to work, but you're able to design work in a way that works for you. So you can do it on your terms. There's a lot of choice. There's flexibility if you want it, and all of those things. I think that somebody that optimises for time freedom looks at their year and says, “This is how I want my year to go.” There's a seasonality to it. In my personal experience, I do most of my work work, the work that I need to do to get paid and live, in what would be the equivalent of the school year, because my wife and I have a son. He's a sophomore in high school, and that's just the way that our life is lining up right now. Then during the summer, we're fortunate enough to have this not so great cabin on a beautiful lake back where we both grew up. And in the last five years, we've designed our life so that we can go back there and live a different season during the summer. I've always loved summer, and during that time, that's when we rest and relax, and we water-ski, and we fish, and we do all the fun things that you could do at a cabin. Then also, there's this time when you're starting to think bigger or differently or make creative connections about things in the work that you do. I find it really rejuvenating, so that when I come back in the quote-unquote school year, then I can get back to work and do some really interesting things. So the person who pursues time freedom is really optimising their life around this freedom and flexibility. Maybe they're working longer and later into life, but they're doing it in a way that works for them. They're not necessarily optimising to steal that extra hour that day, or optimising for wealth, which would be the financial freedom path. Jo: Yes, I find this very interesting. I like that it's not financial freedom because I'm an investor, as I mentioned to you, and many of us are. But that tends to take more time. So if you're aiming for financial freedom, especially if you start investing later in life, you're not going to get that at 45 or 50 or maybe even 60. So defining this as separate is really good, because you're saying, “Well, you can start changing things now, and yes, you might have to work a bit longer, but if you love your work, it's not a problem.” I want to come back to this idea of seasonality and planning your year around this seasonality idea. How does that work with the potential of other people's timelines or other people's possibilities, and serendipity? I have some plans, but then, like this year, this thing came up. It was just a very intuitive thing and has changed the next few months in a completely different direction and blown all my plans out the water. So how do you balance the planned seasonality with serendipity? Brian: Well, first what I want to mention is, if you can figure out a way to organise your year so that you have these extended periods of time off, that's a wonderful thing, and it's not something that I think you can do with a snap of the fingers. When I had this realisation that I even wanted to do this, of course it wasn't even me that came up with it, it was my wife. This was during a time when the stock market had crashed, and I was suggesting to her that we were not going to be financially free any time soon. When she asked me what financial freedom looked like to me, I said that I still had wanted to work, just more flexibly, and she said, “Well, let's do it now,” right? So back to my point, we couldn't do it now. We had to get the money confidence to be able to basically figure out how could you work for nine months and have that support 12 months of living. So it's not immediate, but once you get there, the way that I have looked at it compared to serendipity is, if I can structure the work that I do, and again, it's so dependent on the type of work that your listener does do, right? In my particular case, when I was able to do this, I was doing independent consulting projects. So I was able to line up projects that would never overlap in the summer. Sometimes they would go into June because it had to, right? But I did the best that I could and tried to be as flexible as it was. Then when I had the time, then I was able to do whatever came up during that period of time. Usually it started as just taking a break, resting and not doing so much work. But by the end of those three months, you really start to want to get back into things. I think you do have to just go with what your body's telling you and what your mind is telling you. I don't know if that answers your specific question, but when you say something happens, right, and you want to take advantage of that opportunity, you've got to do it, right? I think flexibility is probably the value that comes through the most in the book. Even when you think you've figured it out and you finally got that perfect seasonal year, well, something will come up and happen. I think part of what time freedom is, is being able to take advantage of the opportunity when it comes up. Jo: Yes, being able to choose. That's the key point. I mean, I'm in a situation like you where I run an independent business, so I do get to choose. It's just funny because I read this and I'm like, I do have time freedom, but I fill my time completely. I do have enough time, but I fill it with more and more creative projects, and I'm not very good at stopping. So while I do have flexibility, I also have a very full calendar. Long-term listeners will know I've asked this of other people as well, and I was very interested that you took a transformative sabbatical in 2023. This is something I keep coming towards and then backing away from. Can you tell us a bit more about that [sabbatical]? What was that, and how did you manage that? Brian: My wife and I took a trip in, I think it was 2015 or so. We went to Italy for just two weeks. I mean, you could easily spend two years, I feel, in Italy and still feel like you missed out on things. But our vacation was so packed. It was very typical of the American vacation, I would say. I remember coming back from that vacation going, “You know, I'm more exhausted now than I was when we left.” So we always wanted to figure out a way to do some slower travel. The way that it worked out, after we had our revelation about how we wanted to design our lives, was that we were going to take what ended up being four weeks. So I knew that I was going to have my first fully free summer off in 2023, and we decided to purposely go slow, and we travelled in and around Portugal for four weeks. It's funny, on the flight back when we were going through customs, the gentleman asked how long we'd been in Portugal, and we said, “Four weeks.” He's like, “What did you do for that?” Like, what did you do? Jo: I love Portugal, by the way. It's great. Brian: Lovely. “Why were you here for so long?” But the beauty of it was, if we had a day when we weren't feeling up to going to see something, we just didn't. It was wonderful. That was just a wonderful experience. We were able to line it up so that we met other friends, so we almost had a vacation within a vacation. We had an au pair that we hadn't seen for years who flew over from France and met us. It was just, I imagine, very not typical of the American work lifestyle that I'm familiar with. It was just anything but that, and it was just wonderful. It really pulled our whole family out of the conventional way of thinking, and that was incredible for us, and really then triggered how we've spent the last few years of our lives. We haven't had that same long trip yet. Part of it has to do with now our son's in high school and he needs to be here at home around his friends. But he'll be off to college soon and then we can go do it again. Jo: Yes, it's so interesting, isn't it? Sometimes you have to really step away from your normal life and the grind of it in order to think differently. It's quite funny because as a Brit and a European myself— I actually find coming over to America is a way to almost change my mindset. So it's often just going into a different culture, perhaps. Brian: Yes, absolutely. I think part of this whole living with time freedom aspect for me is just leading a more interesting life. I owe this really to my wife. I think I always, through schooling and coming out of college, I just almost had these blinders on, like, well, you're supposed to just get to work and do your work, and this is what you do. She's the one who's always asked me, why are we doing this? Why could we not experience something a little bit different? And that's what makes for an interesting life. Jo: Yes, and also from what you've said, you're not spending up big time. You don't sound like you're having extravagant times at the lake or when you're travelling. So I often think that people feel like you have to have so much…

    Full show notes at the publisher

    Reclaiming Your Mind: How To Teach Yourself Anything With J. Daniel Sawyer Sep 16, 2026
    Show notes

    How can you teach yourself anything, even when it challenges the way you see the world? And how can you organise what you learn so it turns into books your readers will find? J. Daniel Sawyer shares his self-education toolkit after decades as a largely self-taught author. In the intro, Spotify for Authors has expanded AI-assisted creation of audiobooks [Spotify]; Who is Narrating the Future? [Publishing Perspectives; 9 ways AI will disrupt authors and publishing from 2019]; Author Voice, Creativity, and Building a Career as an Intuitive Author-Entrepreneur [How Women Write]; A fallow season [Systems and Soul]; How to Write, Publish, and Market Short Stories – Joanna Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it’s delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book is Reclaiming Your Mind: An Autodidact's Bible. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes What is an autodidact, and why school doesn't teach you how to learn How to triage information in a world of way too much How to recognise fear in your body and turn it into excitement for learning Sandboxing dangerous ideas so you can learn without threatening your worldview How to organise research and check quotes when writing nonfiction Why you should never publish a book dead You can find Dan at JDSawyer.net, and The Autodidact's Bible is out now on Kickstarter. Transcript of the interview with J. Daniel Sawyer Jo: J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book is Reclaiming Your Mind: An Autodidact's Bible. So welcome back to the show, Dan. Dan: Hello, Joanna. It's great to be back. Jo: Yes, indeed. You were only on the show a few months ago, which is rare I have somebody twice in the same year, so that is quite exciting. We talked about voice mastery last time, very different to the topic of today. But because we did talk a bit more about your background last time, we're going to jump straight into the book. So what is an autodidact, and why write a book on it? Dan: Well, an autodidact is someone who teaches themselves things rather than taking a course. It's not incompatible with being taught by others, of course, but there's a set of skills for being able to pick up new information, new disciplines, new hobbies, whatnot, that's really useful to have. I wrote the book because I was mentoring a friend's kid through high school. They weren't teaching her anything, and she was having a hell of a time figuring out how to get an education in a school that was just not interested in providing one. The process of the conversations over the course of a year forced me to surface all of the tools that I had developed, starting as a child, that allow me to pick up all of those disciplines you were talking about before, plus blacksmithing and academics and other stuff like that. While I have had access to a lot of amazing teachers in my life, I'm largely self-taught, and have become the world expert on a couple of topics as a result. I realised that the tools that you need to teach yourself and the tools that you get in school no longer overlap very much, at least in the US. The old style of classical education, and then the middling style of early school education, both gave you those tools so that when you left school, you were able to continue through the world growing. Nobody does that anymore, so I realised I needed to write a book about all this stuff while it was fresh in my mind, so I did. Jo: I love that. I don't know if it always was like that for some people, too. We all know now more about neurodivergence. Back in the day, when you and I went to school, that wasn't really talked about. It was like if you couldn't learn stuff in the way that it was thrust at you, then you were just dumb, maybe. Dan: Well, what you and I got in school was the very late end of the German model. The German model of education is what arose in the industrial era, and its job is to create good, obedient workers, not necessarily to create independent citizens who can think for themselves and who can move through a world that's changing and learn things. That kind of education came from an older tradition, but it wasn't well suited to pulling people out of the hinterlands and putting them in the factories in a way that they could understand what they were supposed to be doing. So the Germans developed a regimented system that was built around memorisation exclusively, rather than processing. Memorisation and repetition. Whereas a more classical approach would have you do memorisation as part of repetition, processing, evaluation, and creativity. So when you go to school, you get some of the toolkit you need, but not all of it. Jo: Yes, and then I think some people were just so bashed over the head with stuff that they didn't enjoy the process of learning, and maybe just moved away from it now. I want to come back on something you said there, that it didn't enable the independence, the thinking for yourself. We're living in this really weird time now where we're almost in a splintered world where you can find information on anything you want, but a lot of people are finding information, say, on TikTok or in AI-generated books with no rigorous fact-checking. So how can you think for yourself in a world where there's almost way too much now? Dan: Well, one of the most foundational skills of thinking is information triage. The world has always been full of unreliable information, if for no other reason than the state of the art in any given field at any given time is guaranteed to be about 80% wrong. So even if you're being very careful about only hewing to the most accepted body of facts, facts change over time, partly as we learn more and partly as the world changes underneath us. Thinking is different than knowing. Thinking is the ability to evaluate the information you're coming into contact with and figure out what's likely to be useful, and then to check yourself based on what you are more inclined to believe because of the way that you're made up emotionally. It's being able to curb your impulses with an error-checking layer so that you don't get sucked down into a very nasty rabbit hole, which everybody's prone to on one front or another. So that explains the how and why, but the what is things like knowing your basic logic, knowing the informal logical fallacies that everybody's prone to, things like the bandwagon fallacy. We're partly herd animals. We tend to want to join a group for protection and identity. So if we're in a group that believes a certain thing, we're likely to believe it out of fashion, which is great for group solidarity. It's not so great for actually knowing if what you think you know is correct. I've got a whole section of the book devoted to the top 30 or 40 most common informal reasoning fallacies. Knowing how to do basic critical reasoning is one of the things you have to do if you're going to be learning in a way that's useful to you. Then of course, there's another reasoning kit, which is the non-rational reasoning kit, which I also talk about. That's something that you and I as fiction authors use all the time. Jo: Explain more about that [non-rational reasoning kit] then, because people might not know what that is. Dan: All right. So rational reasoning involves logic. If X is true and Y is true, then Z must also be true. That's basic deduction. It basically lets you figure out what's implicit in the body of knowledge you already know. Then subsidiary to that is induction, which is, if X is true and Y is true, what might also be true that could explain X and Y? That's the scientific method. It's less reliable than deduction, but it actually grows your knowledge rather than just revealing it. Non-rational reasoning is things like reasoning through analogy, reasoning through metaphor, reasoning through intuition. These are all reasoning modes that allow you to bring something foreign into your understanding, or to deepen your understanding of something you're already familiar with, in a way that incorporates not just logical propositions, but also emotional truth and relational truth and things like that. Frequently it can generate things you can then subject to logical evaluation and pull new information about the world out of. A really good example of where this happens in science is in visionary experiences. The periodic table, for example, came out of someone's dream. Now, the fact he dreamed it doesn't mean it's true, but what happened while he was dreaming is he had a non-rational reasoning chain that brought him this vision, which he then brought out into the real world and started doing experiments on to see if it would work, and it did. Jo: In that case, yes, I can picture the periodic table, and I often see images of things that help me organise information. So that to me makes sense in terms of somebody who had certain amounts of knowledge, who had some kind of picture in their brain and then was able to prove that. I wanted to circle back. You were talking about critical things, rational things. You mentioned logic, and you did briefly mention emotion and intuition. Coming back to where we are at this point in history, so much emotion is being triggered through the media, whether that's social media or traditional media or whatever, that all of those logical, reasoned things can be almost triaged immediately by a big emotional response to something. So how can we understand that that emotional response perhaps has to be part of the triage? Dan: Well, simply by stating it outright. What you just said is exactly correct. I've got a model in the book where I talk about the difference between feelings and emotions. Feelings, in this model, are your interpretive layer. That's, I feel angry or sad or excited or depressed or whatnot. Those are your feelings. The emotions are the base physiological states that those feelings are laying over. So elevated heart rate, increased skin conductance, things like that are associated with any excitable state, like anger, sexual arousal, anticipation, fear, that kind of thing. Then depressed heart rate and whatnot, those are associated with depression, relaxation, and a whole bunch of other things. Learning to recognise the base physiological layer within yourself that's being stimulated allows you a certain amount of freedom about interpreting that base physiological state. That can help you separate your reaction to your own physiological state from your rational evaluation of what's going on around you. One of the things that our world runs on right now is fear, and there's reasons for this. If you read Edward Bernays' Propaganda, he lays it all out. Fear shifts your mind into a survival mode. You're less likely to take time to think through things. You're more likely to be easily steered because, as far as your physiology knows, there's an active threat to you, and you've got to take care of that. You've got to get away from it. If you stimulate fear in somebody, you can direct who they hate, who they love, who they trust. Very, very useful for anyone who wants to build a cult or sell a product or get elected. If you learn to recognise in yourself that the physiological state associated with fear is the same one associated with excitement over something new, then you can train yourself, to a certain extent, and it's a learned skill, to do an end run around the fear part and concentrate on the excitement. Then you can deal with whatever it is that's stimulating you in the way that you would a new piece of information, a new bit of learning, a new adventure. Instead of fear, which closes you down, adventure opens you up, and that's a much better state to engage in learning and exploration than fear is. Jo: When you said, “That opens you up,” this is exactly what I look for, what is expansive for me. I often reflect on this. When do I feel expansive, and when do I feel like I'm being reduced? When do I feel like I'm hunkered down? When I'm working with AI tools, I feel expansive, I feel more creative, I feel excited. I feel all these things where I just see so many possibilities, and the horizon is off out there in the distance. Yet I know other people, some people listening, will feel that that crushes them, that even mentioning it just makes them reduce into themselves and shrink because of fear, I guess. I also think that a lot of people are feeling those things because they haven't learnt enough perhaps. They are just responding to emotions. So how can we change those things so we're more open to learning? Dan: Well, one of the things you run into with creative types is we've all got something weird in our background that makes us do this. We're not just inclined to be creative, because you can meet welders and electricians who are very creative people. They just apply their creativity in a limited domain. People who go into the arts tend to be either people who grew up in incredibly open conditions, or people who grew up in incredibly closed conditions and had to fight against them. People who grow up in closed conditions and fight against them tend to be a little better at sticking around for the long haul of an arts career, which can be punishing financially and emotionally. One of the reasons they can stick around is that they had a lot of practice in sticking around through horrible situations when they were younger. So they're going to have a negative bias when they come up against things that they don't understand. If you have a negative bias with something you don't understand and it turns out to be wrong, you're not going to lose very much. But if you have a negative bias when you come up against something you understand and it turns out to be right, you're going to survive that thing. Whereas a more open person might just walk into the jaws of the shark, right? To change that and make your experience better, and give you access to all the advantages that the person who's got a more open temperament has, you've got to find a way to make it safe to experiment with the dangerous thing. For every dangerous thing, and probably for everyone who's encountering it, it's going to be a little bit different. With AI, people are worried about the market eroding to the point where nobody cares about human creativity anymore. In fact, my first publishable short story, which is called We Create Worlds, was actually about a novelist trying to outwrite the AI novels. It's become weird. Jo: What year did you write that in? Dan: That was in 1999. Jo: Awesome. Dan: It's still a great short story. I did do it in podcast form, which you can find on my website at jdsawyer.net, and it's also in ebook on Amazon, and it's part of the Sculpting God short story collection. But the fear is that humanity gets crowded out of the market in the face of the relentle…

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    What Machines Can’t Replace: Why AI Makes Us More Human With Anna McPhee Sep 09, 2026
    Show notes

    How can you use AI to research, edit and handle admin and marketing tasks while still writing every single word yourself? How can you double down on being human and reach readers on a personal level? Anna McPhee shares her perspective as a software engineer, author and creative technologist. In the intro, How to Write, Publish, and Market Short Stories out now. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn Anna McPhee is an author, software engineer, professional speaker, and creative technologist. Her latest book is What Machines Can't Replace: Why AI Makes Us More Human. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing code is creative work, and what it shares with writing books How AI changed Anna's job as a software engineer without taking her employment The difference between AI assistance and generation How to use custom skills for editing reports, research and repeatable tasks Why the rise of AI makes us crave slow, imperfect, physical things Responding to a negative review by showing up as a human You can find Anna at Anna.kiwi and her new book at WhatMachinesCantReplace.com. Transcript of the interview with Anna McPhee Jo: Anna McPhee is an author, software engineer, professional speaker, and creative technologist. Her latest book is What Machines Can't Replace: Why AI Makes Us More Human. So welcome to the show, Anna. Anna: Hi, Joanna. Thank you so much for having me. Jo: Oh, this is going to be a fun conversation. First up— Tell us a bit more about you and your background in technology, as well as how you got into writing. Anna: I have been in all of these things my whole life, as long as I can remember. When I was just a little girl, writing was my favourite thing, writing stories. It was the whole reason I went to school, to be honest. I always pictured myself as a writer before anything else. My dad was a lecturer in software development, so when I was little, he would teach me how to code. So I've always done both, for as long as I can remember, and my mum is an artist. That's been my upbringing, at the intersection of technology and art, and then writing is my own personal passion. It's naturally flowed throughout my life. I've been in and out of some other careers and chased all the things that have made me feel interested and passionate, but writing has always been there in the background. It's something I do, whether it's been for a hobby or for a profession, so it's always been there. Jo: But you work in software, right? Anna: I do. I work in software, which came to me by chance. I set out as a digital nomad about 15 years ago now. I sold everything I owned and started travelling. The way I thought I was going to fund this was through freelance writing, which I was very optimistic about. We all know now that's a very challenging way to make an income, especially when you don't have a background in it or a portfolio. I did have this childhood background in software engineering and coding. So I set out to be a writer and travel the world as a writer, and actually what I ended up doing was building websites and writing software, because that's what people would pay me to do. So I fell into both at the same time through this chance I took. Jo: I think sometimes people think that programming and software development and these more technical fields are not creative. My husband was a programmer for a long time, and essentially programming is a language. Well, there are lots of languages, but you are creating in a language with computers, right? So is there that much difference? How do you fix these two things in your mind separately, or are they the same thing? Anna: They're so related. Many people might put writing into more of an art, and computer development and programming more into a maths or a science, but I just think there's so much creativity in writing code, in how you choose to structure things, in the language you select for something, the way you approach it. It's very similar to writing a book, I think. I've found a lot of things that are very similar about it, to do with architecture even. When you look at the basics, some people might write a book with no idea where it's going and see where it ends. It's the same with software. People might go into it and not have a plan. Most people will architect their software, or they'll architect their story in the same way. I think there's a lot of crossover between the two. Jo: And there's editing, and doing the “does this do what I want it to do?” I think with software perhaps it's more obvious when something doesn't do what you want it to do than with a book. Anna: Perhaps. Although with AI now, it's becoming a little more vague, because you can think your software's doing what you want it to, but it might not be. It might just look like it is. I think those lines are getting a bit blurrier as technology changes. There's a lot of things in software development that are very similar to writing. We don't have an editor, but we will have unit tests or code reviews, and maybe the CI tests, and we've got all these structures in place that are very similar to writing. Jo: I also think what's interesting, and this has been in the last maybe decade really, is that it used to be you would get a job in the old way, but— Now it seems like your GitHub page, which is almost like your author platform, your programmer platform, can make a real difference in how people find you and your work. So maybe talk a bit about that, because you have a GitHub page, don't you? Anna: I do have a GitHub page, and I've spent a lot of time on it, because you can set up your README file and make it a bit like a website, and introduce all of your projects and what you're working on. Just to combine it a little bit, actually, I use GitHub for my writing. I use it for version control so that I can go back and see the changes that I've made to the things that I'm writing. Even with my book, I had a copy of it backed up in a private repository on GitHub where I could track changes and never lose a backup. I have so much faith in GitHub that it extends beyond the software I write and into everything I do. I keep a copy backed up in GitHub. Jo: That's actually quite funny because, coming into AI in the author community, one of the things that's now talked about is how do you prove that your book is not a one-click generated book? And what you've actually got there is evidence of your process. Anna: Exactly. Jo: Which is kind of hilarious in many ways. Well, let's get into this, because there's so much fear and witch hunting right now and negativity in the author community. As somebody who's grown up with both art and the software side, where do you think those attitudes come from, and how have they changed in different ways? Anna: Oh, people are really afraid. I've got a very moderate perspective, and I think I sit in a very similar position to you. A large number of people that I hear from are either incredibly pro-AI, let it do everything for them, everything, everything, do it for absolutely everything you can think of. Or they're completely terrified and very, very negative about it, and won't use it for anything at all. I can only assume this is going to stabilise with time. There's been a huge amount of outrage against other technologies in the past, even calculators. All technology has come with scepticism and people scared that it's going to take their jobs. I think there's a lot of misinformation out there as well, people who think that AI is trained on books, which it is, and that's a totally valid concern with the copyright and things. I think there's a lot of misunderstanding around what training an AI model actually means in that regard. It's not taking someone's prose and reusing it. It's looking at the underlying mathematical probability of, if you have this word, what is the probability of the next word being this? It's broken down into numbers. I'm not 100 percent sure, but from my perspective of seeing it, the witch hunt comes from a place of fear. I saw an author in a group I'm in recently who said, “Oh, I've written so many novels, and I've run out of ideas for names for my characters. I've used every person I've ever met, I've used their name. That's how many books I've written. How do I get more names?” Someone suggested, “Well, why don't you ask AI for some other names?” “Oh, no, no, no. I could never let AI take over my work like that.” And it was just over the idea of using it to ask a question. So I think there's a feeling that if you let it do one thing, next thing it's going to be doing everything, and it's going to erase you, and your ideas, and your way of doing things. Jo: Just on that, it is interesting, though, isn't it? Because I am trying to use it, like I use Claude Code, and I'm trying to use it for more, and more, and more. I started off using ChatGPT the day it came out in 2022, and have increasingly tried to give the AI tools all the things that will free me up to do the things I love to do. Making lists of names is not on my list of things I love to do. Anna: Yes, exactly. I feel the same way. Jo: So that's the thing, isn't it? The fear is really interesting because we all have fear. One very visceral time I remember feeling very scared was in the pandemic, in those early days when there wasn't a vaccine. That's really the only reference I think I have for it, because like you, I feel like I've grown up with technology, and so I've never felt it that way. I'm hoping that as with COVID, as with things developing over time, and obviously again, misinformation is rampant, but— I guess we got used to it. Is that the best we can hope for with AI? Anna: I hope it's better than that. I hope we can hope for better, that people can learn how to use it in a way that supports them. As people become less fearful, like with COVID, they experiment a little bit here or there and start to see that there are ways to not let it take over. In general, people are really bad at identifying AI-generated content. There are so many studies done on it, and it's 50/50 at best. Good AI now produces stuff that a lot of people don't recognise. So it's more about the idea than the reality of it. There's this whole idea around it that AI will take our jobs, and I get asked all the time, “Well, when do you think AI's going to take your job? You work on a computer.” Well, it can take my job, and it has. I used to write code all the time, and now I write almost no code. I work for a very large software company, and we use a lot of AI in our development protocols, and I don't write any code now, more or less, and a few years ago I did all day. So my job has changed completely, and AI has taken my job, but it hasn't taken my employment. I found a new way of being, which is I'm more of a project manager. I review code. I make sure nothing bad gets put out into the world. My role has changed, but it hasn't been taken away. I hope that as people start to see that this new technology is not taking their jobs, it's taking the parts of their jobs off them that are so repeatable, and giving them more room to do more with the things that they are uniquely good at. Jo: Absolutely. So let's get into that, because you did just say there that you're not writing any code, which is different to your writing for books. In your book, What Machines Can't Replace, you talk about how you used AI assistance and how you did things in different ways. I've been explicit about being AI-assisted since May 2023, so I absolutely am on board with the difference between what is assistance and what is generation. One-click generation of a complete book, while some people might choose to do that, that's not what you and I are talking about. So tell us— How did you use AI tools and these assisted processes for this book? Anna: Right. So I used AI extensively for this book. However, I wrote every single word. I don't want AI to take over my voice, and that is one area where it differs from writing code in a big way. One-click generation, maybe one day AI will actually be very good at it, and we won't be able to tell the difference. But currently, I definitely can. If I start reading something that is one-click generated, it becomes very obvious to me very quickly. I use AI extensively in my day. I use a Claude plan which is the Max 20x, the biggest allowance plan, and I run out of limit every week. So I spend a lot of time seeing how it forms sentences and the kind of thing it says, so I think I'm quite sensitive to when I see it. So for now, it's not good for that, and I don't think I ever want it to be. When I put something out in the world that is software, the thing that's uniquely me is the concepts behind it or the way it functions. It's not the code itself. When I put writing out there, when I put a book out there, the words are the thing that's me. They're my signature, they're my style. So I used AI assistance for everything else. I used it to help me research, but then I would verify the sources myself, but it was so good at finding things. I used it to transcribe my words. I would go out for long walks, and my ideas come to me when I'm out walking, like so many people. So I'd just pick up my phone and voice record, “Oh, hey, I was thinking, years ago I heard about this study, and I think that would be really interesting, but I don't really know the details of it. Can you make a note of this?” Then my AI could go and research it, come back and say, “Oh, I think you're talking about this research paper, and here's a link to it.” It could add it into my notes, and I could still verify it and read it, but it saved me hours of manual trawling through Google Scholar looking for things. So as a first step I used it for research, but I also used it all the way through the writing process. I've set up a lot of custom skills for all the different editor types. I've got a developmental editor, a line editor, a copy editor. None of them are allowed to make any changes. They are only allowed to create reports of what they find. So I could check for consistency, or did I reference the right thing for this chapter? Does this flow okay? I could ask it questions about my work without it actually touching the words. Another way I used it is I'd make more voice recordings, and then it would transcribe them and suggest where in my book they would fit best, and then copy and paste my exact words, word for word, into the right spot, and then I could edit it in. So I used it for almost everything except the actual words, which remain mine, and the design as well. I value designers a lot, so I paid a cover designer to design my cover. Jo: Yes, and all those things you were talking about, I also do. How do you explain skills? Because I have like 100 skills now. I do skills for everything. I'm struggling to explain what that is to people who don't really understand. Anna: Yes, skills are amazing, and it is difficult to explain. It's like a little package, and it can contain prompts, it can contain scripts, it can contain information, and it can be called only when needed. So if I cr…

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    How To Redesign Your Author Business For The Environment That Actually Exists, With Tracy Cooper-Posey Sep 02, 2026
    Show notes

    How can you redesign your author business for the publishing environment that actually exists, rather than the one you wish you had? And how do you decide which marketing efforts will still bring readers to your books in ten years' time? Tracy Cooper-Posey shares her solar sail theory after more than 25 years as an author. In the intro, reviving your backlist [The Indy Author]; AI as a medium [Tim O'Reilly]; How to Write, Publish, and Market Short Stories – Joanna Penn. ProWritingAid Storyteller sale: Thursday, 3rd September until September 13th 2026 — 25% off all annual licenses as well as Story Critique credits. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Tracy Cooper-Posey is the multi-award-winning author of over 200 novels and works of nonfiction, science fiction, fantasy, romance, and historical fiction under three pen names. Her books for authors include The Indie Author Survival Guide and The Productive Indie Fiction Writer. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Learning to write again after chemo, one sentence at a time What enshittification means, and why it is the environment rather than you The hallmarks of an indie author business that persists over time The solar sail theory of long-term discoverability Why social media and paid ads have such a short half-life How to find and reduce the operational drag on your business You can find Tracy at ProductiveIndieFictionWriter.com or StoriesRulePress.com. Transcript of the interview with Tracy Cooper-Posey Jo: Tracy Cooper-Posey is the multi-award-winning author of over 200 novels and works of nonfiction, science fiction, fantasy, romance, and historical fiction under three pen names. Her books for authors include The Indie Author Survival Guide and The Productive Indie Fiction Writer. So welcome back to the show, Tracy. Tracy: Hi, Jo. It's great to be back. Jo: Yes. So you were last on the show in October 2023 talking about The Productive Indie Fiction Writer, and we went into depth then. So give us a bit of an update on your author business and also your life. Because it has been a bit of an up and down. Tracy: Yes, it's been a very interesting three years, because I had just gone into remission with cancer when we were talking last. Now I'm out of remission again and facing treatment in the next few weeks. My husband got cancer and went through treatment, and he's cured. So life has been pretty interesting. All that has made me do a lot of deep thinking about the indie author business and my own business and writing in general. So I'm still here. I'm still publishing, 200 plus books now. I had to learn how to write again. But the writing has shifted a lot towards science fiction and fantasy, including cosy science fiction now, which is the new genre that's just creeping in. All three pen names have been Aurealis Award finalists, which is nice. I'm still continuing the nonfiction work, which is something that you said the last time that we spoke. You said, “Now that you've written one, it's likely you'll write more nonfiction.” And I did. Jo: You did. They're excellent books. Just on that, you mentioned cosy sci-fi. For anyone who might not know, where is that genre? What's in that genre of cosy sci-fi? Tracy: It's not really officially a genre yet. It started off with cosy fantasy, which was where the cosy started. Actually, technically it started with cosy mystery, and everyone understands cosy mystery. The body and the murder are off stage. There's a lot of tea drinking. There's lots of friends, and it's all very polite and mannered. You're focusing more on the emotions and the feel, and they've picked up that cosy aspect of mystery and put it on fantasy. So you get books like, I think the primary one is Legends and Lattes. It's about an orc that's running a coffee shop because they got sick of fighting, and the adventures that they have trying to run their coffee shop. So if you pick up that same cosy sensation and put it on science fiction, that's cosy science fiction. But it's so new that it doesn't have a category on Amazon or anything like that. Cosy fantasy does now. Amazon just created a cosy fantasy category a while ago. But cosy science fiction is so new that people are still arguing over which books are cosy science fiction and which are not. Jo: Oh, that's interesting. You're incredibly prolific. You always have been. You mentioned there that you had to learn how to write again after cancer. What do you think happened, and how did you relearn? Because there are people listening who go through these similar things. Tracy: I think a lot of what happened was, well, life just became incredibly complex and challenging, and just getting through a day of pain took a lot of the energy, what they call the spoons. I didn't have the spoons to write anymore. Also you get chemo brain, which is the really interesting one. When I was going through chemo, I would look at a spreadsheet and just couldn't figure out how it worked. It just didn't make sense to me, so I had to hand over the finances and everything to Mark, which was rather interesting. The way I got myself back into writing again was, it was such an alien idea that writing wasn't even on my radar from day to day. I just didn't have the energy or the concentration to do it. So I started off really, really small. The first thing I did was read a lot of favourite books from other authors just to remember why I loved reading. Then I started reading my own books that I had written, just to remind myself of what I used to love about my own work. Then I just cracked the manuscript one day and read as far as I had written and thought, “Okay, what's the next sentence?” And that's the only thing that I would let myself do, was just write the next sentence. That's it. So I wrote the next sentence, and sat there and thought, “Do I want to write the next sentence?” On that particular day, no, I didn't. But I just kept opening the manuscript and looking and thinking about the next sentence, and eventually I wrote a few more. I think it was that coming back to the manuscript over and over with no pressure, just look at it, can you get the next sentence written? Very slowly I started building up, and now I'm pretty much back to the speed that I was at before the diagnosis. Jo: So I guess we could think about it in the same way that your body is physically recovering, your mind is also recovering. It almost feels like people want to disconnect the two. If you get a physical injury, that shouldn't affect your brain. But as you mentioned, having chemo, that in itself is difficult and has impacts on your brain. So if people think about it more as an injury you have to come back from, rather than day one you're back in, I guess. Tracy: Yes. It's really a rehabilitation-style process, and I think the key is you've got to take all pressure off yourself. I know that, for me in particular, because I was such a workhorse, I could feel this stress because I just wasn't getting things done. Once I gave myself permission to just take as long as it takes and just keep coming back to it, that helped enormously. It still took time for that rehabilitation process to actually work. There's a lot of forgiving yourself, and it has to be a gentle process, I think, because situations like cancer and chemo and whatever the situation is that's pulled you away from your manuscript, they're big life events, and there is a lot of stress involved with them both physically and mentally. So you have to give yourself time. Jo: Yes, it's so important. Okay, well, also in these last three years, as you said, you've got back to writing, and one of the books you have also written is The Anti-Enshittification Field Manual for Indie Authors. You also use Cory Doctorow's enshittification concept around the mature indie author industry. So just talk about what that term [enshittification] means? We think it is now established in the industry, in terms of what is going on there. How do we recognise it and adjust? Tracy: It's a very interesting term. The first time I heard it I raised my brows a bit. I was thinking, “Well, that's a bit cheeky.” The more you think about it, the more appropriate the name is. Basically, Cory Doctorow's idea is that any platform, so for the sake of this discussion, let's say Amazon, starts out serving its users extremely well because it needs them. When everyone first got into indie publishing, Amazon was open doors and you could just publish a book and it would sell, because they would push the book and they would do everything they could to make sure that readers saw your book. Then slowly and increasingly, the platform extracts value from those users for somebody else's benefit, usually shareholders, and ultimately for itself. You can track this process where it starts off really great for the users and then slowly shifts so that it becomes a less than stellar experience for the users. For indie authors, we're particularly exposed because our business sits on top of these platforms. So recognising that a lot of the platforms that we use now have enshittified, excuse me, or are in the process of doing that, that really helps. Because I think for years we were treating everything as a separate problem. We were worrying about organic reach, we were worrying about advertising becoming more expensive. There's subscription creep, there's deteriorating customer service, algorithm changes. Visibility was increasingly pay to play, and it's so much more than that now. The platforms keep removing features or changing the terms. Individually it just looks like a mess, but as soon as you put them together and say, “Oh, I understand now. The platform is enshittifying,” you can see the structural pattern. It actually applies to so many platforms and services. Once you see it, well, for me in particular, that was an enormously positive realisation, because until I saw the pattern, I thought I was failing, and nothing I was doing seemed to work anymore. Once I understood the environment itself had changed, I could stop trying to fix myself and start redesigning the business for the environment that actually exists. Jo: Yes, and that is the point. Redesigning your business for the environment that exists. Because what you mentioned there, I feel like some people still think that organic reach exists. I guess some people will say, “Oh, well, at the moment you can still put a video on, say, TikTok, and it might find an audience there.” Are people still building an audience in these newer platforms? But I think that's the point, isn't it? I guess Substack would be another one. Although we already see that heading in the same direction, with various things. As soon as you go in there thinking, “Yes, I'm going to get organic reach,” even if there is any, it follows this way, doesn't it? Tracy: It does. And this is what's so great about it, is once you recognise this pattern, you see it everywhere, and you can actually track a new platform through that process, and you can anticipate that, okay, maybe we're going to get organic discovery right now, but that's going to diminish. That way you're not disappointed, and you're all set up for when that happens. That means that you can reduce your dependency on these platforms and not expect them to behave like they did in 2011. Jo: It's interesting, though, with Amazon, for example, we've definitely seen that as authors. But on the other side, as a customer, as a reader particularly, I used to find a lot of books on Amazon directly. I'm almost entirely now finding books elsewhere, often through AI, actually, often through Claude. Tracy: Yes, exactly. Jo: And then going on Amazon to maybe get the book. It feels like for readers it's changed too, right? Tracy: Exactly. I mean, indie authors are particularly vulnerable because their entire business is built on these platforms, but this applies to everyone. It's not just indie authors. As you say, it's readers. They're noticing too that the decay of these platforms is starting to impact them as users. I'm exactly like you. I tend to buy my books from Kobo, but I will buy my books from anywhere, and I learn about those books from a dozen different places. I don't rely on just one platform anymore. It's really great once you understand this because then you can build an independent mindset that lets you flex around issues. Jo: Yes, and obviously we like to dwell on the positives here. So given that this is just a reality of the market and various platforms— What are the hallmarks of an indie author business that is more likely to persist over time given the reality of this? Tracy: Okay. Well, I think that the biggest part of it is, as I mentioned before, it's the mindset. Recognising these patterns is really a big one, recognising where a platform is in the process. Also developing a very independent mindset. I mean, we've been saying we're indie authors since 2011, but we were still really relying on those platforms to provide most of our business. I think these days the new indie author is much more independently minded. Even though you're using the platforms, and we're all using them, you develop a flexibility. You understand the industry, and you're making plans ahead of it, so you've got the flexibility there, and the business thinking, which really helps. You deal with any problems that come up. Every time there's an algorithm change, you're not going to wake up in the morning and just go through mourning because half your income has disappeared. You're ready with alternatives, and you've got different things that you can try. So that mindset, that thinking about and recognising patterns and how the industry is going, is critical. Once you've got that in place, then there's a huge number of strategies that you might want to incorporate. This is the thing, every indie author's business is different. We're all in different situations. I have health challenges, someone else may have a day job. I write a lot of books. Someone may be only able to produce a couple of books a year. We're writing in different genres. If you're writing literature, that's different from the sort of science fiction that I write. So the business and how it responds to the conditions out there is going to be different as well. So what you do as an author and for your business will be different. There's a lot of strategies that you can try and see which are most effective for you. One of the biggest, for instance, is something that you say a lot too, diversify your income. Have a durable backlist. Work to get your backlist built up. Direct sales is another strategy that I would say is almost mandatory for every indie author these days. I know a lot of indie authors are going, “Oh, but I've only got two books.” Doesn't matter. If you can sell from your site using just a PayPal link, that's direct sale…

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    From Page One To Done: Fast Drafting Your Novel With Jessica Brody Aug 26, 2026
    Show notes

    How can the Fast Drafting method help you finally finish your novel? And how do you make progress when you only have 30 minutes a day to write? Jessica Brody shares her tips for finishing first drafts after 20 years as an author. In the intro, Clive Barker's Kickstarter, The Amazon Tax [Seth Godin]; Trad publisher announces “human-originated, AI-facilitated” book, The Everything Code [PanMacmillan; AI policy; CHAPTR]; Holy relics, churches, and memento mori in Bruges and Brussels. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jessica Brody is the best-selling author of over 20 novels across different genres and age groups, as well as writing for Disney Publishing. She's also the author of Save the Cat! Writes a Novel and other books and courses for writers at the Writing Mastery Academy. Her latest book is Page One to Done: Finish Your Novel in 30 Days with the Fast Drafting Method. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why a small advance can set you up for long-term success Why 97% of first drafts are never finished How to finish a novel writing 30 minutes a day Why drafting and revising are two different jobs How a pre-writing ritual primes your brain for flow Writing a meta murder mystery after 20 years of teaching plot. You can pre-order How to Write a Murder with bonus extras at JessicaBrody.com/preorder You can find Jessica at JessicaBrody.com and WritingMastery.com. Transcript of the interview with Jessica Brody Jo: Jessica Brody is the best-selling author of over 20 novels across different genres and age groups, as well as writing for Disney Publishing. She's also the author of Save the Cat! Writes a Novel and other books and courses for writers at the Writing Mastery Academy. Her latest book is Page One to Done: Finish Your Novel in 30 Days with the Fast Drafting Method. So welcome to the show, Jessica. Jessica: Hi, thank you so much for having me. I'm so honoured to be here. My writing community speaks so highly of this podcast, so I'm excited. Jo: Oh, well, thank you, and you were requested, so this is going to be a good one. First up— Tell us a bit more about you and how you got into writing and publishing. Jessica: Well, I started writing when I was seven. I like to put in air quotes, I wrote my first, quote, “novel” when I was seven. It was about three pages long. I got the bug very early. I didn't realise it was an actual career choice that you could take seriously until way later in life, after I'd already graduated college with a degree in economics and I was working as a financial analyst, and I was just writing on the side for fun. Then, as luck would have it, I got laid off from my job, and I ended up trying to take writing a little bit more seriously in that time. That's when I found the Save the Cat method, which absolutely changed everything for me. Before that, I had loads of rejection letters, and I eventually sold my first novel to St. Martin's Press, and I've been writing and publishing ever since. That was 20 years ago now. Jo: 20 years, wow. It's so interesting. So you were in economics, you were a financial analyst, and you got into writing. Did you have any pushback from either your own brain that was like, “I cannot make money this way,” or your family? Or how did you make that leap? Because we just hear that it's not a career, financially, really. Jessica: I know, and I think I went into it very blindly, using television as my resource of this is how much money I can make writing. Like Sex and the City, she was selling books for lots of money. So I was like, oh, I just have to sell one book, and then I'll be set. That was not the case. My first advance was so much lower than I expected, and what happened, though, was kind of interesting. I sold my first book, way lower advance than I was hoping for. I wasn't making any money anywhere else, so I was taking on all these odd jobs that I could do in my own time. I was doing transcription work, and I was working at a school half the time. I mean, I just had so many really weird jobs. I think what happened was, because I didn't have another financial net to help me, it just pushed me really hard. So once I sold one book, I was like, well, I need to sell another one and another one, and I ended up in this 20-year cycle, which I've slowed down thankfully, since, but of writing so obsessively, I should say. I just kept selling books and selling books. My advances got higher and higher, and eventually I was able to support myself with my writing, but it was not instant at all. Jo: Actually, that's a really good note there, because we often hear so much of these debuts that get paid a ton of money, and then they disappear, and they almost spiral down. Whereas what you've done is spiral up. Which is almost a better way to do it perhaps, with your reputation with traditional publishing. Jessica: It's funny, I tell this story a lot to writers who are looking to get published, that the big advance is not necessarily the end-all be-all. Because I have heard that story before, someone gets a very big advance, and then it doesn't earn out, and they can't sell another book because the publisher's lost money. I had the opposite experience. My advance was so low, and my publisher got worldwide rights. They bought worldwide rights. So they started selling foreign rights of my first book really early on, and I earned out before the book even came out, with just a few foreign sales. That ended up setting me up for success, because I was making money for the publisher from day one, and I was able to sell more books, and so I sort of worked my way up. I really do credit a lot of that to how long I've been able to stay in this game. Jo: No, it's a good way of thinking about it, because people forget the publisher isn't a charity. The publisher has to make money from your book. So it's nice that you make money, but they have to make money, or they're not going to bother, right? Jessica: Yes, exactly. Jo: So let's come back to Save the Cat, because you mentioned that the original method really changed how you write, and then of course you did Save the Cat! Writes a Novel. So I've got that. I imagine a lot of people listening have got that. Tell us a bit about why that methodology made such a difference to you, and why you think it's so useful. Jessica: Well, you'll sense a theme here. I went into this business, like I said, without knowing a lot, and I went into it the way I think a lot of writers do, which is, I had an idea, I sat down, and I tried to write it. I had no guidance, no map, no structure, and I just wrote. I actually finished something, which is surprising, but then I started to get all these rejection letters that basically said similar things, which was, “You're a good writer, you have a good voice, but there's no story here.” I just didn't understand that feedback, because I had finished something. I could print it out and stack it on my desk. Wasn't that a story? Apparently it was not. Then a screenwriter friend of mine that I was talking to about how I was getting all of these rejection letters with the same note said, “You should read this book that recently came out. It's called Save the Cat, and it's for screenwriters, but I think it could work for novels because it just seems to be all about structure and storytelling.” So I read the book cover to cover so quickly, because if anyone's read the original, it's just so readable, and everything started clicking in my mind. I realised, wow, I really don't know how to tell a story. I could plot out everything I had done wrong, and I went back to my book and I started rewriting it from page one with this new structure in mind. When I finished that, I ended up getting an agent for that book, and the agent sold that book. I've been using the method ever since. It just made so much sense to my brain. What I tell writers is, “Use the method that makes sense to your brain.” All storytelling structure methods are basically telling the same story, just with different words, sliced and diced a little bit differently, but structure is structure, and a story is a story. It has to have a beginning, middle, and end. It has to have conflict, it has to have a middle twist, and things like that. So this one worked for my brain, and I started to teach it to other novelists, because at the time there was still just the screenwriting guide. So I started to teach how I was using it to other novelists, and that turned into the book, Save the Cat! Writes a Novel. Then I wrote a young adult version of it as well. And I still use it to this day. It's just something that's always made sense to me. Jo: So were you hired by the estate? Blake Snyder died, right? So were you hired to write that, or is that something you arranged? Jessica: It was kind of something that was arranged. I think Blake Snyder Enterprises is the name of the company. Blake Snyder died in 2009, sadly. When I started using the method, I was blogging about it on my blog, and I would share some of my beat sheets of the novels I was writing. The people who had taken over his estate reached out to me and said, “Hey, can you blog for us? Because we don't have a lot of novel content on our blog. We just do screenplay stuff.” And I said, “Of course.” I had a fangirl moment. Oh my gosh, they've reached out to me and this is so exciting. So I started blogging for them, and then that turned into the workshops that I started doing with them. Then we partnered up on the book. I think it was one of those things that felt inevitable, like we were just working toward it. I was living in LA at the time. They're based in LA. And I remember having breakfast with them, and we all just looked at each other and said, “So we need to write a book, right? There has to be a book.” So we ended up sharing the copyright, and, as you see from the title, it says based on the books by Blake Snyder. It's very much his method. Then I brought some of my novel flair and some of my own little tips and tricks that I had picked up over the years and applied it to his method. Jo: I love that. We are going to come to your other book for writers in a minute, but just on that intellectual property sharing, writing in other markets, you also write for Disney Publishing. This is so fascinating to me. Now, there are lots of people who do write for other properties. So how did that come about writing for other properties, and how does that fit into your portfolio of the things that you do? Jessica: Yes, writing for other properties is really fun. It's probably not for everyone. You have to know what you're getting into before you pursue it, because it's very much not your IP. You're writing under someone else's brand, you're in their canon, and there are certain rules you have to follow. So you have guidelines. I found it to be really fun and kind of a break from some of my own stuff, because I didn't have to come up with everything. I didn't have to invent all the new worlds and all the new characters. A lot of them were just given to me, and I could play within the boundaries of that sandbox, and I really found that inspiring. So what happened actually is I was on a writing retreat with a bunch of other writers, and there was a writer at the retreat who already wrote for Disney Press and was supposed to write this new series for them, based on their Descendants series. She said to me, “I really can't do it, but I'd love to recommend someone else to them.” I think we had been talking about how big of a fan I was of Disney or something, and she said, “Do you want me to recommend you?” And I said, “Yes, absolutely.” Another big fangirl moment. So the editor of that series reached out to my agent. They talked to me. They got writing samples from me through my agent, and then before I knew it, I was hired to write, I think the first contract was maybe for two or three of the books, and then we renewed for a few more. It was just really fun. Then I formed a relationship with that editor. We ended up working on another series for younger kids, based on the Disney Princess LEGO series, which was much younger and new for me. It had illustrations. That was a whole new challenge, but I found it really fun. As I said, it was a nice break from writing my own things, because I could write them fairly quickly. They did have very fast turnarounds at the publisher too, but I could use my skills for structure and storytelling and apply it to a world that already existed, and it was a nice pairing. Jo: I love this. So much of what you've done seems to have come from relationships or just putting yourself out there in the world. Jessica: Yes, good observation. I hadn't thought of that. Jo: Whereas I think a lot of people think that it's all about cold pitching. It's not so much, from what you're saying. Jessica: Yes, and I did another IP project with Simon & Schuster called Boys of Summer, which was a young adult novel. That one specifically came from my agent. So a lot of times publishers will reach out to agents and say, “Here's what we're doing. Do you have authors who would fit?” And my agent will often reach out to me and say, “Here's the pitch I got from a publisher. Are you interested in submitting yourself for this?” That's what happened with Boys of Summer. They actually sent out an outline to a bunch of writers who were interested, and I had to write sample chapters to the outline, or I think it was the first couple of chapters or something. I was very gratefully selected to write it. That came about from having an agent, and a lot of times having an agent is a way into IP work. And then those connections can help too. Jo: Fascinating. Right. Well, let's get into your book Page One to Done, which as I said, one of my listeners actually requested to have you on the show to talk about this book, because she said it was absolutely fantastic and helped her finish her book. So why finishing? What is the problem? Why write a book on actually finishing? What are some of the common issues that people have? Jessica: Well, thank you to that listener. I really appreciate it, and here I am because of you. Connections once again. So Page One to Done came out of my own struggle with finishing, and not just finishing, but finishing efficiently and maintaining joy throughout the process of writing a novel. As I said, I was writing very fast and furiously, and my deadlines were piling up, and I started to feel like writing a novel stopped being fun. It started to become a very frustrating process, and I realised that was a lot about how I was approaching the first draft, which, as most writers know, the first draft is very hard. When I started to look further into it, I found this statistic online that's widely accepted in the writing community, which is that 97% of first drafts are not finished. Which is, wow, mind-blowing, but also not that hard to believe once you think about the challenges of writing a first draft. Taking an idea from a seed, developing it into a full plot with character development and arcs and subplots and side characters and themes and all the things that you think a story should have, getting that all onto the page and actually…

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    Book Marketing, AI Book Discoverability, And Resilience, With Ricardo Fayet Aug 19, 2026
    Show notes

    How can you get your books surfaced when readers ask an AI what to read next? What are the hallmarks of authors and businesses that last more than a decade in the indie author industry? Ricardo Fayet gives his marketing tips after more than a decade at Reedsy. In the intro, Expanding Your Book’s IP through Merchandising [Wish I'd Known Then]; Guide to writers conferences [Kindlepreneur]; Rick Rubin and Stephen Pressfield on resistance and the muse [Tetragrammaton]; Pulitzer Prize winners disclose AI usage [Nieman Lab]; My new rebuilt fiction site JFPenn.com. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Ricardo Fayet is the co-founder and chief marketing officer of Reedsy, a marketplace for writers to find vetted freelancers, author training courses, and lots more. He's also the author of How to Market a Book and Amazon Ads for Authors. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How AI search actually finds and ranks the books it recommends Why keywords and search volume are disappearing as marketing metrics Building an internet footprint so your book is worth recommending Why Claude leans on Goodreads while ChatGPT and Gemini lean on Reddit Product is more important than marketing, and how to find your comp titles Passion, business sense and resilience in the authors who last You can find Ricardo at Reedsy.com. Transcript of the interview with Ricardo Fayet Jo: Ricardo Fayet is the co-founder and chief marketing officer of Reedsy, a marketplace for writers to find vetted freelancers, author training courses, and lots more. He's also the author of How to Market a Book and Amazon Ads for Authors. So welcome back to the show, Ricardo. Ricardo: Thank you, Jo. It's been a while. Jo: It has been a while. As we were saying, it's been a decade, which is crazy, because you and I see each other at events and things. For anyone who doesn't know you— Tell us a bit more about you, where you're from, and also, what is Reedsy these days and how have things changed? Ricardo: Yes, sure. I think I'm hard to dissociate from Reedsy because my only background really is Reedsy. We started Reedsy right after business school for most of the founders. There are four founders, and I'm one of them. We've been going since 2014, so it's been 12 years. We started around the same time, and you started even earlier than we did, but we've had the chance to meet at quite a few conferences since. I think the main thing we're still known for is our marketplace. Since the very beginning, Reedsy is a curated marketplace where authors can come in and look for editors, cover designers, marketers, ghostwriters, literary translators, author website designers, pretty much any freelancer you would ever need to hire throughout your writing career. That's how we started. That's our main source of revenue and our main business. Since then, as you mentioned, we've also added courses, live events, so we've got a membership under Reedsy Learning. The main thing we're proud of right now is our writing tool, Reedsy Studio, because we've been pouring a lot of engineering talent into it over the past five, six years, and I think it's a really cool writing tool that is 90% free. It also does the formatting, so it's a good alternative to Vellum or Atticus for those who haven't purchased those tools. So there's a lot of things that Reedsy does at this point, which always makes it hard for me to describe what we do. Jo: But you generally serve writers. That's probably the crux of it. Ricardo: Exactly, yes. We're mostly at the production stage. The thing we say is we help authors make beautiful books, right? That's a little bit the tagline that applies to 90% of what we do, though we also help a little bit with the marketing side of things. Jo: And then just tell people where your accent is from. Ricardo: So I'm half French, half Italian from my parents, and I was born in Spain. So depending on my mood and the moment, it might be anywhere from French, Italian, Spanish. It's anyone's guess, really, at this point. Jo: Yes, exactly. You've been part of the indie author ecosystem, as you said, since 2014. You're often at the author conferences, and you stay abreast of everything that's going on. So what are the biggest changes you've seen in the industry since you started out? Like you said, you guys came from business school. You chose to come into the industry at a particular point, and yet things have changed. So what do you think are the biggest changes, and how have you seen authors adapt? Ricardo: It's crazy, the amount of things that happened in the past 10 years. Obviously we came into the industry as a result of Amazon launching Kindle Direct Publishing, and then the Kindle Store becoming one of the number one places where people buy books. That's what enabled self-publishing in the first place as an industry, and obviously we wouldn't exist without self-publishing being a thing. But then I think probably one of the biggest changes that happened was the introduction of Kindle Unlimited and various other subscription models. Perhaps as a response to that, afterwards, I would say direct sales is the other massive change that happened in the industry. The ability for authors to sell direct to their readers via their websites, or running Kickstarters, or basically the ability to reach your customers directly. Now, obviously, artificial intelligence is probably the biggest change of them all, not just in publishing, across every industry, but of course it's going to affect publishing very strongly, or it has already started making big waves. So I would say those are the three main changes that we've seen happening in the industry. Jo: Just interestingly, given that you're French, Italian, Spanish, European— Has the pace of change been the same in mainland Europe? Because you and I have also met up at European conferences, but I just get the sense that each individual European country, the UK included, as I include the UK in Europe, goes at a different speed. Ricardo: No, they definitely do. Our market at Reedsy is all in English. We only have an English website, and I would say 70% of our market is US, then 15% UK, and then Australia, New Zealand, et cetera. We do have clients in continental Europe, but they're mostly going to be American or British expats. A lot of retired people who write books and use Reedsy services. I think the main reason for that is that self-publishing as an industry hasn't really grown in Spain, France, Italy the way that it's grown in the US and the UK, probably because these are countries where book buying habits are a lot more traditional. So all my friends from high school and university in France, they all buy books, they all buy paper books. They all buy from bookstores. They don't really buy from Amazon that much. They love the smell of paper, all these sorts of things. So obviously that makes it harder for indie authors in those countries because they cannot place their books in the places where people buy them, which is traditional brick-and-mortar bookstores, or at least it's much harder. So there is an indie movement in those countries, but it's much smaller. I would say Germany is maybe the exception in Europe, where I've seen more and more full-time indie authors, but I don't think it's a market that's comparable even to the UK. Jo: Interesting. Okay, so let's go to marketing, because you love marketing, you have a newsletter about it, and you have a book, How to Market a Book, same title as mine, and we've found each other in our Also Boughts over the years. You have, however, updated yours several times. 2025 was your last update. Mine was 2016, so yours is definitely the most up-to-date one. So what are your thoughts on how authors can reach readers now? And let's split this into two. Let's start with some tips for new authors who just have maybe one book and are really just starting out. Ricardo: Yes, first of all, sorry for stealing your title. Jo: Oh, you know, it's never been a problem. Ricardo: We were trying to come up with something… I know, I know, I know. But still, we wanted something more original, and then we realised that for SEO purposes, that's the title we should really go for. The good thing is, if you search “how to market a book” on pretty much any retailer, you're going to find your book or mine in any order really, but those are going to be the top two books to this day, thankfully, so I'm good with that. I think in terms of marketing tips for new authors who have just the one book, I'd say, despite all the changes in the industry, the basics of marketing still stay the same. One of my big mantras when it comes to marketing is that product is more important than marketing. So having a great book is going to be more important, in my opinion, than being a great marketer. Having a great product. By that, I generally don't talk about literary value or prose or anything like that, just because I'm not a book critic. I'm not an editor. My opinion on whether a book is good or not is worth zero. From a marketing standpoint, for me, a good book is one that resonates with its intended audience. So the first step for newer authors is to basically figure out who they wrote this book for, right? Have an idea of who their target market is. A great way to do that, without entering into marketing jargon like proto-personas and stuff like that, is to think in terms of comp titles, comparable titles. I think that's probably the base of any marketing, whether traditional publishing houses or indie authors, to think, “Okay, which other books out there are similar to mine?” If your book is completely unique, you have, I would say, 99.9% chance of not selling, because your market doesn't exist, and 0.01% chance of creating your own market and completely dominating it, right? So being unique is not necessarily a bad thing, but I would say 99% of the time, it is. Obviously being unique within an existing niche, within an existing market, that's completely different, but you need to work on some comparable titles. So I would say that's where I would start, and that's one of the things that AI is great at. If you even just plug in your book into an AI chat that has enough context, if you're comfortable doing that of course, or if you plug in a synopsis, like a long synopsis, you can basically ask the AI chats, “Okay, what would be some comp titles?” Either you'll have heard of those books, and you'll think, “Okay, they're good comps,” or you may not have heard of them, in which case I would really recommend buying them and reading them and seeing whether they're comps or not. I think that's where marketing starts. Jo: Yes, and we might come back to that for book discoverability. Well, let's just talk about it now, because I now pretty much use Claude for discovering books as well. I just find that the Amazon search, for nonfiction it works really well, right? As you said, if you want to learn how to market a book, you just search “how to market a book”, and our books are very well titled for that. But for fiction, it's so difficult to find new books and comp titles, especially if you don't write in a clear genre, which I don't. I know lots of people do. So we're writing cross-genre. So in terms of book discoverability, I know you've been looking into SEO for books and all of that. What are your thoughts on how authors can more effectively have their books surfaced if people are using the AIs for finding books? Ricardo: That's a very big topic. That's one of my favourite topics right now. That's what I talk about in my marketing newsletter, and I want to start a Substack on the topic as well, because I think it is the future of book discoverability. As you say, search on Amazon isn't great, and if it's not great on Amazon, you don't even want to imagine on Google Play, Kobo, all these sorts of places, right? If you search on Kobo or Apple Books or Google Play for witch cozy mysteries, the top 10 books are going to have exactly “witch cozy mystery” in the title or the subtitle or the series title, right? Jo: Yes. Ricardo: Search is very simple on those sites, so it's very easy to game, but it's terrible as an experience for readers. So I do think that a big part of search is going to move to AI, and now you have Rufus within Amazon itself that appears as a chatbot and encourages you to talk with it, to ask for recommendations. In the beginning Rufus was really terrible, but now I recommend authors play with it. In general, I recommend when it comes to AI discoverability that authors play with all the AI search tools. So it's going to be Claude, ChatGPT, Gemini, Google's AI Overviews and AI Mode, Rufus within Amazon. Just like we talked about comp titles, right, ask for something like, “What would you recommend for fans of this book? Which other books would you recommend?” Or if you're looking for something specific that describes your book, what books would you recommend on… I think one of your examples was fiction around masonry or something like that, right? Jo: I always say, for example, if you ask for action adventure thrillers on pretty much anywhere, you're going to get 20 books by male authors. For those of us who are female authors, but also who have female main characters, you can then be far more granular. That's just not something that necessarily works on Amazon. So, action adventure thrillers with female protagonists written by female indie authors, which is very specific. That will work in AI, whereas that definitely won't work on Amazon. Ricardo: Exactly. So one of the great things about AI search, and terrible things at the same time, is that the concept of keyword is lost, right? So we title our books How to Market a Book because the keyword that people would search for is “how to market a book”, or “book marketing for authors”. Those were the two keywords that had the biggest search volume if we looked at Google Keyword Planner, or any search tools that give you keyword volume. When it comes to AI search, since it's conversational, and it's very personalised, and it can go as niche as you want, keywords are going to disappear, and search volume as a metric is going to disappear. The search you just told me about, maybe there are 10 people who are going to run it exactly. Most people are going to run variations of that. Since you can go as granular as you want, it's going to be very long phrases, very long sentences. So the whole concept of keywords, search volume, SEO, is going to disappear in favour of what some people call GEO, generative engine optimisation, AIO, AI optimisation, AI search optimisation. There's a bunch of names for it, but it is a different discipline. It still works on the basis of Google SEO because what most of these search engines will do is they're going to search the internet, right? They've been trained on a lot of information, but not all of that information is current. Most of these models have been trained on documents and web pages before 2021. That's why when you used the very early versions of C…

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    Going Indie, Publishing Innovation, And The Challenges Of Book Marketing With John Bond Aug 12, 2026
    Show notes

    How can you tell where the real innovation in publishing is happening right now, and why is it emerging from the indie side first? How do you market your own book when you've spent 35 years marketing everyone else's? John Bond talks about Going Indie and what he's learned about authors who last. In the intro, my thoughts on writing with AI, Charles Dickens and encouragement for the 3-year-old dancing to K-Pop at the wedding, UK copyright law, The end of an era — Hugh Howey; Notre Dame, Paris; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it’s delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why 2012 was a watershed moment for publishing in the UK Whether the snobbery around self-publishing has finally gone How to co-write a book with someone, and why there's no formula The pride swallowing involved in getting endorsement quotes for your own book The shadow economy of indie sales that no industry chart measures The hallmarks of writers who build a long-term career You can find John at wearewhitefox.com. Transcript of the interview with John Bond Jo: John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. So welcome back to the show, John. John: Thank you, Jo. Thanks so much for having me. Jo: You were last on the show in 2022. You've been on a couple of times, but just set the scene. Tell people a bit more about you and your long background in publishing. John: I suppose I could say I started as a marketing manager at Penguin back in the early 1990s in London, and that role eventually evolved into running sales and marketing, as it often does. I did that at Penguin and at HarperCollins. Then I ran one of the publishing divisions at HarperCollins, including 4th Estate, and published Hilary Mantel and Jonathan Franzen and Chimamanda Ngozi Adichie and others. I left that in 2011 and set up Whitefox in 2012, and it's a classic startup story. It was somebody I worked with at HarperCollins. We sat around a kitchen table, came up with an idea for a business, which was Whitefox, and that's grown into the creative agency that it is today. Jo: So back then, did you think, “I can do this better”? Was that the impetus, “I can do publishing better than Penguin and HarperCollins”? John: No, I thought we would solve a problem. There's something very attractive about that whole startup mentality and beginning something from scratch. I mean, I was in my early 50s. I'd had a long career in traditional publishing. On the plus side, I knew a lot of people, and I thought I could get meetings, people would reply to my phone calls or my emails. On the downside, I didn't necessarily have the energy of a 20 to 25-year-old. I knew a lot of people and I knew quite a lot of things, and I also knew what problems something like Whitefox could solve. We set up with this idea that if we could galvanise and organise the diaspora of freelancers in the publishing space and make them available to anybody that wanted to make a book, that that would be quite a powerful thing. These incredibly creative, wonderful people who were below the radar and were not particularly valued or managed or utilised properly. I thought if we could access that and make that available not just to traditional publishing people who know about these people, but to individual authors, businesses, brands, people that wanted to make a book, and if you added a layer of our expertise from traditional publishing, that could be quite powerful, I suppose. That's what I was thinking back then. Jo: It's funny, though. You said these wonderful freelancers who were not particularly valued or managed or utilised properly. That could also apply to a lot of authors in traditional publishing. John: Totally. Totally. But if I'm honest, I don't think I was thinking about that. What's really evolved since we started, even in that 2011, 2012 period, is so much has happened to independent writers, indie authors. The whole ecosystem has become much more vibrant, and what is accessible to those writers is much greater. I'd like to think we've played a part in that. What that's done is put power back into writers' hands, and that quickly became apparent in the business as a byproduct of what we'd set up. Jo: Yes, and 2012 I do think in the UK was a pivot point, because I got into self-publishing in 2006/2007 when the Americans did with the beginning of the Kindle and the iPhone. Really the American ecosystem grew first. I happened to be in Australia, and so I think I was able to escape the negativity of the vortex in the UK, which took a number more years to embrace self-publishing as a force to be reckoned with as opposed to an embarrassing thing in the corner for vanity press. Do you see 2012 as a changing point in UK publishing? John: I think we'd just come out of the Kindle moment, hadn't we? There were all sorts of conversations going on about how that was going to change things forever. I think no one quite knew what the upshot of that was going to be, but we knew that it was incredibly disruptive. In 2012, Penguin, as it was then, before Penguin Random House, had offered to buy Author Solutions for $115 million, presumably seen as some kind of defensive measure as to what the market was going to evolve into. I think it felt like a real period of change. In the UK, James Daunt took over running Waterstones, and he was then ultimately going to run Barnes & Noble. It felt like a bit of a watershed. I think we were lucky in that sense, that maybe in the UK and in London, what we were creating coincided with an opening up of opportunity and creativity, and people wanting access to more tools to be able to do things themselves. Getting this idea that you invest in your own talent and what that could mean for your ability to do things quicker, better. Some of it was happenstance, but lucky for us. As you say, we then became aware that in a sense a lot of these things had come to fruition earlier on the US side. In London, that whole idea of setting up something that wasn't a traditional rights-owning model, but where you wanted to be working with people creatively, felt actually really exciting and timely. Jo: And when you started to work with independent authors, probably a couple of years after that, you started to work with a lot more indie authors and things really started to change in terms of the business side. Did you feel any of the snobbery from the traditional industry? Like you mentioned, you have a lot of contacts, a lot of connections. I came to your wonderful launch party and there were just people from all over the industry. I wondered if you got any kickback, or if anyone raised their eyebrows a little bit at who you were choosing to work with? John: Oh, definitely. And I would say I really think that's gone. You may think differently, Jo, but from my perspective, I think there has been such an evolution in the nearly 15 years that we've been going. So any of that residual snobbery, looking down your nose at people that were going DIY, producing multiple books, learning from every single publication. We've spoken about this before. I remember you sat on the panel of a FutureBook conference in the UK, which was run by a trade magazine, with this idea of looking at the, in quotes, “digital future of the business.” It felt like there were a lot of things being talked about, but not a lot of action on the traditional side. I suppose some sort of awe that there was some magic going on with people who were making a success of self-publishing. But then quite a lot of people looking down their noses at things that shouldn't get through the gatekeepers. I do think that's gone. Or if it's not completely gone, I can see it on the way out of the door, because there's no room for that when agents are struggling to sell books to publishers because publishers are looking at the next indie author, the next Freida McFadden, the next Sarah J. Maas, the next Rebecca Yarros. So whoever it may be, or wherever they're publishing, whatever they're doing now, wherever they may be, knowing that a lot of those people will already be publishing and be on not their first, second, third or fourth, but potentially their 10th or 11th book. It's a race to see who can help those authors, as a traditional publisher would see it, amplify what they're doing. I think the idea that there's an us and them, if it did exist then, which it certainly did in certain publishing quarters, is gone. I used to go to those conferences, like the FutureBook Conference, and certain publishers would talk about publishing, and when they meant publishing, they meant a really tiny area of quite literary, traditional imprints. That's what publishing meant. They didn't even mean publishing to mean educational publishing, or children's publishing, or academic publishing, and certainly not Kindle or POD or whatever. So I think that's had to change for very good, sound, commercial, economic reasons. Jo: Yes, you're right. I definitely have heard, as we go to similar events sometimes, and you do hear agents used to talk a lot more about finding books very occasionally in a slush pile, or doing courses so you could meet people and do pitch events and all this. Now it's often build an audience on BookTok or whatever, and sell lots of books, and traditional publishing as an amplifier, as you said. That's how I always hear them pitch it now, the question of— What can traditional publishing still do when indie authors can do so much? It does seem to be, well, we can amplify you, we can get you into traditional press, we can get you in traditional bookstores, we can help you with film and movie deals, that kind of thing. So that's really interesting, because that's actually changed quite a lot. They don't now seem to say, “Oh, well, we can make sure we pay you,” or, “We are editorial success as such.” John: I think they don't say editorial success or quality or indeed marketing, because that was what used to be said. I think there's an understanding that a lot of indie writers are better marketeers of their own books than traditional publishers, and if you go into the publishing machine, then you'll get your slot. It lasts for a certain period of time and then that moves on to another book. Whereas obviously if you're writing your own book and you're marketing your own book, you're able to do that yourself 24/7 wherever you are in the world, and you will know more about your readers and your audience and how that evolves than a traditional publisher would. What they probably mean now is, as you said, as much as anything, distribution, or even physical distribution. Because to be part of that process, I think that is still where a large conglomerate is able to wield some muscle, with this idea that if you physically want to see your book in bricks and mortar retailers in X outlets around the world, that's potentially easier to do if that is your aim, via a traditional publisher. So it is constantly evolving, because it used to be that marketing was the silver bullet, and I don't think that's the case anymore. Jo: No. We'll come back to marketing, shall we? Struggling with marketing. So let's get into your book. You recently co-wrote Going Indie with James Silver, Publishing Your Book Your Way. Obviously you already knew a lot about indie authors, so I wonder, what did you discover in the process of researching the book and the interviews you did? And I was one of your interviews. Did anything come up that surprised you, since you're already pretty embedded in the world? John: I would say some of it was reinforcing what I knew. So how everything is so intertwined, how in some ways unlinear everything is. People are doing lots of things in a different order to the way that traditionally writers would perceive this relay race of a manuscript gets passed to an editor, an editor passes on. That's just not how it is or needs to be anymore. I still think there is—not even a misconception—but I think there's a received wisdom that when you're talking about self-publishing, you're talking about fiction. The majority of books that Whitefox produces are not fiction, they're non-fiction. Some of them are quite mainstream, some of them are quite niche. That idea of connecting to your audience and your followers, and being slightly more scientific about how you find readers in your non-fiction niche, I think is still unspoken about in a way, in that genre fiction tends to be what people automatically assume the conversation is about. This probably doesn't surprise you, but I was pleasantly surprised to have it confirmed to me quite how much swapping and sharing there is of skills and knowledge in that space. I'm not saying indie writing is egoless at all, but there's quite a lot of sharing of knowledge and what works, and collaboration, which I think is great to see. Again, if you've, as I did many years ago, come out of corporate conglomerate publishing, traditional publishing, there's less of that by the very nature of the kind of organisation. And look, we just talked about marketing a little while ago. I do think this whole idea that the cutting edge of experimentation, it's not traditional publishing, it's indie writers. They are looking at not just how to find readers, but how to fulfil orders, how to make commercial sense of what they're doing from the absolute outset and get-go of what they're doing. And just how now the lines are blurring between what would be classified as traditional digital publishers and the writers who are doing their own thing, or doing their own thing on behalf of a few other writers. Those lines have completely blurred. There used to be this traditional hardback, paperback, X number of books a year, a year after hardback there's a paperback. This is the model we have been doing for centuries, and people doing things on their own. I think that's blurring massively, and the Venn diagrams of people's areas of expertise are just overlapping massively. Jo: Well, I think you're right there, and certainly the hardback special editions with sprayed edges and foil. A lot of us now are doing that first and not putting out the other, or putting out the rest of it at the same time. I dare say probably there are more indie authors with sprayed edge hardbacks than there are traditionally published authors. John: I'm sure that's right. And what's interesting is if you go to a traditional book printer, they are loving the direct communication with writers, that's not coming through traditional channels and traditional relationships. It's great business, it's interesting. I think tha…

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    From Blog To Community To Book: A Non-Fiction Author’s Journey With Suzanne Smith Aug 05, 2026
    Show notes

    How can content marketing in a tight niche build the audience that launches your book? And how do you decide whether to hand your self-published bestseller to a traditional publisher. Suzanne Smith shares what she learned in four years of going from blog to book deal. In the intro, how to stand out as a writer in the age of AI [Nathan Barry Show; Interview with Nathan Barry]; thoughts on asset maintenance; Goodreads giveaway on Bones of the Deep (Aug 5-20, 2026) This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Suzanne Smith is the founder of The Independent Landlord, and the bestselling author of The Good Landlord Handbook. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How a free blog in a tight niche built the audience for the book Rewriting the book from scratch when the law changed Why speed made self-publishing the only option Building a paid membership after one audience member asked for it Negotiating a Penguin Random House deal with no agent Using AI as a business sidekick, with a control room and an engine room You can find Suzanne at TheIndependentLandlord.com. Transcript of the interview with Suzanne Smith Jo: Suzanne Smith is the founder of The Independent Landlord, and the bestselling author of The Good Landlord Handbook. So welcome to the show, Suzanne. Suzanne: Thank you. Jo: Oh, there's so much to talk about today. But first up— Tell us a bit more about you and your background, and how you got into property and writing after a legal career. Suzanne: Well, I've always loved reading books. In fact, I recently did a French literature degree as a mature student. Being an author was never in the game plan at all. It's not something that I even thought about. I was brought up in New Zealand, so shout out to all the Kiwis and those across the pond in Australia. The thing about it is, Jo, you've lived there yourself. Kiwis are independent, self-reliant and have this great sense of fair play. So that was a very formative experience for me. We moved back to England when I was 16, and I have become thoroughly anglicised since then, but a Kiwi at heart. I always wanted to become a lawyer. New Zealand in some ways on television is quite American, and there was this American programme called The Paper Chase. It was about all of these students at Harvard studying law, and the professor said, “You come here with a skull full of mush and you leave thinking like a lawyer.” I thought, “Oh, I like the sound of that.” I didn't really know what a lawyer was, but everyone seemed to be very happy that I wanted to become one, and then that was it. Jo: So you went into law, and then how did you get into property? Suzanne: So I worked for 25 years as a solicitor. That's like an attorney if you're American. Started off in a law firm, and then I went into pharmaceuticals and I worked for big companies like what is now GSK, GlaxoSmithKline, and small companies as well. When I started out, it was before the internet, before Google. When you're in house, you're very much a generalist. You do a bit of everything. So you help companies grow their business. You're not business prevention, but you're still bound by the code of conduct for solicitors. You've got this role of keeping the company on the right side of the law. Then I had twins, who were born about five years after I became a lawyer, and I decided to work part-time for a while and did an MBA when they were little, part-time through the Open University. I know Jonathan is doing one at the moment. Jo: Yes. He's finished, so that's exciting. Suzanne: That was transformational for me, because I had probably been thinking a bit too much as a lawyer, and it helped me to broaden my view of the world and understand all sorts of things. Sso I continued going up the greasy pole, and then for my last job, in 2015, I joined a biotech company in Cambridge, England, as general counsel and company secretary. It was a long way from home, about two, three hours' drive from home. So I decided to buy a flat, an apartment, and to stay there in the week. I thought to myself, “Well, when I leave this company, I can let it out as a buy-to-let,” but actually as a landlord. So I stayed there for five years, and then when I left, I let out the property. The reason why I decided to leave law after 25 years, I had what I call a sliding doors moment, like in the film. I was 50. I was on holiday with my husband, and we'd probably had one too many rum cocktails. And he said to me, “Well, what do you want to be doing with your life? What would you do if you could do anything?” I was thinking, “Well, I've done law. I want to do something else now.” I didn't really know what that was, and I'd always been thinking about studying French properly, and that's when I left. So I decided, 18 months later, I left to do a French degree at King's College London, full-time. I was the only old person there with lots of 18-year-olds. When I did that, I was able to cash in my share options because I was a good leaver. I retired, and so I started buying properties to let out and became a landlord, without really thinking too much about it, and I used letting agents. They were fine to begin with, but I didn't really have a game plan or anything like that. What I realised is that when I tried to research things online, I couldn't really find anything that was terribly helpful. It was either quite general or it was very legal. So after a while… I became a landlord in 2019. I had the idea, why don't I set up a blog? And this is August 2022, so just four years ago. My husband came up with the idea of the name, The Independent Landlord, because it's that Kiwi spirit, being very independent. I thought, “Right, I'm not going to charge anyone for it. It's a hobby. It's not a business. I'm going to pay it forward and help, use my legal training, practical legal approach, and practical common sense, by doing this blog.” Almost exactly four years ago, I sent my first newsletter to 13 people. Jo: Woo-hoo. Suzanne: And I sent one last week to over 18,000. So it's been quite a journey. Jo: Wow, this is so great. I love this. There's so much in there. The turning 50 and then doing a degree. My master's in death is a little different to your French literature, but I like it. So I love this, and buying properties, starting it on the side, not a business at first, and growing the audience, and obviously you've put so much work in. Then you decide to write a book. So talk about that, because an online blog, although I'm sure your articles and everything were super useful, it's very different to write a blog than a book. So talk about your challenges in writing. Why did you decide to do a book in the first place? Suzanne: Again, I was an accidental landlord, is what they call it when you let a property when you didn't intend to buy it as a buy-to-let, which I did with my Cambridge flat. And I became, in many respects, an accidental author. So I was having a conversation with my husband again and I was saying I'd done this lead magnet to get people to sign up to my newsletter, and a big new law was going through Parliament at the time, called the Renters Reform Bill, that was going to completely transform the way landlords operate. I was saying to my husband, “Oh, I need to update my lead magnet, a little ebook, to explain the new law.” He looked at me and said, “Well, why don't you do a proper book? Write a book.” This was on the 29th of September, 2023. The reason why I mention that is that I thought, “Wow, what a great idea,” and my head was bursting. I went onto Google, and guess what I downloaded on the 1st of October? Jo: My blueprint? Suzanne: Exactly. I found you immediately, the Author Blueprint, and I downloaded it. I checked: on the 1st of October, 2023. Then I listened to almost… well, I think I went back several years on your podcast, just trying to understand. I'm like that. When I try and do something, I just try and learn everything that there is to know about it. So I started writing the book, and I guess the first challenge was I write quickly, and I'm used to writing for people who aren't lawyers, being in-house. So I thought I needed to have a structure. The structure was easy in many respects because, a bit of business at the end, and then you can go through a tenancy. I thought it was important to have a narrative thread all the way through it, just to bring it together. This is the literature degree coming in here. I thought that the mission for everything I do, the reason why I started doing this, is to help landlords, but also to help the experience of renting that people have in England. It's very specific for English law. And to help improve the private rented sector. So that's why I originally set up my blog for free, and I wanted, when people went onto Google, they could find something sensible and very detailed from me. My blog posts were… Well, I've now got over 400,000 words on my blog, so it's a substantial piece of work that is out there free of charge. So what I decided to do was to bring this narrative thread, I call it the good landlord ethos, to the book. Then I wrote very quickly, and I had a pretty good draft by April 2024, because we were all thinking that the law was going to change very soon. But then there was an election, and in the end the government changed and the legislation changed completely, so I had to rewrite the book and start again. So I think that my biggest challenge was that my subject matter, the new law, changed. Because I wanted to publish this book that explained to people practically what they have to do, and make it really straightforward, keeping out of politics, because it is a very politically charged area. I wanted to write it so it's a manual, somebody could literally follow it. So I used an editor, and I did write the book twice. I had a beta reader who is another lawyer, and a landlord as well. Then I got to the get-the-damn-thing-done stage. The really tedious bit of all the typos at the end. Jo: Yes, the finishing energy to get it out there. So at that point, obviously you'd found my blueprint, so you were learning about the indie way of doing things. Did you always decide to self-publish? How did you think about publishing? What were your challenges in publishing? Suzanne: It never occurred to me not to self-publish, because the new law came into effect on the 1st of May, 2026. The law and the details that I needed for the book were finalised in January, and I published on Amazon on the 5th of March, so I had to go so quickly. Even though I'd got a lot of it written, the last bit came in January, and so I needed speed. I knew that for landlords to be able to have something that they can use straightaway to help get them ready for it, and then use as a manual afterwards, I had to be first. Jo: Sorry, just on the year. Was it '24? You said '26. You meant May— Suzanne: 2024? No, no, because I actually published it this year. What happened in 2024, I had the first draft ready, but then I had to do another draft because the law changed when the Labour government came in. Jo: Right. Suzanne: The Renters Reform Bill turned into the Renters' Rights Bill. So I had to rewrite the book. So I finished however many drafts at the end of January 2026. Then it went to an editor, et cetera, et cetera, and I managed to get the book ready for a proof, to get the proof printed, towards the end of February. So it was really quick to go from the law being sufficiently finalised for me to write a book in January, and then having it ready in just over a month. There is no way that I could have done that if I'd gone to a traditional publisher. It didn't even occur to me to go, because I didn't want to be going touting around my book and, “Please publish me,” et cetera. It's just not me. I'm the independent landlord, and that moved very easily to being the independent publisher. So I learnt how to do all the publishing. And a huge thanks: I joined your Patreon and I was a very good student. I went through everything systematically and followed your playbook, and used Vellum and BookFunnel and all the other tools. So I decided to go on Amazon as well as have my own Shopify store, which just about killed me. Jo: I was going to say, you are an excellent student. You really like learning, but you also put this into practice, which is why I also wanted to talk to you. You haven't just talked about all this. You've literally done everything. Suzanne: Sometimes it was like my head was going to burst. Luckily, Claude upped his game earlier this year when we got the Opus 4.5. I didn't use AI really until this year. I decided I need to do exercise all the time, and have that as a have-to-do, because my head was spinning all the time with all these different things. So I would go to the gym, go to a spin class, and then I would walk out with my phone on, with the Claude app, and dictate a stream of consciousness into it. “Oh, I need to do this, or what about that? Oh, I just remembered about this. Oh, I've had this idea, blah.” And then said, “Make sense of it for me, Claude.” So it was very much as a thinking partner, because when you're writing your first book, it's bad enough, but when you're learning how to publish… Even, like, when I got the first proof of the book back from BookVault, I realised that all the footnotes—I have 114 footnotes in my book, and that, again, is the recent degree there—and the formatting had gone skew-whiff. Apparently it was an issue with Vellum, and they were really lovely and they sorted it straight out for me. So it shows: always get a proof of the book. They were able to sort that out very quickly, and BookVault were very quick in getting me another proof, because you can shortcut it and just pay to get a very quick delivery. Amazon, on the other hand, was really slow. It took a week. So I actually published earlier on my Shopify store for my members, of my membership, and I gave them a discount. Then I finally got it onto Amazon on the 5th of March. There are all these different skills you're having to learn. The Shopify store I found very hard, and there was all the tax, because I'm VAT registered. So I think I'm still recovering. Jo: You're still recovering. I wouldn't normally recommend a Shopify store for someone with their first book, doing first of everything. But, as you say, you're someone who learns a lot, puts it into practice, and— I think you were pretty determined to do that because you had a community as well, right? Suzanne: Exactly, yes. The big subscriber list. I think that's why the book did so well. So in the first week, because I met you at the Indie Author Lab put on by— Jo: Yes, London Book Fair, yes. Suzanne: Yes, the Alliance of Independent Authors. I met you there, and it was just my first week, and I had 1,000 sales in the first week. That was because of my audience. I'd been going on about the fact that I'm writing this book for two and a half years, because that's how long it took me to do. So I had a wait list for it, and I had a thing on my website, a landing page on my website,…

    Full show notes at the publisher

    How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms Jul 29, 2026
    Show notes

    How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing.…

    Full show notes at the publisher

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