The Pulp Writer Show

In this week's episode, we take a look at four different ebook formatting tools for indie authors. We also discuss the phenomenon of Star Wars day. This coupon code will get you 25% off the ebook of Malison: The Complete Series at my Payhip store: MALISON25 The coupon code is valid through June 3, 2025. So if you need a new book for spring, we've got you covered! TRANSCRIPT 00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 251 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 9, 2025, and today we are looking at ebook formatting tools. Before we get into our main topic, we'll have Coupon of the Week, a progress update at my current writing and audiobook projects, and then Question of the Week. We'll also close out the show with a preview of my new audiobook Ghost in the Assembly (as excellently narrated by Hollis McCarthy).   This week's coupon code will get you 25% off the ebook of Malison: The Complete Series at my Payhip store, and that is MALISON25. As always, we'll have the coupon code and the links in the show notes for this episode. This coupon code is valid through June the 3, 2025. So if you need a new ebook for spring, we have got you covered. Now here's where I'm at with my current writing projects. I am 87,000 words into Ghost in the Corruption and I'm hoping to hit 90,000 words by the end of today. So if all goes well, I will finish it up later this week and then begin editing. I am also 9,000 words into what my next project will be, which is Shield of Power, the final book in The Shield War series. I'm also 91,000 words into Stealth and Spells Online: Final Quest, and that will be my main project after Shield of Power is finished. So my writing goals for the next couple months will be Ghost in the Corruption, Shield of Power, Stealth and Spells Online: Final Quest, and then the final book in The Ghost Armor series (the title of which I should really decide since I'm getting close to being finished with the fifth book).   In audiobook news, recording of Ghost in the Assembly (as excellently narrated by Hollis McCarthy) is finished. That should be turning up on all the various audiobook stores before too much longer. Shield of Deception (as excellently narrated by Brad Wills) is finished and available at all the audio stores: Audible, Apple, Google Play, Spotify, Chirp, and all the others. You can get that right now. Brad should be starting a recording of Shield of Battle sometime in the second half of May, if all goes well. So that is where I'm at with my current writing projects.   00:02:09 Question of the Week   And now let's move on to Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question: what is your favorite Star Wars? The inspiration for this question is the fact that May the Fourth has become Star Wars Day (in a very tongue in cheek manner). And as you might expect, we had a variety of responses to this question. Justin says: I have not seen any Star Wars TV series, but your other choices are mine as well. I have the Trawn Trilogy in the box set and got a PC joystick just for playing TIE Fighter again. Jonathan D. says: Empire Strikes Back is still the best film. I cannot get into the Disney canon after they destroyed the Expanded Universe. I watched The Force Awakens and that killed any interest in watching Disney Star Wars for me. Books is either Heir to the Empire Trilogy or the Darth Bain trilogy. A well done film adaptation of the Darth Bain books would be the only thing that would make me want to watch any new films. Video games would have to be Knight of the Old Republic 1 or 2, with Jedi Academy coming in third. The original Battlefront games were also great.   John Paul says: Loved the Mandalorian and the Book of Boba Fett, especially when they had the characters from each other's show guest starring in them. I saw somewhere they aren't making another series, but [there] was talk about a TV movie to finish it off, but [they are] now showing Series 4 on IBMD with no date. I grew up with the original trilogy though some of the later films are good, especially the special effects, though Jar Jar Binks spoiled the first three movies. Maybe they should reedit the character out since Lucas has spent some money on adding new effects to the trilogy to bring in line with the new movies. Skeleton Crew made me think of the movie Flight of the Navigator with Star Wars added, so I enjoyed that even though it's mainly for kids. I have fond memories of Space Invaders with the sidekick from the original Fall Guy TV show. Again, made for kids though adults can enjoy if they watch tongue in cheek.   Andrew says: There are only three Star Wars movies, of which Empire Strikes Back is my favorite. I really enjoyed Mandalorian Season One. Now Star Wars is dead to me, except for lightsaber battle videos. I really like the Princess Bride Battles. I played TIE Fighter, Dark Forces, and Knights of the Old Republic.   Tom says: Favorite film, Rogue One. With you on Mandalorian Season Two as favorite TV show. Favorite game, Rogue Squadron.   Tracy says: My favorite was Return of the Jedi.   Jenny says: Thrawn Trilogy for sure! Dark Forces was my very first computer game, so it's always going to hold a special place in my heart.   William says: The unofficial remasters of the original trilogy from preserved reels are a godsend.   MG says: Knights of the Old Republic was quite good and Knights of the Old Republic 2.   John K. says: I'm a grim dark sort of guy. Really liked Rogue One but it's slightly edged out by the original Episode IV. I absolutely love Andor but honestly, have not hated anything. Enjoyed them all. I was a nut for the original X-Wing game. Got good enough to one shot TIE Fighters with one quad shot and rarely missed and learned how to solo Star Destroyers pretty easily, though it would take forever. Having played the game that John K. is talking about, I can agree with him that you could take down Star Destroyers in your X-Wing if you knew what you were doing, but it really would take forever.   Dave says: Book wise, I really enjoyed the Thrawn books by Timothy Zahn, also the X-Wing series by Michael A. Stackpole was a personal favorite.   And finally Michael says: I agree on Empire Strikes Back though as a kid, I disliked the lack of upbeat movie. Also really liked the Solo movie. I confess I found the Thrawn books underwhelming, though the original Star Wars novelization is pretty good. And finally, I got to agree on TIE Fighter, such great game. Also, I have a soft spot for Jedi Knight: Dark Forces 2.   For myself, I would have to break it down into four categories because Star Wars media covers so many different formats now. For favorite movie, I would say Empire Strikes Back, with Return of the Jedi as the runner up. For the favorite TV series, Season 2 of The Mandalorian. For my favorite book, The Thrawn Trilogy by Timothy Zahn, with Revenge of the Sith by Matthew Stover, Darth Plagueis by James Luceno, and The Darth Bane Trilogy by Drew Karpyshyn coming in as strong runners up. Seriously, if you're listening to this podcast, you probably enjoy reading books, so these five are definitely worth your time.   For my favorite video games, I would say TIE Fighter, with Knights of the Old Republic as a very close runner-up. But TIE Fighter was definitely my favorite. In the game, you play as an Imperial pilot, and the designers had the clever idea of making the Empire sympathetic by having the player spend most of the missions hunting ruthless pirates, suppressing alien civil wars, and fighting renegade Imperial warlords who are trying to overthrow the Emperor. In the last two expansion packs for the game, the player is flying as Grand Admiral Thrawn's elite pilot against the renegade Grand Admiral Zaarin, and finally defeating Zaarin after like forty missions was VERY satisfying.   So those are my favorite Star Wars media items. As we can see.  there is quite a range of opinion in the answer to that question.   00:06:54 Main Topic: Ebook Formatting Tools   Now let's move on to our main topic, which is ebook formatting tools. And this is an important thing for indie authors to discuss because if you do want to self-publish your books, it is one of those foundational skills you have to master. You need to know what kind of file format the platforms you're publishing to you take and how to produce it. Now this is something you can hire out but you really, really shouldn't in my opinion, especially because some ebook formatting services charge as much as $2,000 to turn a Word document into files ready to upload for ebook stores. Considering that it is something you can easily do yourself with free tools and a little bit of practice, spending any amount of money on it is probably a waste. I mean, there's a difference between the kind of intricate formatting you would need for say, a full color medical textbook with illustrations and a 60,000 word romance novel. Fortunately, all the major software programs are nowhere near as expensive as $2,000 a book and don't have as much of a learning curve as you might expect. Both video and written tutorials are plentiful for all of these options, making it easy to learn at your own pace. Today we're going to go over four software options for formatting ebooks and discuss their pros, cons, and the best uses for them. Although some of these products have word processing functionality and other features built in, today we'll focus on just the ebook formatting part of the software. #1: The first option we will look at is Atticus. Atticus is from the same company that makes Publisher Rocket, which is a software program I've spoken of very favorably of on the show over the years. The company has made an effort to understand the needs of authors over the years and added new features to Publisher Rocket consistently as time went on. The company Kindlepreneur has also made significant enhancements to Atticus since it launched. As of the time of this recording, it is a one-time purchase option that has free ongoing updates and the current cost is $147 (in United States dollars). Expensive, but the founder of the company Dave Chesson has said frequently he doesn't like software subscriptions. So hopefully this will continue to be a one-time fee and not become a subscription thing.   So here are the pros to using Atticus. It is less expensive than Vellum and has the same features. It works on operating systems other than Mac. In theory, since it has a web client, it can work on any platform. Reviewers say it is very pleasant to use and those who want a lot of customization options are generally happy with it and it has a nice tool for creating and reusing the template for things like author bios or link pages.   The con is that it does require an Internet connection to use and you have to have a computer connected to the Internet. Some people also prefer not to have their work stored in the cloud like Atticus does. Some users report slowness while opening or closing or when saving a file, especially if it's a book with a high word account. Because of the online requirement, there can be issues related to syncing. It does not support .mobi as a file export option. However, that's not a big deal anymore because Amazon is officially phasing out the .mobi file extension and is requiring people to use .epub. So this is not a major point and it's only for people who have a customer base with very old e-readers that can't handle .epub.   And finally, Atticus does not offer a free trial period if you just want to try it out, but does offer a refund within the first 30 days if you try it and decide that you don't like it. So what users would find Atticus the best? It's probably best for PC or Linux users who don't want a Mac and also want to have lots of fine control of your formatting or customizing your layout. Atticus is also heavily built around collaboration, where different people can work on the same file. So if you do work with a team (and many indie authors do) or are co-writing a book, then Atticus might be a good tool for you to use.   #2: The second program we're going to look at is called Vellum.  Vellum has been seen as the default option for ebook formatting for a lot of writers for a while now. As of the time of recording, there is a one-time purchase option that has free ongoing updates. The current cost is $199 for the ebook only version or $249 for the version that includes paperbacks. Vellum has gone on sale occasionally in the past, usually for Cyber Monday in November. The pros for Vellum are that many reviewers consider it the best option for ebook formatting and say it delivers professional results without too much work and a minimal learning curve. Vellum lets you try out the software for free, but you won't be able to export the files you're publishing until the software is purchased. Like Atticus, it offers a 30 day window for a refund.   Vellum is not cloud-based software and it can be used offline. So if you are, for instance, working on a laptop on the road with spotty internet connectivity, this can be a lifesaver. Now for the cons and the biggest con is a big one- that Vellum is Macintosh only. You need to have a Mac to use it and it is not currently available for Windows and Linux. The developers have said that presently they have no plans to port it to either Windows or Linux. It will also not work on iOS, so that means you can't run it on your iPad or your iPhone. You can in theory use it on a PC with a Mac OS virtual machine, but people have reported very mixed success with that. The other con is that it is the most expensive option. So the users this is best for I think would be if you already have a Mac or you are willing to buy a Mac for just one piece of software. #3: The third software program we're going to look at is called Jutoh. Jutoh is a labor of love, mainly created by two people in the UK and has been around for a long, long time. As of the time of this recording, there is a one-time purchase option that costs $45 (US dollars) and a Plus version for $90 that supports some additional features. It currently offers a free trial that you can download and install, but functionality is limited in the trial version. The pros of Jutoh is that it works on Windows, Mac, and most versions of Linux. It is not cloud-based software/is local to your computer. It does not need a constant Internet connection to function. Reviewers frequently praised how responsive their customer support is and of the paid options we are discussing, it will be the least expensive of all of them. The cons are the interface is a bit dated. It does kind of look like something from the early 2000s in terms of the buttons and where they are. Because of that, it can be more difficult for some users to use than Atticus or Vellum. It does not create PDFs or print ready files, so you would not be able to use it to format your files for print books, which is something both Atticus and Vellum offer. I think this is best used for users who want a less expensive option than Atticus or Vellum or a PC user who wants a non-cloud based option.   #4: The fourth and final program we're going to look at is called Kindle Create. And as of this recording, it is the only one of these four options that is free. It is a free download. This software is created and maintained by Amazon. The pro? It's free and you can use the .epubs it creates to upload your books onto other platforms. Just because you've made your ebook in Amazon Create, that doesn't mean you can't use the file for Barnes & Noble and Kobo and Apple and so forth. You can go ahead and do that. However, because it is free software, there are quite a few cons to it. The functionality is pretty limited and only a few fonts are available. It is not good with complex layouts and Amazon's own documentation recommends not using it for books with tables, footnotes, or complex text formatting.   The program doesn't handle edits well. There are people who write books in Vellum even though the developers don't exactly recommend that. And Atticus is designed to have books written in it. However, Kindle Create definitely cannot handle that very well. Windows and Mac are supported, but you can't install it on Linux. Kindle Create no longer supports .mobi as a file export option since Amazon is moving away from that option and most other vendors haven't used it ever. That is a minor point.   I think Kindle Create is best used by users who are just starting out and don't have much in the way of budget and have books that don't require a lot of complex formatting. Kindle Create is actually quite good for novels because novels in general don't have a lot of complex formatting and because it's free, it has a little bit of a steeper learning curve, but that can be advantageous as well.   So looking at those four options, what do I use and why? Well, for the first seven or so years I was self-publishing, I didn't use any of these. I used a program called Sigil, which is an .epub editor. And if Kindle Create has a high learning curve, Sigil's is much higher because you're essentially editing the raw guts of the .epub file.   I was content using that for a number of years, but what I needed was a program that would make uploading print books and formatting print books much easier because at the time I was using Create Space and Create Space required a specialized Word template that was just an enormous headache to use. And the reason that many of the Frostborn books have exactly 24 chapters is because I had a template that worked really well with 24 chapters for print books and I wasn't going to mess that up by trying to add a chapter or have one fewer chapter. So for some of the Frostborn books, I made sure there were 24 chapters.   Obviously this was not a tenable situation for the print books, even though I was happy using Sigil for the eBooks. So I eventually heard good things about Vellum. In 2018 (I believe) I got a used Mac and installed Vellum and started using that for print books. I was much happier with that.   Because the books looked so good in print, I eventually switched over to using Vellum for formatting my ebooks as well and I've been using that ever since. So my main ebook format writing program (as of May 9, 2025) is Vellum and I have a Mac specifically for that purpose. However, I also has high praise to say about Jutoh. I got started using Jutoh because for a while, Smashwords required you to upload a book using a specialized Word format. They didn't accept .epubs for the longest time and formatting a book in that proper Word format for Smashwords was a large headache, I have to admit. I never managed to get it automated quite right. And I had frequent problems with Smashwords rejecting the Word document I uploaded and so forth. Eventually, I discovered that Jutoh also had an export option for creating Smashwords-friendly Word documents. So I tried it out and that was just a godsend, I have to admit. It saved me so much time. So for about seven years as well, I used Jutoh for Smashwords formatting. However, in 2024 after Smashwords was acquired by Draft 2 Digital and the two companies became more and more merged, Smashwords changed and now accepts properly formatted .epubs. They don't do that specialized Word document thing anymore, which has made it much easier to upload files to Smashwords, I must say. But that also means that I've used Jutoh less and less in favor of Vellum because I no longer need those specially formatted Word documents. However, I do have nothing but positive things to say about Jutoh; it is a very good program. If you don't want to shell out the $249 for Vellum or if you don't have a Mac, I think Jutoh is an excellent option for you to use. I have never actually used Atticus, but it's popular enough that I wanted to talk about it on this show. I do know a lot of people who have used it to good effect. Just bear in mind the pros and cons we mentioned. And as for Kindle Create, there's nothing wrong with it. I think it's good starting point, especially if you're just starting out and want to format your book without paying a lot of money or having to pay $2,000 to someone on the Internet to do it. I do think it's a good starting point, even though it's very basic and for your first couple of books, it would be good. But as you get more experienced and want to branch into things like print books, you'll probably want a program with greater functionality like Jutoh, Vellum, or Atticus. So myself, I use mostly Vellum (with Jutoh occasionally), and that is what I use for ebook formatting.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.   00:19:53 Audiobook Excerpt   And now we'll close out the show with a short excerpt from Ghost In the Assembly, as narrated by Hollis McCarthy. [Remainder of podcast is audiobook except]

It's the 250th episode of The Pulp Writer Show! To celebrate this occasion, this episode takes a look at the expectations people have of a full-time writer's life and contrasts them with the reality. This coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book #6 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store: TALONS50 The coupon code is valid through May 27, 2025. So if you need a new audiobook for spring, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 250 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 2, 2025, and today we're looking at what it is really like to be a full-time writer. This is also the 250th episode of the podcast, so thank you all for listening to the podcast over these last six years. Before I started recording, I totaled up the total length of previous podcast episodes and came to about 78 hours, give or take. That's like three days of continuous talking, which sounds less impressive when you realize it was recorded over the last six years.   Thank you all for listening and here's hoping you can stick around with the next 250 episodes. Before we get to our main topic, which is the expectations versus reality of being a full-time writer, we are going to do Coupon of the Week, a progress update my current writing projects, and then Question of the Week. So let's kick off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book Six in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That code is TALONS50. As always, you can get that coupon code and the links to my Payhip store in the show notes. This coupon code is valid through May 27th, 2025. So if you need a new audiobook for spring, we have got you covered.   Now an update on my current writing projects. I am 60,000 words into Ghost in the Corruption, which puts me on chapter 13 of 21, so I'm about two thirds of the way through. I think the rough draft will be between 90-100,000 words long, so hopefully I can have that out before the end of May, if all goes well. I also just finished Chapter One of Shield of Power, which will be the final book of the Shield War series and that'll be my main project once Ghost in the Corruption is finished. I'm also 87,000 words into Stealth and Spells Online: The Final Quest, and that will be my main project once Shield of Power comes out. I expect Final Quest should come out pretty soon after Shield of Power just because I've been chipping away at it for so long and I'm getting close to the end.   In audiobook news, recording is almost done for Ghost in the Assembly and that'll be narrated by Hollis McCarthy. Recording is totally done for Shield of Deception (as narrated by Brad Wills) and that is working its way through processing at the various audiobook platforms, so hopefully we'll not be too much longer before we can get that to you.   00:02:26 Question of the Week So that is where I'm at with my current writing projects. And now let's move on to Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what is your favorite Jonathan Moeller book? The reason for this question is that this is the 250th podcast episode, so it seems like a good topic for that particular milestone. And as you might expect, we had an array of different opinions.   Joachim says: You are kidding us! By the end of the week? How long did you think about your own answer? Let me mirror you: for my own answer, the question is a bit difficult because I spent money on all your books, which meant I thought all of them a good buy. So let me split my answer into male and female protagonists. The best female book was Ghost Exile: Omnibus One because it prompted me to continue with Ghost Exile and fill in the Ghost series later. The Ghosts Omnibus One and Ghost Exile: Omnibus One were my first two books from you. The best male book was the one with Jack March where Thunderbolt said, “males are ogling breasts which never existed”, especially as such AI generated videos are now all over the place on YouTube.   I have to admit that I first came up with the character of Thunderbolt back in early 2021 when I was working on Silent Order: Rust Hand (that was before the AI boom really took off), so she turned out to be a very prescient character for the AI era in a number of ways.   Joe B. says: That is a tough question as there are many contenders. I'm going to go with one that is a little different, Sevenfold Sword Online: Creation, but now known as Stealth and Spells Online: Creation.   Justin says: I nominate Soul of Swords, an excellent end to an excellent series.   Perry says: There can only be one! Demonsouled. Paul says: For me, I think my favorite female protagonist  book is Cloak Games: Truth Chain. Such a dramatic change to Nadia, sets up the series in her struggles with self and enemies so well.   Brad Wills (who as you know narrated the Frostborn, Dragonskull, Malison, and Shield War series for me) says: Does a three book arc count?  Excalibur, The Dragon Knight, and The Shadow Prison made for a fantastic lead-up and finale of the Frostborn series.   Hollis McCarthy (who as you know, narrated the Ghosts and Cloak Mage audiobooks) says: Ghost in the Storm, when Caina and Kylon meet in the Battle for Marsis. Nonstop action, incredible chase scenes, and a great intro to their combative relationship.   Fred says: It's hard for me to say which book is my favorite. All your book series were all great.   Juana says: Frostborn: Excalibur with Ridmark. I happen to love stories about Excalibur, odd but true. Caina in Cloak and Ghost: Rebel Cell because Caina and Nadia are an incendiary team. So there! Randy says: Frostborn: The Dragon Knight. This whole series is great, but that is one of the high points.   Dennis says: I couldn't name my favorite as I enjoy everything you write. I probably enjoyed the Frostborn series best at the time, but having bought and read every one of your books it's now impossible.   Kevin says: There's no way on earth that I could put one book above another, so I would've to take the coward's way out and say Frostborn: The Gray Knight simply because it has a book that drew me to the worlds of Jonathan Moeller back in the spring of 2017, since which time I have bought 117 of his books, including a few omnibus editions, so a few more actual books, I suppose. I avidly read them all as they're published these days, except the Silent Order series (just doesn't grab me and pull me in like the others). Jesse says: Cloak Games: Sky Hammer. Damaged Nadia at her best, epic action the whole way. And yeah, the chapter The Last Death of Nadia Moran was viscerally cinematic and probably the biggest emotional payoff you've written in my opinion, tied her entire journey together. In my head, I cast Castle-era Stana Katic as Nadia, and it worked better than I expected it might.   Morgan says: I can't narrow it down to just one. So top three in no particular order, Sevenfold Swords: Swordbearer, Dragontiarna: Gates, and Stealth and Spells Online: Leveling. That being said, I think Niara might be my favorite character of all your books I have read.   Jonathan T says: I too am torn though only between two books, Frostborn: The Eightfold Knife and Frostborn: The Shadow Prison.   [Side note/addition from The Transcriptionist: My vote is for Half-Elven Thief!]   So thank you everyone for the kind words about all those books. For my own answer, the question is a bit difficult because I've written them all, which meant I thought all of them were good idea at the time. I suppose the glib answer would be the one that made me the most money, which was Frostborn: The Iron Tower, but it really depends on the category, like my favorite heist book, my favorite mystery book, my favorite dungeon crawl, my favorite first in series. So I think I'll go for the most basic level of categorization and split it up by male and female protagonists.   My favorite book of mine with a female protagonist would probably be Cloak Games: Rebel Fist, since it's such a turning point for Nadia and starts the trajectory of the rest of her character arc. It's the first time she really has to save the day instead of just trying to save herself and shows that her brother Russell can also handle himself, which as you know, comes up again later. My favorite book of mine with a male protagonist would probably be Dragontiarna: Defenders, since it has the Battle of Shadow Crown Hill, which was one of my favorite sequences to write. Four different characters have plans and they all crash into each other at the same time, which was a lot of fun to write and set up, which was a real highlight for me in 2020 because as we all know, 2020 was a fun year.   00:07:35 Main Topic of the Week: Writing Full Time: Expectations Versus Reality   So that is it for Question of the Week. Now let's move on to our main topic this week, writing full-time: expectations versus reality (admittedly from the perspective of a self-published author). If you spent any time around the writing community on the Internet at all, you know that many people dream of becoming a full-time writer, and sometimes people think that the only way to be successful as a writer is to write full-time. There are many expectations that people have about what it means to be a full-time writer. Now that I've been a full-time indie writer for nearly nine years at this point, I can provide some lived perspective. In this episode, I will talk about five of those expectations that people have about full-time writing and the way those expectations might be skewed.   So before we get to those, I should mention how I actually became a full-time writer. In 2016 (which seems like a really long time ago now), the Frostborn series was doing really well, and at the time I was also working full time and I realized that summer I was going to have to move for family reasons. I wasn't very enthusiastic about the idea of moving at first, but I decided to embrace the idea and try to make the best of it. This would involve moving a considerable distance to a different state and all the different problems that entails. So I thought about it and I thought I could look for a new job, but any job I would be qualified for in the area I was moving to would make less money than I was actually making from writing part-time. So I thought, why not try and make a go of full-time writing and see what happens?   Since that was nine years ago, I think I can safely say it's worked out pretty well. And I will say that it's been a pretty good experience and I am very fortunate and very grateful and very blessed to have been able to do this because not everyone has the opportunity to pursue a full-time creative job like I have been able to for these last nine years. That said, while it has been pretty great, it comes with a lot of flexibility and I've gotten to write a lot of great books that many people have enjoyed, it's not always all wine and roses, so to speak, which is part of the reason why I wanted to do this episode to let people more in what the reality of being a full-time writer for this long has been like. So with that introduction out of the way, let's move on to our five expectations versus reality.   Expectation #1: Full-time authors make a lot of money. The reality is that even full-time authors generally don't make that much money. A survey from The Author's Guild showed that the median amount that full-time authors make was just about $20,000, though full-time romance writers had a higher median income of about $37,000. Remember that this amount is before any health insurance costs, benefits, retirement contributions, and of course taxes that a traditional job might be able to provide or help with. In the United States, buying even fairly basic health insurance can easily be a thousand dollars per month for a family, and that doesn't include any costs related to deductibles, prescriptions, or additional dental or vision insurance. Authors are either on their own for healthcare in the US or have to rely on a spouse or partner's healthcare coverage. In other words, you either have to pony up a lot of money to buy your own health insurance or you have to rely on your spouse or partner's healthcare coverage.   And at least in the US, taxes are also much higher on the self-employed. Uncle Sam really does not like the self-employed. If you are self-employed, it is in your best interest to essentially form a small corporation and work for yourself (though for details on how to do that, you should consult with an accountant licensed to practice in your region). Now all these costs can add up pretty quickly, and they make the amount of money that you'll earn from writing much less than you think based on raw earnings before taxes and all the other expenses we were talking about. You also have business expenses like cover design, site hosting, editors, narrators, advertising, et cetera, that take even more pieces out of those earnings. You can duck some of those, but not all of them.   So it boils down to that you have to make a significant amount of money as an author to make an actual living after taxes, healthcare costs, and business expenses are taken out of your earnings, which is one of the reasons that writing part-time as you have a full-time job is not the worst idea in the world and can in fact be a very good idea.   Expectation #2: My next book will make as much or more than the last one did. The reality is that your next book or series might not make you as much money as the previous ones did. In fact, you can reliably predict that most book series will have a certain amount of reader drop off as a series goes on, which is why these days I tend to want to keep my series under nine to ten books or so. Budgeting based on your current income levels is not wise, especially with the current economic climate (which for a variety of reasons is very unpredictable) and with increased competition in the ebook market. Most authors have a peak at some point in their career. For example, Stephen King is still obviously making a great living as a writer putting out new books, but his new books don't sell nearly as well as the ones he put out in the ‘80s. J.K. Rowling's novels for adults (she writes as Robert Galbraith the Cormoran Strike series) don't sell anywhere near the number of copies as her Harry Potter series did at its peak.   For myself, my peak years in terms of writing income were 2016 and 2017, and I've never quite been able to recapture that level. In fact, in 2024, I only did about two thirds of what I did in 2017 (my peak year), which can be a little nerve wracking as you watch those numbers move up and down. That is why it is important for a writer (like many other creatives like actors) to anticipate that they might only have a limited window of peak success and to save aggressively rather than living large on the amount you're earning in that peak era. And I am pleased to report that I was fortunate enough and sensible enough to do that, so that even if my income has varied from year to year (2017 onward), it hasn't been a crippling loss and I haven't been out in the street or lost the house or anything like that.   Expectation #3: You will be happier if you write full-time. The reality is that is not true for everyone. Some people actually do better creatively and emotionally with the time restrictions placed on them by having a full-time job. Many famous writers, including Trollope and Kafka, kept their full-time jobs. Even Tolkien was never a full-time writer. He was a professor of philology until he retired. That was interesting to me because personally, I haven't had much in terms of emotional trouble being a full-time writer. I've always kind of had the ability to hyperfocus on a task, and I've been doing that for almost nine years now, and it's worked out well for me.   I've since realized that is not true for many people. One of the things that demonstrated it to me, believe it or not, was insurance actuarial tables. One thing that I tried to do after I became a full-time writer was try and get disability insurance in case I had an accident or severe illness and could not write anymore. I learned that it's extremely difficult for full-time writers to get disability insurance due to their high rates of substance abuse and mental illness. I was astonished by this because I've never had problems with substance abuse or mental illness myself, but given the number of writers and other creatives I've known who have had those issues, perhaps that's not that surprising, but I was still baffled to learn that.   For example, in my area there are a number of tree management companies (because it's a heavily wooded area) and it's a lot easier for an arborist who works with a chainsaw all day to get disability insurance than it is for a writer, which is somewhat crazy to think about because as a writer, I'm mostly sitting in a chair all day pressing buttons on a keyboard while an arborist is climbing a tree or in a crane with a chainsaw, which is a much more physically dangerous thing. But because of the rates of substance abuse and mental illness among full-time writers, apparently it is very difficult for full-time writers to get disability insurance. Some people struggle with the lack of structure and outward accountability that comes from being a full-time writer and find that actually decreases their productivity and leads them to fall into substance abuse or sink deeper into mental health problems. Very few people have the self-discipline and mental resilience required to be a full-time writer for years on end. And that's not me tooting my own horn so to speak, but apparently it is just the facts. Some writers even go back to full-time work just because they find it less stressful or better for their wellbeing. So I think this is an excellent example of having to know yourself and know what is best for you. For example, if you're a very extroverted person who enjoys talking to people at the office, becoming a full-time writer where you spend most of your time by yourself typing might not be the best for your long-term mental and physical health. Expectation #4: Writing full-time will make me more productive. The reality is having more time does not necessarily mean that you'll be more productive. Writers are notorious for falling prey to time wasters, such as social media scrolling, research spirals, and writing adjacent activities (of which there is a whole series about on this podcast already). It does take a lot of a self-discipline, focus, and determination to be a full-time writer. If you are a full-time writer, especially a full-time indie writer, you also have to balance writing time with various administrative tasks, marketing and ads, social media, fan correspondence, and the various tasks involved in the self-publishing process. Writing is not the only thing that writers actually do, and the other tasks often make finding time for writing more difficult than you might expect. Even traditionally published writers still have to carve out time for administrative work and assisting with marketing and social media work.   As your writing career scales up, so does the behind the scenes workload. This is true in my case. Up until 2023, I basically did everything myself, but I did have COVID pretty badly for a while in 2023 and it just knocked out my energy for a while and I realized that I can't keep trying to do everything by myself. I basically had a choice, either cut some tasks or get some help. So I have some people now, some contractors who help me with things like listening to audiobook proofs (I used to do that all myself), doing the podcast transcript, and Excel record keeping (which I used to do myself). While that is an expense, I don't regret it because it really has taken a lot off my plate and freed up more time for writing, which of course is the entire point.   Expectation #5: I admit this one made me laugh. I will have more free time as a full-time writer. I can attest firsthand that that is not true. What you have as a full-time writer is flexibility. The reality is, although there is flexibility on the job, the hours can be more than for a full-time job. There's a joke that full-time writers can work any 12 hours they want every day.   Most indie authors are putting out far more than one book a year in order to make a full-time income, and that requires a fairly demanding pace that most people don't have the self-discipline to maintain as a lifestyle for years and years on end. The majority of full-time writers right now are either romance or erotica writers who are putting out at least a book a month, sometimes even more. As I mentioned in an earlier point in the show, the administrative task can take far more time than most people would imagine. They could, depending on the circumstances, be easily 40 hours a week on their own before you have time to do a single word of writing on the page. I found you really have to guard your writing time well and find ways to keep administrative tasks, distractions, and necessary tasks such as home maintenance or childcare separate from writing.   Anyone who has ever worked from home is familiar with how difficult that can be because home comes with a wide set of distractions. Granted, that's often fewer distractions than the office, but home can have its own set of distractions. I've mentioned before that you need a bit of tunnel vision to produce the quantity of writing I do month after month. I do keep to a pretty rigid schedule. I have daily word count goals I always try to meet and I use the Pomodoro Method to make sure that I'm prioritizing my writing time.   If you are self-employed and working for yourself, that means there are no allocated vacation or sick days and no paid sick leave in the writing world. Taking a couple of weeks off usually means anticipating a loss in income, such as a month without a book being released. Sometimes, especially in the case of illness, family emergencies, and so forth, that just can't be helped. However, the long vacations people imagine writers being able to take mean either a loss of income or a couple of weeks beforehand of working extra hours to make up for it. For example, Brandon Sanderson, who is probably the most famous fantasy author right now, still works and writes on his vacations and does extra work before leaving for a vacation (such as pre-recording videos).   So as you can see, most of the expectations people have about what it's like to write full-time come from the hope that it will change their productivity or make it easier to write. In reality, if you manage your time well, you can often meet all your writing goals even while working another full-time job. Some people are even more productive under the time pressure of only having an hour or so available to write each day. You don't have to wait until you are a full-time writer for your writing career to start. I wrote for decades and published for years before I was a full-time writer.   Frankly, the idea that you need to be a full-time writer in order to be taken seriously or make money exists only in your own mind. Whether you are a full-time writer or not, what matters is having the discipline to shut out distractions and write with absolute consistency regardless of the circumstances. Even writing 250 to 300 words every single day can add up very quickly, even if you don't do it in 15 minute bursts like Anthony Trollope did.   Finally, I suppose this makes it sound like I'm painting a very bleak picture here, but I'm not. As I said before, I'm very fortunate to be able to do what I do, and I'm very grateful to all my readers that I'm able to write full-time and even hire on contractors for narration and behind the scenes work. I appreciate and am very grateful to all the readers who have supported me by continuing to buy my work and access it through subscription services like Kindle Unlimited or Kobo Plus or library options like Libby and Hoopla.   So that is it for this week. I hope it provided some insight into what it's like to be a full-time writer. Thanks for listening to The Pulp Writer Show and all 250 episodes. I hope you found the show and all 250 episodes useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

In this week's special spring episode, I share samples from four of my audiobooks. Each audiobook is the third book in its series! 1.) Dragonskull: Blade of the Elves, narrated by Brad Wills. 2.) Cloak of Ashes, narrated by Hollis McCarthy. 3.) Half-Orc Paladin, narrated by Leanne Woodward. 4.) Ghost in the Blood, narrated by Hollis McCarthy. (The next one is technically the 2nd in its series, but it wasn't ready in time for the last Sampler Platter episode.) 5.) Stealth & Spells Online: Leveling, narrated by CJ McCallister. This week's coupon code will get you 25% off the ebook of Cloak Mage: Omnibus Three at my Payhip store: NADIAOMNI3 The coupon code is valid through May 18, 2025. So if you need a new book for spring, we've got you covered!

In this week's episode, I take a look at some of the dangers and difficulties of worldbuilding for writers, and look back at the last fourteen years of self-publishing. This coupon code will get you 25% off the ebook of Cloak Mage: Omnibus Two at my Payhip store: NADIAOMNI2 The coupon code is valid through May 11, 2025. So if you need a new book for spring, we've got you covered!

In this week's episode, we take a look at marketing for writers, and discuss how it can both benefit and hinder writers. This coupon code will get you 50% off the audiobook of Dragonskull: Fury of the Barbarians, Book #5 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store: BARBARIAN50 The coupon code is valid through May 2, 2025. So if you need a new audiobook for spring, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 247 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 11th, 2025, and today we are looking at marketing challenges for writers.   First, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Fury of the Barbarians, Book Five in the Dragonskull series (as excellent narrated by Brad Wills) at my Payhip store. That code is BARBARIAN50. We will have the coupon code in the show notes along with links to the store. This coupon code is valid through May 2, 2025, so if you need a new audiobook for spring, we've got you covered.   Now let's have an update on my current writing and audiobook projects. I am done with the rough draft of Shield of Battle and its accompanying short story, Raven's Hunt. I am currently editing them and making good progress on that. The book should come out either right before or right after Easter, with right after being the more likely option the way it looks right now. I'm also 14,000 words into Ghost in the Corruption, which will be my main project once Shield of Battle comes out. Audio recording is still underway for Shield of Deception and Ghost in the Assembly. So more updates on that to come. So that's where I'm at with my current writing projects.   00:01:17 Question of the Week   And now let's take a look at Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what is the best TV show you started watching in 2025 (if any)? No wrong answers, obviously.   Justin says: Television shows? The TV in my house is used for video games and movies. It has been 18 years since I watched any TV shows. Surabhi says: Nowadays the only non-Marvel series I watch are animes like Doraemon and Shinchan XD.   Perry says: I never watched a lot of TV but I do catch the odd European football or hockey game. That said, I'm enjoying The Wheel of Time.   Sam says: Clarkson's Farm. He might be a love him/hate him chap, but he certainly does make for entertaining shows. It also shows just how fickle the farming industry can be and shines a much needed light on the issues they face.   I would like to second Sam's recommendation of Clarkson's Farm. It's definitely well worth watching if you have access to Amazon Prime. Bonnie says:  I'm totally out of the loop. Haven't really watched any TV since I binged Avengers and Star War when home with Covid in 2021. I read during downtime.   Andrew says: Tracker is okay. Matlock is good, well-written. I want to like Watson, but have given up. Dark Winds is excellent. 1923 got so dark, I quit. Landman started great, got worse when wife character entered the picture. Re-watching Lonesome Dove. Love it.   David says: The Blacklist.   Michael says: No particular series as I don't really watch much on TV, but a shout out to the Japanese NHK World Channel, which is essentially their international service in English available to watch live on their website, at least in my country or via their app. There's so much good content on there, really interesting documentaries, news features, Japanese shows, and of course the highlights of the Sumo tournaments.   Larry says: Starting The Outpost.   John says: My brother has recommended Wolf Hall. My most anticipated series is Andor. I think of what I watched this year thus far my guilty pleasure was Reacher, most emotional was 1923, most cerebral has been Severance, and funniest has been The Residence. No favorite standout yet.   Juana says: Tracker.   William says: Poker Face was enjoyable.   For myself, I think it would be Wolf Hall: The Mirror and the Light about the downfall of Thomas Cromwell in the court of Henry VIII. I'll have more to say about that later in my Winter/Spring 2025 Movie Roundup post in a few weeks.   00:03:29 Main Topic: Marketing   Now let's move on to our main topic, writing adjacent activities: marketing. This is part of my podcast series about what I call writing adjacent activities. What do I mean by this? I'm talking about the tasks that seem like they're part of the writing process but really belong in a different category. These tasks are important, don't get me wrong, but they can also be a pitfall if you spend too much time on them or don't use that time correctly. In this series, we are focusing on a few of these tasks and how they can benefit or hinder your writing process, even though they seem like good uses of time and may in fact be beneficial. In this episode, we will talk about marketing. For the self-published author, it is an absolutely essential thing to do. Even traditionally published authors are becoming involved in their marketing or hiring marketing firms apart from their publishers to help with that work. Even important tasks can still take time away from the most important one, writing.   First, how does marketing work for writers in the first place? Even as traditional advertising and print media like newspapers and periodicals has all disappeared by 2025, there are still many, many ways to advertise a book. Here are some examples:   Social media and I don't mean ads, I mean posting content about your book or engaging readers on social media about your book. It's become increasingly common in this age of a video-based social media like TikTok, YouTube Shorts, and Instagram Reels for authors to post short clips about them interacting with their book or doing things with their book and so forth. And that is, I think, a distinct category from ads.   Ads of course are another type of marketing such as Amazon Ads, Facebook, BookBub, etc.   An email newsletter where you send out an email to your newsletter subscribers when a book comes out   Having an author website   Group promotions where you work together with a group of authors to promote   Doing interviews with podcasts, local media, etc. (though these days podcasts have essentially superseded local media)   Sending out advanced reader copies   Permafree/discounts   I should note that of everything on this list, I've done them all except for advanced reader copies, which I never really bothered to do because I write so fast that it seems to be kind of pointless at that point. Now I got to admit that list seems overwhelming, but you're not going to do them all simultaneously. Most authors pick a few from the list and then focus on them, and then some of them take some work upfront like setting up your author website and then it's less work to maintain it and update it as you go along than it is to set it up to begin with.   For example, making many of my series starters permafree has been an extremely successful strategy for me. For an author who only has two books, that strategy would not be as effective, but if you have a series of nine books then that is a good idea.   So why is it beneficial to market your books? A couple years ago (and I've told this story before, but it bears repeating), I was at a Subway waiting in line to order lunch. The person in front of me was staring at the menu in great confusion. “Does this shop sell submarine sandwiches?”, she finally asked the sandwich artist. Even with 40,000 locations worldwide and millions of dollars in advertising each year, this person was completely unaware of Subway's offerings.   This moment made me realize that marketing must be constant even for big legacy brands like Subway or Coca-Cola because there is always someone out there who isn't familiar with what you have to offer them. If multi-billion dollar corporations like Coca-Cola and Subway have people who haven't heard of them, how much more [work is there for] indie authors like us? There is in my opinion, an erroneous sentiment that getting too involved in marketing as an author somehow cheapens your work, devalues your art, or means that you're not as committed to your art. That sentiment is frankly, in my opinion, self-destructive and keeping a lot of people from reaching new readers or keeping existing ones as new books come out.   Marketing is necessary and needs to be ongoing to work. It's important to remember that readers love new books and want to know more about them. Your goal is to just let them know what's available and how to find your work. You're not being annoying by creating an ad or sending out a newsletter when a new book drops. Even if you have loyal readers, it's likely only a very tiny percentage of them are obsessively checking ebook stores daily for your latest publications. Social media and newsletters in particular are effective ways to let people know when the latest content is ready or can help them get excited for an upcoming release. Just as importantly, good marketing can help you find people who are interested in your genre or read authors similar to you.   So marketing is a good thing and it is in fact necessary if you want to have a career as an indie author or sell books in any quantities. However, it can become a pitfall that takes time away from actually writing new books. So when can it be a pitfall? There are about five different ways it can become a hindrance to writing.   #1: The most obvious pitfall is that time spent working on marketing is time not spent on writing. Although marketing is an essential part of how writers make income, it's only going to go so far compared to creating new books. This is in fact a decision I've had to make many times where if there's only so many hours in the day, and if I have an hour and I have to choose an hour spent fiddling with ads to try and optimize them to sell old books or to focus on writing new books, very often I have decided to focus on writing new books. Or if I have ads that are underperforming, I just shut them off and don't think about them until I have a free moment when the current book is done because writing the latest book is where my attention and priority should be. #2: The second pitfall is that spending too much time on social media or various forums like Reddit can also skew your perspective and give you an unreal view of the preferences of your readership. You'll likely only engage with a small percentage of your readers online. Just because they're reaching out to you or sharing their opinions online doesn't mean that their opinion matches the rest of your readership. An example of this is when Warner Brothers thought there was a massive demand for the Snyder Cut of the Justice League movie based on an online fan campaign and spent a very large amount of money for the recut of the movie, only for it to have a fairly modest audience that didn't recoup the cost. Later it came out that much of the Twitter campaign for the recut were bot accounts, people with multiple social media accounts, or people that ultimately pirated the movie instead of getting an HBO subscription to watch it when it finally became available on streaming. The Internet is a very useful tool, but it's best to take it with a grain of salt and remember that that just because one person is saying something on the Internet doesn't mean there are ten or even a hundred silent people who share their views. As with the example with the Justice League movie, large businesses have run into that trouble where they assume just because a particular audience segment is very loud on social media, therefore it must be a large segment when in fact it turns out to be just a very loud minority that ultimately isn't going to have much buying power. So that is something to keep in mind when you examine [social media], that opinions expressed online may not necessarily reflect reality.   #3: There is also the temptation to get so lost in thinking of how a book will be marketed, that when you write it, you don't try to write a book that is authentic to you or your readers. Trying to piece together a book based on the latest tropes or sales trends will likely mean that by the time the book is ready, social media will have moved onto another one. Writing to market is a form of marketing that sometimes works, but often results in something that feels formulaic or doesn't match your writing style. You can't always tell if the author hated the book when they were writing it, but sometimes you can. And it's sometimes very obvious to tell if an author wrote a book not because he or she enjoyed writing it but because they thought it would sell. And I think deep down, you really have to enjoy the genre you're writing in, which is why many frustrated mystery, fantasy, and science fiction authors saw how well romance doing and so decided to try writing romance only to deep down they didn't enjoy reading romance and so they didn't write a romance book that anyone would enjoy reading. So that is the potential risk of that temptation.   #4: Another pitfall is the urge to market your way out of a book that isn't connecting with readers. If a book doesn't meet reader expectations, no amount of marketing is going to significantly change that. Sometimes it's best to cut your losses with a book or series if it's not performing the way that you expect instead of throwing even more money marketing at it. I'm afraid I have a very recent example for my own life in the form of these Stealth and Spells Online series.   I think the problem with that series is I fundamentally misread what the LitRPG audience wants. Stealth and Spells Online is about a virtual reality game, but what the LitRPG audience really seems to want these days is either Portal Isekai or System Apocalypse Fantasy, which Stealth and Spells Online most definitely isn't. I told the narrator that I intended to write a LitRPG, but what I ended up with was a science fiction espionage thriller with LitRPG elements. So that, as you might expect, has been very hard to market and very hard to turn a profit while marketing it. So what I decided to do was I originally planned for seven or eight books in the series, but I'm going to cut it down to three and wrap up the story in hopefully a satisfying way with book number three this summer. That is a lived experience example of a changing course when some marketing doesn't work.   #5: There can be a feeling that you're missing out if you're not trying a marketing strategy that worked for someone else, so you'll end up stretching yourself thin by trying everything, stretching your marketing time across social media, newsletters, video content, posting the spaces like Goodreads, assembling a launch team, sending out advanced reader copies, going on podcasts, doing interviews with local media, and doing guest blog posts simply is not sustainable. There is a potential value in doing a short-term marketing sprint like that where you do all the things for a few days, but doing that all the time is not a good idea. As we mentioned earlier, it can take away time that should be spent writing. So really the best marketing course is to pick a few tactics that you enjoy and are comfortable using and then do those most of the time and save everything else for special occasions or if an opportunity comes up. For myself, I mostly focus on setting first in series permafree and doing various ad campaigns on Facebook, Amazon, and BookBub. I tend to stay away from TikTok and video marketing and some of the more time intensive things. I prefer things like permafree or various CPC ads where I can set it up and let it run and then check on it every few days to make sure it's working or not spending too much. So how can you balance time spent on marketing with making progress with your writing? The best way to market your old books is to publish a new one. Algorithms on online stores like Amazon and all the others reward fresh books and readers have short memories, so taking years between series risks them forgetting you.   Finishing a series in a timely fashion is crucial now many readers, especially in Epic Fantasy (for a variety of reasons), will only start series that are already completed, having been burned by series that were left unfinished. Having a polished product should also precede your marketing efforts. If your cover looks bad, your money would be better spent on getting a professional looking cover instead of more Facebook ads. Taking the time to make a good cover and good ad copy for your ads is also important before you spend money on marketing. For marketing, it will save you time and money to map out your goals for it each year just like you map out a set of goals for what you'll publish each year. Having a clear set of goals will keep you from trying every new thing that you hear about just because it worked for someone else. It's also wise to be honest with yourself about your strengths when considering how you spend your marketing time. If you hate TikTok, forcing yourself to make videos there isn't going to lead to compelling content that would make people want to buy your book. The authors who have had success with TikTok had that because they were able to genuinely connect with an audience there, not just because they threw a book trailer on the platform and hoped for the best. As with many writing adjacent activities, it is best to have a set block of time to work on marketing and to plan even the time spent checking ads and responding to social media comments so it doesn't take over your writing time. Just like having a plan for each year with some larger goals is a good idea, having a daily or weekly set of goals for marketing can help keep you focused.   In conclusion, the true pitfall of any writing adjacent activity is they need to be kept adjacent to the actual production of new writing. All the tasks we covered in the series are important, but writing should always be the priority if you are a writer.   So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look at professional development for writers, and examine both the benefits and the pitfalls. We also take a look at my advertising results for March 2025. This week's coupon code will get you 50% off the audiobook of Dragonskull: Curse of the Orcs, Book #4 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store: ORCCURSE50 The coupon code is valid through April 25, 2025. So if you need a new audiobook for spring, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 246 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 4, 2025, and today we are looking at professional development for writers. Before we get to our main topic, we'll have Coupon of the Week, an update on my current writing and audiobook projects, Question of the Week, and then a look back at how my various ads performed for March 2025.   So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Curse of the Orcs, Book Four in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That coupon code is ORCCURSE50. As always, you can find the coupon code and the links to my store in the show notes. This coupon code is valid through April 25th, 2025. So if you need a new audiobook for spring, we have got you covered.   Now for an update on my current writing projects. I'm very pleased to report that the rough draft of Shield of Battle is done, 102,800 words written in 22 days. That will be the second to last book in the Shield War series. If all goes well, I'm still hoping to have that out and edited and published before the end of the month. I'm now working on a currently untitled short story that newsletter subscribers will get for free in ebook form when Shield of Battle comes out. So this might be a great time to sign up for my new release newsletter. I am also 10,000 words into Ghost in the Corruption and that will be my main project after Shield of Battle is out.   Recording is still underway for Shield of Deception and Ghost in the Assembly. That is Brad Wills and Hollis McCarthy narrating, respectively. So I am looking forward to having those audiobooks out for you to listen to and then Shield the Battle and Ghost in the Corruption available for you to read, but I just have to get back to work on them.   00:01:48 Question of the Week   Now it's time for Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what games (if any) are you currently playing? No wrong answers, including “I don't play video games”. The inspiration for this question was that the fact that Nintendo was having this big Switch 2 announcement on April 2, which is amusing to me personally on a meta level because people have been speculating wildly about a Switch successor for years. Baseless Switch 2 rumors have been a clickfarm industry for years. Probably Nintendo had to have it on April 2 so no one would think it was a really elaborate April Fool's Day joke. Justin says: Online it would be World of Warcraft Classic. Otherwise, it is Conquest of the New World. Like me, my games are old and dated.   I can relate to Justin because I'm currently playing a game that was first made in 1994, but more on that later.   Sam says: Currently dancing between two games, my long-term love game, Final Fantasy 14 and Dragon Age: the Veilguard. The Veilguard was a massive disappointment for me, unfortunately, but it still has its reasonably okay points, but man, the developers dropped the ball in the worst way since Cyberpunk's disastrous release.   That's interesting because I've actually encountered a couple different people who have played Dragon Age: Veilguard and they either love it or hate it. There is just no in-between. So that does seem to be the kind of game where you either love the thing or you just hate it. Todd says: Enjoying No Man's Sky, waiting for Light No Fire. Continuing to grind World of Warcraft retail. Recently played the re-release of Half Life. Today, I also installed Lands of Lore, gotta love Patrick Stewart as King Richard!   I had forgotten that Patrick Stewart voiced King Richard back in the ‘90s in the Lands of Lore game. His most famous video game part (I think) is playing Emperor Uriel Septim in the Elder Scrolls IV: Oblivion.   JKM says: Monster Hunter Wilds and Star Citizen.   Jesse says: Been doing an on and off run on Enshrouded. The story hasn't hugely gripped me as yet, but the mechanics are fun if you like Breath of the Wilds-esque world exploration.   Michael says: I'm currently playing Star Traders: Frontiers, which is a 2D indie space trading/exploration/crew management game in a vaguely Dune-like setting. It has turn based squad combat in Darkest Dungeon style too. Originally a mobile game but mechanics are surprisingly deep. It's good fun.   Randy says: Wizardry Remaster. Ironic because I didn't play the original.   For myself, I am kind of alternating between three current games. I am playing the Master of Magic remake on the PC and I'm determined to finally beat a campaign at that. I am still playing Iratus: Lord of the Dead and drawing closer to the final level. And when I'm really tired and don't want to do anything else that requires a lot of brain power, I still fire up some Starfield and go really mess up the day of some procedurally generated space pirates.   So watch my website and Facebook for Question of the Week if you want to have your comment read on the show as well.   00:04:39 Ad Results for March 2025   Now let's look at how my ads for my books did in March 2025, which is interesting because I changed things up a fair bit for ads in March. The reason I did this is because the economy isn't great and not likely to improve for several years. I saw someone arguing that all the policy decisions in the Covid era will have a 15 year economic hangover into which we're only five years, and I think that argument might have some merit to it. So because of that, I thought it might be prudent to move some older series into Kindle Unlimited. So I did that with the Demonsouled books and with Cloak Games, though not with Cloak Mage, which will remain wide as new books come out. I might do it with Silent Order as well, but I haven't decided. My thinking is that as people are looking to economize, subscription services will probably offer better value than direct book sales.   So let's see how we did. For Facebook ads, I did Cloak Games/Cloak Mage and The Ghosts. For Games/Cloak Mage, I got $4.14 back for every $1 spent, with 10% of the profit coming from the audiobooks. For The Ghosts, I got back $8.73 for every dollar spent, with 6% of the profit coming from the audiobooks. Obviously the total for The Ghosts might be inflated because of Ghosts in the Assembly, which did well. Thanks, everyone! Without Ghosts in the Assembly, The Ghosts still would've done $3.68 for every dollar spent, with 15% for the profit coming from the audiobooks. So still pretty good.   For Amazon ads, I mostly focused on Half-Elven Thief. Remember that for an Amazon ad to be successful, it needs to get a sale or a complete Kindle Unlimited read for every six to eight clicks. So for Half-Elven Thief, I got back $3.41 for every $1 spent, with a sale or a complete KU read for every 0.84 clicks, which is a really good result. However, it was not all roses in Amazon ads because I gave up on advertising Stealth and Spells Online: Creation. I've realized I fundamentally misunderstood what readers in the LitRPG actually want. I'm still going to finish the series this summer with the final book. I am 75,000 words into it as of this recording, but I don't think I'm going to advertise the series anymore.   For Demonsouled, I did a combined Facebook/Amazon ads campaign and for a combined campaign like that, it's easiest just to track the return. So for Demonsouled, I got back $2.53 for every dollar spent on Facebook and Amazon ads. So that was pretty close to how it did in February.   I also did some BookBub ad campaigns for The Ghosts and Sevenfold Sword on Apple. For The Ghosts, we got back $9.24 for every dollar I spent and for Sevenfold Sword, I got back $6.76 back for every dollar spent. So those are some very good results.   Finally, I've begun experimenting with BookBub ads for Google Play. I tried out Sevenfold Sword first and for Sevenfold Sword on Google Play with BookBub ads, we got back $3.86 for every dollar. So that is a promising beginning and I might try more experiments with BookBub ads and Google Play in May. So a good month all in all. Thanks for reading, everyone. Hopefully I'll have more new books for you soon.   00:07:46 Main Topic: Professional Development   So our main topic this week will be part three of our series on writing adjacent activities, and that is professional development. As I mentioned on past episodes, I'm working on a new podcast series on what I call writing adjacent activities. What do I mean by this? I'm talking about the tasks that seem like they're a part of the writing process but really belong in a different category. These tasks are important, but they can also be a pitfall if you spend too much time on them or don't use that time correctly. In this series, we'll focus on a few of these tasks and how they can benefit or hinder your writing process, even though they seem like good uses of time and may in fact be beneficial in proper amounts.   In this episode, we'll talk about professional development for writers. Those working in education, healthcare, or the corporate world will be very familiar with this concept. For those who aren't familiar with professional development, let's explain what it is. What is professional development and what is it for writers specifically? Professional development generally means gaining skills or knowledge that can help someone stay current in their field and grow in their work. In some fields like teaching or healthcare, professional development is required and must be done regularly. Some examples of typical professional development tasks include learning a new programming language, attending conferences, and reading professional journals. Writers have many of these same opportunities. Ther are a slew of conferences, workshops, webinars, videos, courses, and books available for writers to hone their craft, pick up marketing skills, and learn the ever evolving technical skills needed to self-publish and have an online presence. Some of these options, especially conferences and retreats, can be very expensive and time consuming while others are free and quick to consume, such as blog posts or podcast episodes.   How can you benefit from professional development? There are five ways.   #1: You can learn information and techniques that can help you improve your writing. An example would be a workshop session presenting data on when readers typically give up when starting a new book, which can help you think about how your book is structured.   #2: You can learn about technology and software that can make your work more efficient or look more professional. An example of this would be tutorials on how to use formatting software to turn Word documents into a formatted ebook.   #3: In-person professional development can help you network with others in your field. For example, if one of your priorities is being added to group promotion, meeting other authors at a workshop or a conference could lead to more promising leads than just emailing people.   #4: You can keep up with the constant changes in the field and adjust your strategies and plans accordingly. For example, Amazon's policies for KDP change constantly, sometimes monthly, it feels like. Writing blogs and podcasts can often explain these changes in a practical way that's more efficient than trying to parse long legal documents yourself.   #5: Finally, and fifthly, some people find professional development motivational or it helps them to feel more excited about their work. An example is a phenomenon called the post conference high, when someone returns from a conference with a high level of excitement and a list of plans a mile long. It's easy to get bogged down in the day-to-day tasks of work and sometimes professional development can shake things up in a positive way.   So professional development can be a good thing, but there are ways it can hinder your writing process. So we'll look at four ways that professional development can get in the way of you actually sitting down and getting some writing done.   #1: One of the downsides of being a writer is that professional development must be self-funded or you must pursue your own scholarships or grants for it, which are pretty limited compared to professional development in other fields. It is quite easy to spend tens of thousands of dollars on it each year, so each opportunity must be carefully considered. It's important not to spend money without a clear plan for how to turn it into action and without researching less expensive (but still effective) options that might serve your purposes. It's also important to look carefully to see if you can find lower cost options before registering for something. For example, instead of going to a weeklong residential bootcamp to learn WordPress, you could find a community education class or a LinkedIn Learning class (which many libraries provide to their patrons). Do you need a full course offered by another author or are you only interested in one portion of it and can learn that information from a YouTube channel? There is a lot of nonsense on the Internet of course, but one of the advantages of living in the modern era is that there is an abundance of good free information. You just have to find it.   My podcast transcriptionist has something that she likes to call the Two Buck Chuck Principle. It is named after the store brand of wine from Trader Joe's. That's way back when it was $2 a bottle, hence the popular nickname for it. Many people refuse to stray from this cheapest available option at the store because they find it meets their alcohol related needs and refuse to buy more expensive bottles.   The point of this principle is that like those Trader Joe's shoppers, my podcast transcriptionist will search for the free and low cost option for something first and then see what is missing from them that a more expensive option offers before buying the more expensive option. For example, if you're just starting out as a writer, you may be tempted to pay $3,000 or $4,000 for consulting sessions about advertising strategies because you read a convincing testimonial. Realistically, if you only have one or two books with only a handful of reviews and you're not willing to throw thousands of additional dollars on a professional style ad campaign, this would be severe overkill.   Applying the Two Buck Chuck Principle to this person's ad spending, it would make more sense to learn the basics first through webinars and blog posts on the topic. Something like Brian Cohen's Five Day Amazon Ad Challenge would teach the basics of using the interface and some strategies that keep a rookie from overspending or straying from their target audience. Once a writer has a few years of sales and several books in the same series, then perhaps it might be wise to progress to something more advanced and expensive, like hiring a consultant.   For most professional development, if you're paying money, you're either paying for being in a physical location or you're paying for the time someone else took to assemble and present the knowledge for you (in the case of a conference or workshop, both). For the latter, you can usually apply this Two Buck Chuck Principle by taking the time to assemble the knowledge yourself or find others who have through blogs, podcasts, and lower cost books. Someone like Joanna Penn or David Gaughran provides a wealth of sensible advice through these types of much lower cost options.   #2: Professional development, like many other writing adjacent activities, can give you the illusion of progress. Knowing about something and actually doing it are very different things. You have to have a specific plan for how you will implement your professional development. The sooner you start after completing your professional development activity, the more likely you are to benefit from it. Even five minutes a day working on it helps keep the knowledge fresh and gives you the confidence to continue.   #3: The number of available options for professional development can be paralyzing and it can be easy to feel like you have to do it all. The fear of missing out is a very real phenomenon, but it's necessary to combat it by being intentional with your time. Start by making your goals for the next year and then seeing what professional development you need to further those goals. For example, if creating video content is not part of your goals for the year, then it doesn't make sense to watch webinars on creating Instagram Reels or TikTok videos, even if you feel like it might be useful or you have a fear of missing out on the information. Your professional development, your goals, and your output all need to be in harmony in order to progress as a writer.   I have talked before about how a certain degree of tunnel vision is necessary to write at the pace that I do. Because I want to publish frequently, I often ignore conference and workshop opportunities because travel actively hinders my main goal of getting down as many words as possible each day.   #4: Professional development can take up so much time that it keeps you from the priority of writers, which is actually writing. Like the other writing adjacent activities out there, they expand to the size you'll allow. Planning your professional development goals for the year when you've created your writing goals can help you be disciplined in choosing the activities that will serve you best and fit with the time you can give them.   For example, if your goal is to set up an author website in May, you can allocate a little block of time each day for that month to watching tutorials, reading instructions, checking out other author sites for inspiration, and testing out the software. You wouldn't want to attend a three week intensive writing retreat in May because that would likely derail your progress on your other goal.   So finally, what do I personally do for professional development? What has helped me? I think the biggest help I had in terms of writing advice was a book called Billion Dollar Outlines by David Farland. It's well worth reading and a good look at story structure and understanding story structure that I think would be very helpful if you're struggling to finish an outline and write a book. Most of my professional development since then has been aimed towards the goal of trying to sell as many books as possible. So I took the Self-Publishing Formula course on advertising for Facebook, which was very helpful. I read a couple of different books on Facebook advertising, which was helpful. What was really helpful was a course on Photoshop I took in 2020 and 2021 that really increased my Photoshop skills and gave me the ability to do my own covers, which is very helpful because you often have to book a cover designer out well in advance. So that was very useful. And beyond that, I keep an eye on the various writing podcasts and Facebook groups. I don't really participate in the Facebook groups because that can be a huge time sink. Arguing with random people over the internet is not a productive use of time, but it is a good way to keep an eye on news within the indie author space and what people are doing and what trends you can expect to see. So that's what I do.   In short, professional development, like so many other writing adjacent activities, is a good thing that can hinder your progress if it's not done with intentionality and clear goals. As I said earlier in the podcast, your professional development, your goals, and your output all need to be harmonized in order to progress as a writer.   So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. And a quick note of thanks to my podcast transcriptionist for helping me to pull together the research for this episode. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look at how research can both help and hinder writers, and offer tips for effective research for fiction. This coupon code will get you 25% off DRAGONTIARNA: OMNIBUS ONE at my Payhip store: DRAGONOMNI25 The coupon code is valid through April 14th, 2025. So if you need a new book to read for spring, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 245 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 28th, 2025, and today we are looking at some of the challenges of research for writers. Before we get into that, we'll do Coupon of the Week, an update my current writing and audiobook projects, and then Question of the Week.   First up, Coupon of the Week. This week's coupon code will get you 25% off the ebook of Dragontiarna: Omnibus One at my Payhip store, and that is DRAGONOMNI25. This coupon code will be valid through April the 14th, 2025. So if you need a new ebook to read for spring, we have got you covered.   Let's have an update on my current writing projects. I'm currently 70,000 words into Shield of Battle, which I believe will put me on chapter 16 of 24, so I'm about two thirds of the way through the rough draft. I'm still hoping to have it out towards the end of April, if all goes well. I am 7,000 words into Ghost in the Corruption, which will be the sequel to Ghost in the Assembly, and hopefully that will be out sometime after Shield of Battle.   In audiobook news, recording is underway for both Shield of Deception and Ghost in the Assembly. Brad Wills will be recording Shield of Deception and Hollis McCarthy will be recording Ghost in the Assembly. So I am looking forward to both those audiobooks and that's where I'm at with my current writing and audiobook projects.   00:01:25 Question of the Week   Now it's time for Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's question, do you read comics books or graphic novels, Marvel, DC, indie manga, whatever? No wrong answers, obviously, including “I don't read comics.”   Ryan says: I don't read comic books, they just don't appeal to me. I prefer world building through writing as opposed to images, and I think you don't get the same feel for characters in a comic as you do in a novel.   Justin says: Once upon a time, I did read comics. It's been a long time since I knew of the mainstream comics interested me, sadly. I have read some manga in the last year, but any associated light novel wins handily. There are a few web comics to keep up with. I have bought books and merch from the Foglios for Girl Genius and Tayler for Schlock Mercenary, but even then, it's been years since my last purchase.   Juana says: I love Batman. End of story.   John says: I enjoy graphic novels, mainly for the art. Most recent read was The Wizard of Earthsea graphic novel, which is a true work of art published just this month.   Randy says: Marvel/DC stuff, not much anymore. I can sit down and read Peanuts, Pearls Before Swine, etc. collections anytime, probably not the “comics” you meant.   Jenny says: Rat Queens! So good!   Gary says: I don't read comics.   Bob says: Nope. Used to devour DC and Marvel as a kid. Wish I still had some of them. Probably worth big bucks now.   Tom says: I used to be a Marvel Zombie. Seriously, I have 20-30 long boxes filled with comics. I had to kick the habit though. Nowadays it's mostly just a few TV show based series. Would love to read some Frostborn graphic novels though!   And finally, Tracy says: I don't read comics.   For myself, I agree with many of the commenters where my answer is I don't read comics. It's not out of snobbery or disdain for the art form. It just doesn't speak to me or hold my interest. Of course not all art speaks to all people at all times. I was curious about this topic because I see people discussing comic books online all the time, but apparently the industry is in bad shape financially with multiple bankruptcies and closures and so forth. So I was wondering if comics were kind of more of a vintage art form that is less popular with younger generations as the older generations start to die off. But you never know. Things always are on a wheel and come around again.   00:03:36 Main Topic of the Week: Writing Adjacent Activities: Research   So now back to our main topic or to start with our main topic, research challenges for writers. As I mentioned two episodes ago, I'm working on a new podcast series about what I call writing adjacent activities. What do I mean by this? I'm talking about tasks that seem like they're part of the writing process but really belong in a different category. These tasks are important, but they can also be a pitfall if you spend too much time on them or don't use that time correctly.   In this series, we will focus on a few of these tasks and how they can benefit or hinder your writing process, even though they seem like good uses of time and may be beneficial. In this episode, we'll talk about research for fiction writing. How much research is necessary and how does research help? When does it get to the point where it becomes a pitfall instead of an asset? What are some things that work well for me when researching matters for my books?   First of all, why should writers even have to research in order to write a work of fiction? Why can't we just make up details since the characters and the plot are also made up? Why research?   Research can help provide crucial information for the plot. For example, of a spy novel set in World War II focuses on the Canadians battling the British is inaccurate to the point of farce. Knowing which countries were Axis and which were Allies is an important piece of research that should have been done for that story in advance of writing it. There's a British TV series called The Goes Wrong Show about a group of inept actors putting on bad plays that's quite funny, and one of the episodes has them putting on a play that is widely criticized for its lazy historical research, which includes such things as Winston Churchill being a prime minister during the Vietnam War. In the show, of course, this is played for comedy as part of how bad the actors are, but you don't want to do this in real life.   Research prevents factual errors that can distract readers. Some of the biggest examples of this are military terminology, the British peerage system, and information about weapons like guns. All of these things have very distinct details that avid readers in a certain genre will notice and be upset about if they're incorrect. You'll notice that successful thriller writers tend to put a lot of time into researching and lovingly describing various pieces of military hardware in their books.   For a genre like historical romance, the distinction seems unimportant to a modern American, but to a debutante in Regency England, the difference between marrying a baron and a duke is immense and the titles can't be used interchangeably in a work of historical fiction. For example, the duke and baron would be addressed differently and enter a room in a different order, but more importantly, in a status conscious marriage market like the debutante season, a duke would be a highly sought after potential husband while a baron might be less of a catch, especially if the family is not so wealthy. This detail changes the characters and plots completely. To return to the firearm examples, for one of the famous errors that sometimes new writers do is a character puts a silencer on a revolver, which doesn't work because you can't silence a revolver. Much of the noise comes from the rear of the weapon when it's fired in addition to the muzzle flash and muzzle noise, so there are little details like that (both for weapons and the British peerage system) that you do need to watch out for.   Research can give you ideas or add depth through details. For example, someone writing a romance novel about two rival managers in a theme park could discover that this particular theme park has an intricate underground system of tunnels that includes storage areas and staff break rooms. The writer realizes this would give good opportunities for the characters to have a conversation or confrontation in a more private place than outside of a busy ride. What are some good sources for research? Not all research is going to the library and looking at books that haven't been checked out in 10 years or so. Sometimes research for writing fiction is about checking or learning basic facts like street names, what the word is for cat in Spanish, or what a certain chain store was named in 2008. Making these details up only makes sense if the places and languages are completely fictional. Where more academic and in depth research comes in is when a high level of informational accuracy is required by genre convention, like in thrillers, historical fiction, a legal drama, or a medical thriller.   One of the criticisms of the relatively recent Disney Plus show She Hulk was that although She Hulk's profession is a lawyer and she spends all of her time doing lawyer things, none of the writers had a background in law and it seemed like their legal advisor was quite hands off in their approach. They tried to write around it instead, and the results were disappointing to both fans of the source material and new viewers because as I've often said before, you don't need to be totally accurate, but it needs to feel accurate. Anyone watching the show would know that the American legal system works nothing like the way it's portrayed, not even in the abstract.   One of the additional complaints about the show is that they missed the chance to showcase the character by barely showing them doing any actual work or to only show it as a farce, making She Hulk seem more frivolous and unlikable without her defining trait of being a really good lawyer. Trying to write around factual information is usually not the best solution, and it could hurt the reader's feeling of immersion or cause them just to feel annoyed.   For genres that require a high level of information accuracy, try starting with the general overview books and then looking at more specific information as needed. You don't need to become an expert in every piece of medieval weaponry to write a historical or a fantasy book, but you do need to know the basics in order to have the characters use them in a convincing way.   As I've said before, I often talk about how verisimilitude is the goal in writing. You need to know and share just enough to make the reader feel convinced and have the characters be able to act in a believable way in the world there inhabiting.   Often writers are advised to use YouTube for research because it's free and usually easy to understand. However, YouTubers usually don't cite their sources and incorrect information often gets reshared this way. That said, it can still be useful. For example, if we go back to our example of the theme park romance novel, the writer could find YouTube footage of what the line looks like for a certain ride without having to go see it in person and determine from the footage if a child could really climb over a railing to escape their parents, for example, if that was one of the plot contrivances the writer wanted to put in the book.   I would strongly recommend you don't use a LLM program like ChatGPT for research, and if you do, you should cross-reference and double check its answers for accuracy because ChatGPT essentially makes stuff up. Unlike a search engine ChatGPT essentially guesses at its answers instead of retrieving them. For example, if you ask ChatGPT who the spouse of one reality star is, it confidently lists her brother as her husband because the names are very frequently paired and they had the same last name, ChatGPT made a guess and that guess was quite wrong. It's also important to note that it's not trained on recent information. It won't, for example, be able to tell you on what date a movie is going to come out in two weeks because it may not have access to that information yet, and it might instead give you the premiere date for previous films or guess at a date.   How much research is necessary and when is it a pitfall instead of an asset? Too much research can keep you from starting to actually write. It's a real temptation if you enjoy research to spend months bogged down in every possible source of information. It's also good to take a step back, look at your book's outline, and determine what's truly needed. When you're writing, you can add a note, “research this” and note about what fact you need to look up and then keep going. It isn't a great idea to stop writing every time you need to look up a specific fact. Doing that can often lead to research spirals that take too much time and then you lose your writing momentum.   Having researched too much can also drag down the plot with a lot of info dumps. We've all encountered books where the writer very clearly put in a lot of research into a very specific topic, so they were going to put all that research into the book, even if it was to the book's detriment. It's natural to want to use as much of your research as possible, but in reality, the only research that is good for the reader is what benefits the plot or adds to the feeling of verisimilitude without stopping the plot in its tracks.   What are some things that have worked for me when researching subjects for my books? Because I write fantasy and science fiction, I tend not to do that much research. Usually it's if I need to look up a specific fact to increase the verisimilitude. I had to do that quite a bit with Silent Order because that's science fiction and therefore a bit more fact-based. So I wanted to make sure I had things like the speed of light in kilometers or the amount of kilometers in a light year, for example, make sure that I had those numbers accurate. However, when I'm writing and there's something I want to look up later, I tend to literally just type “look this up later” and then keep going in the book.   This actually happens quite a bit in the Cloak Games and Cloak Mage series because while that's set in a fantasy setting, that fantasy setting is a version of our own world. I do need to look things up reasonably frequently, like where this town is located or how long you would take to fly from Chicago to Boston, for example. So very often I will just type “look this up later”, and then in the editing process, I will actually look that up and make sure that I have a good information source, not ChatGPT, and then add that fact into the book as necessary.   One thing I would recommend watching out for is that if the entire plot of the book hinges on a certain fact, like for example, say that you have in your book, the entire plot revolves around the fact that on average it takes about seven to eight hours to drive from Milwaukee to Detroit, it's a good idea to look it up and make sure that is actually true. If for example, you, let's talk hypothetically, if you weren't familiar with the geography of the United States and you had the plot being that it takes only three hours to drive from Milwaukee to Detroit, your book will not work because anyone remotely familiar with the American Midwest knows that if you are driving from Milwaukee to Detroit around the southern side of Lake Michigan, it takes at least seven hours and depending on traffic conditions, it can easily go much higher very quickly. So if you do have a fact around which the entire plot of your book hinges, it's a good idea to research that fact first and make sure that's accurate, so you can avoid the scenario where you write the book and then people are laughing at you because you wrote it only takes three hours to drive from Milwaukee to Detroit.   So to sum up, research in fiction is very different from in the academic world, but that doesn't mean that's not important. Like so many things in life, it's all about balance. You don't want to go too far down the research rabbit hole to the detriment of finishing your book, but you do need enough information to maintain verisimilitude, but not an excess of detail that will derail the plot or keep you from finishing the book you want, just enough that it makes sense.   An example for that for me would be one of the plot lines in Cloak of Spears which revolves around nuclear fusion. The book sold pretty well and people liked it, but I did get a email from an expert in nuclear fusion saying that the way I had described things is not actually how nuclear fusion works, and the fact of the matter was that thankfully for that book, it didn't matter because the actual intricacies of how nuclear fusion works is beyond my grasp and frankly beyond the grasp of most people. So I'd included enough verisimilitude to that the book worked for most people, but it was not enough to fool an actual expert in nuclear physics. So that brings me to a Abraham Lincoln quote I remember where he says, “you can fool some of the people some of the time and the rest of the people some of the time, but you can't fool all of the people all of the time.” And that is true with research and fiction. You'll want to do just enough to get verisimilitude so that you can fool most of the people, but you can't always expect to fool everybody. If you are writing about something which has subject matter experts, you may find that you'll have the subject matter experts writing to you and pointing things out. But what's important is that you do it well enough to fool most of the general audience, if not the subject matter experts.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, I take a look at some of the historical influences & inspirations that went into my new book GHOST IN THE ASSEMBLY. This coupon code will get you 25% off SILENT ORDER: OMNIBUS ONE at my Payhip store: SILENT25 The coupon code is valid through April 7th, 2025. So if you need a new book to read for spring, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 244 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 21st, 2025, and today we are looking at some of the historical influences that went into Ghost in the Assembly. Before we get into that, we will do Coupon of the Week and an update my current writing and audiobook projects. And then Question of the Week, which we did have time for this week.   This week's coupon code will get you 25% off the ebook of Silent Order: Omnibus One at my Payhip store. That coupon code is SILENT25. I'll have the links and the coupon code in the show notes. This coupon code is valid through April 7, 2025, so if you need a new book to read for these spring months, we have got you covered.   Now an update on my current writing projects. I am 44,000 words into Shield of Battle, the fifth book in the Shield War series. I'm hoping to have that out towards the end of April, if all goes well. A reminder that the Shield War series will be six books, so Shield the Battle will be the second to last one. I have also started on the sequel to Ghost in the Assembly, and I am 4,000 words into that, give or take. I had originally planned to call this book Ghost in the Assassins, but I thought that sounded too similar to Ghost in the Assembly. So the fifth book in the Ghost Armor series will be called Ghost in the Corruption. A reminder that Ghost Armor will be six books long and Ghost in the Corruption will be the fifth of six books, so the second to last book in that series as well.   In audio news, recording has started for Shield of Deception and Ghost in the Assembly. Shield of Deception will be excellently narrated by Brad Wills and Hollis McCarthy will excellently narrate Ghost in the Assembly. I expect both of them will probably be out sometime towards the end of May if all goes well, given how long it usually takes to record an audiobook.   In Stealth and Spells Online news, I am 68,000 words into the third and final book in this trilogy. Once Ghost Armor and Shield War are complete, then I will hopefully release the final book in the Stealth and Spells Online because I've been working on that as a tertiary project for quite a long time now. So that's where I'm at with my current writing and audiobook projects.   00:02:17 Question of the Week   Now let's move on to Question of the Week. Question of the Week is of course designed to inspire enjoyable discussions of interesting topics. This week's question, what is your favorite style of fantasy setting (like a more high fantasy, one like Middle Earth or the Forgotten Realms, urban fantasy like the Dresden Files or Kate Daniels or more steampunk like Everon and so on)? No wrong answers, obviously.   And as you can imagine this inspired quite a few responses.   Perry says: Hyperborea! Lankhmar is up there as well. Setting where magic is rare, and usually dangerous or evil. The first edition of the Forgotten Realms (the grey box from the ‘80s) was great. Enough detail to let you use the setting, lots of room to make it your own. Then all the Forgotten Realms novels started to appear with the release of the second edition in the ‘90s and everybody in the world suddenly had powerful magic at their fingertips. Elminster, the Seven Sisters, Drizz't, and others took the appeal right out of the setting for me.   Joachim says: I like the Spelljammer Campaign setting best. A lot of great modules. It seemed it was not overly successful. A shame. I had a campaign running in this setting with some people who liked it. In addition to the Spelljammer modules, you can easily transfer any normal module centered on a small town onto an asteroid.   Evan says: A huge Sanderson Cosmere fan here, especially Stormlight Archive. I like the magical progression tied in to character development, with a bit of mystery of how things work or an unknown that takes time to unwind or tease out.   Justin says: My problem here is separating the settings from the authors. Given that near impossibility, I would cast my vote for high fantasy with a bit of techno/steampunk mixed in. Example – Andre Norton's Witch World.   Bonnie says: I seem to gravitate towards the swords and sorcery genre like Frostborn, but I also enjoyed the urban fantasy/Nadia and the other genres. I have to thank you for introducing me to all of these.   Michael says: Okay, Jonathan, that's the second time I've noticed you indicating a preference for sword and sorcery saga where a barbarian hero travels between corrupt city states and now I really, really want you to write this. And yeah, that's definitely my favorite type of setting too.   Simone says: Definitely urban fantasy. Even in your books, which offer an unusual variety of fantasy settings, I find I enjoy the Cloak series the best.   Roger says: Being an old fogey, I prefer high fantasy always. Can't seem to get my head around urban fantasy. It jars with me.   John says: While I enjoy all settings, I'm also a traditionalist and want a non-industrial, non punk setting without some sprawling empire, more like the aftermath of empire with multiple successor states.   Jonathan T. says: Personally, Star Wars has always been fantasy in a science fiction setting, and that remains a personal favorite. Other than that, I suppose I'm for high fantasy, although I'm not opposed to high fantasy slapstick either such as the Wuntvor trilogy. At some point I must try again to surmount the obstacle known as The Wheel of Time.   Catriona says: Epic and high fantasy are my favorite, enjoy Dark Fantasy, too. Urban fantasy is a hard pass for me.   Juana says: Sword and sorcery, parfait gentle knights, medieval societies, historical fiction like Doyle's The White Company and Sir Nigel. Wherever Nadia lives.   Justin says: Sword and sorcery, magical creatures/beasts. Definitely needs different environments like cities and wild mountains and forests. Not sure what genre that is, but that's what I like.   MG says: High fantasy.   Brandy says: I like ones with a clearly defined map. Sometimes it seems like the world wasn't thought about clearly, so it makes it hard to imagine and I find those stories the least successful. The ones I go back to repeatedly, the ones I read over and over or pimp out to other authors or groups are those I feel like they have a great structure and map, even if it's added on to later. So high, low, or middle, I just really just want the author to tell a great story and make it a great one.   Speaking as an author myself, I really dislike drawing maps, but fantasy readers really like maps, so that's why I have been doing more and more maps lately.   Pauline says: Urban fantasy is definitely my favorite.   Jeremy says: High Fantasy is my favorite. However, my favorite fantasy author is Terry Brooks. His series is Low Fantasy based on Earth. I found out years after reading the series LOL.   For myself, I think my favorite would be a pre-industrial setting with a lot of city-states and various dangerous magic, like you have a barbarian hero wandering from city-state to city-state with monster infested ruins and wilderness between them. When he gets to the city states, he can fight corrupt sorcerers, arrogant nobles, and thieves guilds, and then move on to a new adventure in the next book. So basically a sword and sorcery style setting. So that's it for Question of the Week.   00:06:30 Main Topic of the Week: Ghost in the Assembly: Inspirations and Sources (Note: Spoilers for Ghost in the Assembly!)   This week and now onto our main topic, Ghost in the Assembly inspirations and sources that went into the book. I should mention that this episode contains mild spoilers for Ghost in the Assembly. So if you have not finished reading Ghost in the Assembly yet, stop listening and go finish reading Ghost in the Assembly.   So I thought it would be interesting to talk about some of the ideas and influences that went into Ghost in the Assembly. I have to admit, it took me a few years of thinking between Ghost Night and Ghost Armor to figure out how to write more Caina stories because Caina had become a political figure by the end of Ghost Night and political figures typically do bad things for personal advancement and then lie about it. That is in some ways the essential definition of a political figure. This of course, is hard for a writer to use as a sympathetic protagonist.   Of course, I eventually realized the way around this, the success of a political figure cannot be judged by their personal morality or even their political morality, but by the results of their decisions. Did they do the most for the greatest good of their people? Therefore, I just needed to write a political figure who did somewhat sketchy things (like subverting the Kyracian houses via buying up their debt) in the name of the greater good of the people (defending them from the impending attack of the Red Krakens).   I frequently said that if you want to write a good fantasy novel, you should try to stick to about 15 to 25% of the actual harshness of the past. I don't think you want to go full Grimdark, but you don't want your fantasy world to be indistinguishable from a typical 21st century parliamentary democracy because I think that kind of defeats the purpose of fantasy where you want to visit a world that is eldritch and strange and at least somewhat different than our own. So for Ghost in the Assembly, I went to about 15 to 25% of the experience of ancient Greek democracy. For the entire time that New Kyre and the Kyracians have been in the series (Ghost in the Storm was way the heck back in 2012 and the Kyracians were mentioned before that), they've always been very loosely based on the democracy of ancient Athens. In fact, the very name Assembly of New Kyre comes from ancient Athens, where the gathering of voting citizens was called the ecclesia, which translates into English as assembly. Interestingly, this is also the origins of the word ecclesiastical in terms of a church since one of the first words for the church was ecclesia in the sense of the assembly of the believers in Christ.   Athens wasn't the first ancient Greek democracy, but it was one of the most successful. It was also one of the democracies that self-destructed in the most spectacularly dramatic fashion possible. The Athenians decided to convert the Delian League from an alliance of city-states into their own private empire. A demagogue convinced them to waste enormous resources attacking Syracuse and Sicily, which ended disastrously. The Athenians were eventually defeated by the more militaristic Spartans.   People have debated for centuries whether or not this means democracy is inferior to the Spartans' harsher system, but that overlooks the key fact that a few decades later, Athens, Sparta, and all the rest of the Greek city-states were conquered by the Macedonians anyway. I suppose the actual historical lesson is that a city-state, regardless of its government, is no match for a larger centralized state with better leaders and better military organization. In fact, historically city-states tend to eventually get subsumed into larger political entities. If they last for a long time, it tends to be because of geography (like in ancient Greece) or because of weak and or remote central authority like the medieval Italian city-states, which were ostensibly under the authority of the Holy Roman emperor but in practice tended to do whatever they wanted. Places like modern Vatican City tend to be special exceptions.   Caina's criticism of the assembly of New Kyre in the book is that it is not as egalitarian as it pretends and is easily swayed by both demagogues and bribes. The Athenian assembly of citizens had both these problems, but far worse. You needed to have a substantial level of property to be allowed to vote, and there were numerous examples of the votes swinging on bribes or last minute orations. The Athenian assembly was easily swayed into making bad decisions, such as supporting the disastrous attack on Syracuse during the Peloponnesian War that was the start of Athens' downfall.   In Ghost in the Assembly, Lady Eirenea Tritos is one of the nine chief magistrates of the city, but in an Athenian democracy, women were not allowed to vote and most definitely were not allowed to hold political office. The ancient Greeks in general did not have a very high opinion of women. One Greek orator said that men had wives to produce legitimate heirs, concubines to attend to the body's “daily needs”, and prostitutes for pleasure.   Because of things like that, I thought a setting with a hundred percent of the harshness of ancient Greece would be off-putting to the reader. So as I said, I shot for between 15 and 25% of the actual harshness. New Kyre is definitely richer, better governed, and less elitist and chauvinistic than the ancient Greeks. That said, New Kyre isn't an egalitarian place. Nobles have vastly more rights and money than commoners, and both nobles and commoners own slaves and only the poorest commoners own no slaves themselves. Indeed, slavery is so common in New Kyre that the other nobles see Kylon's decision that House Kardamnos will have no slaves as a sign of malevolent and sinister foreign influence.   Kalliope's fear that she could be dispossessed and Kylon simply take her children is very real. If Kylon wanted, he probably could keep Kalliope from seeing Nikarion and Zoe ever again, though that would inevitably put him in conflict with Lysikas Agramemnos and Calliope is charismatic enough to powerful allies to her side. If Kylon did in fact refuse to allow Kalliope to see their children, he might well set off a civil war. But Kylon, who lost both his parents when he was young, doesn't want to deprive his children of a loving mother.   Of course, the ancient Greeks never had to fight the Red Krakens and orcs. The Red Krakens, the Caphtori, are kind of written like snake-worshipping Vikings. In fact, Caphtori are inspired by the “Sea Peoples”, pirates that seem to have contributed to the collapse of Bronzes Age civilization. Historians argue endlessly about the impact of the Sea Peoples or whether they existed at all, but if they did exist, they might well have been proto-Ancient Greeks, perhaps Mycenaean in origin.   Since having one ancient Greek-esque group fighting another would've been confusing in the book, I made the Caphtori/Red Kraken more like Vikings, which I suppose is a bit of historical anachronism, but Ghost Armor is a constructed world with elves, orcs, and sorcerers, so it's not like I'm writing period accurate historical fiction here.   So these are some of the influences that went into Ghost in the Assembly. I don't have any grand concluding point here. Those were just some of the ideas I thought about and went into the story. Though I should mention that for a while I was a graduate student in medieval history and I hated the experience so much I left and went into IT instead. That said ,decades later it has proven a useful source of plot ideas for fantasy novels, so it worked out in the end.   One final note, a reader suggested that Kalliope Agramemnos and Mardun Scorneus might hook up in later books. And I have to admit, I laughed at that suggestion. Kalliope would react with dismay at the thought of marrying anyone other than an extremely high ranking Kyracian noble, and at the prospect of marrying Kalliope, Mardun would think about it, fake his death, and flee back to the Empire, preferring to take his chances with the Magisterium rather than Kalliope. Anyway, thank you to everyone who has read Ghost in the Assembly. I am very grateful that so many people have enjoyed the book.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes of the show on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

In this week's episode, we take a look at the pros and cons of creating a series bible, and how it can potentially help when writing a book. This week's coupon code will get you 25% off the ebooks of the GHOST NIGHT series at my Payhip store: GHOSTNIGHT25 The coupon code is valid through March 29th, 2025. So if you need a new book to read for spring, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 243 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 14th, 2025, and today we are looking at writing series bibles. Before we get into that, let us start with Coupon of the Week. This week's coupon code will get you 25% off the ebooks of the Ghost Night Series at my Payhip store. That coupon code is GHOSTNIGHT25. The coupon code and the links will be available in the show notes. This coupon code is valid through March 29th, 2025. So if you need a new book to read for spring, we've got you covered.   Now let's have some updates on my current writing and audiobook projects. I'm pleased to report that Ghost in the Assembly, the fourth book in the Ghost Armor series, is now out. You can get it at Amazon, Barnes Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. It has been selling well and been received well, so thank you all for that.   Now that Ghost in the Assembly is out, my next project is Shield of Battle, the fifth book in The Shield War series, and I am 17,000 words into that and hope to make good progress on it next week.   In audiobook news, Cloak Mage: Omnibus Three (as excellently narrated by Hollis McCarthy) is now available, as is Half-Elven Thief: Omnibus One (which is narrated by Leanne Woodward). You can get both of them for the easy price of one credit. So that is where I'm at with my current writing and publishing projects. Usually at this point, we do Question of the Week, but I ran out of time to do Question of the Week this week.   00:01:32: Main Topic of the Week: Writing Adjacent Activities, Part I: Series Bibles   So now we'll move right on to our main topic. Today, I'm starting a new series about what I call writing adjacent activities. What do I mean by this? I'm talking about tasks that seem like they're part of the writing process, but in reality, belong in a different category. Now these tasks are important, but they can also be a pitfall if you spend too much time on them, don't use them correctly, or you don't make the best use of your time with them.   In this series, we'll focus on a few of these tasks and how they can be beneficial or a hindrance to your writing process, even though they seem like a good use of time and may be advantageous in different scenarios.   In this episode, we'll talk about creating series bibles, an activity that some writers love and others loathe or avoid altogether. We'll explain what series bibles are, how they can help you as a writer, and how to write them effectively without losing time on your actual writing. So to begin with, what is a series bible? This term originates in the world of television production (where they're often called show bibles), where having a document that kept track of characters, details mentioned on the show, and important information was crucial when many people were working on the same show. A series bible was essential for continuity and preventing writers from having to rewatch old episodes to find out, for the example of say, the names of Frasier's mother or Nile's first wife.   The goal of a series bible for books is to be a reference to refer back to important facts and details about your story. They can prevent errors, reusing names, and save time by not having to check things in earlier books while writing. It is also more important to have a good series bible when a group of people are working together than an individual writer.   Examples of things collected in series bibles are character details, locations, plot developments, and information about fictional worlds in the books. They can be incredibly detailed or very simple, depending on what information is tracked within them. Some books obviously will need series bible-ing less than others. For example, a contemporary romance will have less information to keep track of than a science fiction series in a fictional galaxy with its own technology and species because with the contemporary romance, you just need to keep track of the characters and the settings and the settings can be easily reused from the real world, which is quite a bit harder when you're writing a science fiction series with exotic aliens and strange technology.   So why should you make a series bible? Continuity is quite challenging, especially as a series progresses or a writer creates interconnected series like my Frostborn, Sevenfold  Sword, Dragontiarna, Dragonskull, and Shield War series. Do I remember whether an orc named in one chapter of the third Frostborn book survives so I can use him dozens and books in three series later? I don't off the top of my head.   It helps to keep details consistent across books. If, for example, Ridmark carries his staff in his right hand, he shouldn't be switching to his left unless he has a plot reason for doing that. For certain kinds of writers, it can help with planning a series in conjunction with an outline. If you have your characters and location names planned in advance, it's easier than trying to think of them on the spot when writing. Additionally, if you're co-writing a series with one or more other people, this ensures that all the information stays consistent. For most cases, I think writing with another person or a group of people is probably the best reason to create a series bible.   A series bible can also, if you're writing on your own, help you find patterns in your own writing. For example, if you're consistently not describing characters' appearances until the fifth or sixth chapter in each book, that may be something you want to change in future books. Readers tend to like physical descriptions fairly early in the book because it helps them imagine the characters and they might be annoyed if a physical detail that appears late in the book doesn't match what they actually imagined.   So how do you go about making a series bible (if you've decided that you need one)? It doesn't require special software, just a basic word processor file. You can just type the entire thing up in Word or even in Notepad if you want. Some people may use some programs like Scrivener or Hiveword, but for most people, that could be overkill. Some writers make series binders in a physical binder because they prefer to flip back and forth that way instead of using the word processor's search feature. For myself, I would most definitely prefer using the word processor search feature.   Decide before you start the project what categories would be most helpful to you. Remember the more categories you have in the series bible, the longer it will take to create and the more time it will take to maintain, especially as a series goes on. Some potential categories for your series bible include characters, locations, languages, magic systems, and a basic plot summary for each book in the series.   From there, it's as simple as filling in categories with the information. Some people make different documents or pages for each category, while others like all the information to be in one place for easier searching. Some people create the series bibles while outlining.  Some people create them while writing. Others do it after the book is complete. It'll be up to you to decide which one works best for your workflow, but the latter is often seen as the easiest because then you don't have to make changes as you edit the books. So what are the potential pitfalls or time wasting aspects of a series bible? Much like many other writing adjacent tasks, creating a detailed series bible can turn into something that feels like writing progress, but is actually hindering you from meeting your word count goals or actually getting on with finishing the story.   It seems like the people who create series bibles before starting their draft tend to be the writers who have the most trouble actually finishing their drafts. If you're creating a series bible before creating your first draft, you may be spending a lot of time creating superfluous details that won't actually be needed for the book or creating such a volume of detail that writing the draft begins to feel daunting.   You may not need one and might be creating a series bible unnecessarily. For one thing, they're intended for series, so creating one for a standalone book is most likely overkill. If it's a short series, without collaborators, in a contemporary realistic fiction setting, it may not be necessary or maybe only a brief character sheet would be sufficient. Just because some writers say that series bibles are helpful doesn't mean that's a requirement or that your book won't be as good without one.   It's also a good idea to set a goal in advance of what categories you want and how much detail you need. That will help you figure out if you're spending more time on it than is necessary. Creating templates may also help, especially ones that allow for short responses instead of entire sentences or paragraphs. A consistent format may make the information easier to find and/or skim later. This would be something like a Dungeons and Dragons character sheet where you would just have a template where you could list the most pertinent details about the character as an aid to memory, like their age, ethnicity, eye color, hair color, height, brief physical descriptions, and things like that, short details that'd be a useful aid to spurring memory.   And finally, as with so many things in life, it's important to be honest with yourself. Will you actually take the time to maintain this series bible across multiple books, or is the file going to sit forever unfinished in a corner of your hard drive? For many people, series bibles are often like the writing equivalent of a craft project that has started with good intentions but is ultimately left unfinished in a box somewhere.   Since we cited TV series bibles as an example for this, I thought we would quote an example from the series bible for the TV show Lost. Note that the main purpose of this series bible was to get the TV show on air and to get advertisers for it, so the language here is a combination of characters' facts and marketing speak to try and get people interested in the characters. Most series bibles for books use more of a factual approach, but it's still of interest as an example.   Here's the entry for the character of Boone:   “Boone grew up in a world of wealth and privilege provided by a vast commercial empire run by his mother, "The Martha Stewart of the Wedding Industry." Fatherless from a very young age, Boone quickly assumed the role of family patriarch. In one fell swoop, he became the heir apparent and self-appointed guardian of his sister. But Boone has a dark secret - one even Shannon doesn't know. Diagnosed with schizophrenia during adolescence, he has since managed his illness with ongoing therapy and a cocktail of anti-psychotic medications - medications he stopped taking roughly a month before the crash. Ongoing survival crises find Boone at odds with his slipping sanity, leading to an inevitable breaking point which will not only put him at odds with the others, but make him an outright danger.” So you can probably tell from this paragraph that this was written partly to help the writers and partly to help pitch the show. But you can see how this kind of thing could be useful for remembering key details about a character when you're writing the third book in your series and need to look back and refresh your memory about the character's details. You wouldn't need something so detailed or dramatically written, but just enough to capture the key character details so you could refresh your memory.   So what do I do myself in terms of series bibles? Well, the answer is mostly not that much (chuckles). My method of continuity checking is that Windows Explorer, the file manager on Windows, has a feature that allows you to search inside documents. So if I need to refresh my memory about something in a series, I go to the series folder that holds all those Word documents, search for the term I'm looking for, and read through the results until I find it. It's not very efficient. I have started making series bibles recently and by saying that I have started, I mean I have hired someone to do it for me.   Why am I making them now? Like I said, making it easier to keep track of continuity because Ghosts in the Assembly was my 160th book, which is a lot to keep track of, and that's a lot of Control + F searching in Windows Explorer to find things. So I was thinking it was time to get better organized and have this information to be more accessible and easy to read.   What do I include in mine? I'm only doing them for books I have finished and only about eight or nine pages for each book. The categories are timeline events, locations, creatures, magic and spells, and a brief list of key events.   Will I ever publish these series bibles? Probably not, unless I can find a good source of artwork because when people think of published series bibles, they think of these big hardcover books you get Barnes and Noble called The World of Wheel of Time or The World of Fire and Ice and then there's a lot of beautiful illustrations in them. I might try something simpler, where it's just the text. So I suppose the real answer is we will have to see.   So that is my thoughts on series bibles. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you listen to all the backups episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

In this week's episode, we take a look at five lessons for writers from Barnes & Nobles' turnaround. I also discuss indie author advertising results from February 2025. This week's coupon code will get you 50% off the audiobook of Dragonskull: Blade of the Elves, Book #3 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store: BLADE50 The coupon code is valid through March 28, 2025. So if you need a new audiobook for spring, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 242 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 7, 2025, and today we are looking at writing lessons from the dramatic turnaround of Barnes and Noble. We'll also look at my ad results for February 2025 and we'll also have Coupon of the Week and an update on my current writing projects and Question of the Week.   First off, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Blade of the Elves, Book Number Three in the Dragon Skull Series (as excellent narrated by Brad Wills), at my Payhip store. That coupon code is BLADE50. We'll have the coupon code and the link in the show notes. This coupon code is valid through March 28th, 2025, so if you need a new audiobook for spring, we have got you covered. Now an update on my current writing and audiobook projects. The rough draft of Ghosts in the Assembly is done and I am 16% into the second phase of editing. If all goes well, I am planning to publish the book on March 14th, assuming there are no unanticipated interruptions, which is always risky to rely upon, but things are going well with it and I'm optimistic we can do that. I'm also 13,000 words into Shield of Battle and after Ghost in the Assembly is published, that will be my main project.   In audiobook news, Orc-Hoard, the fourth book in the Half-Elven Thief series (as narrated by Leanne Woodward), is now available and you can get it at all the usual audiobook stores. Half-Elven Thief: Omnibus One (which is a combination of Half-Elven Thief, Wizard-Thief, and Half-Orc Paladin, the first three books in the series) is also now available in audio (as excellently narrated by Leanne Woodward), and you can give that omnibus edition at Audible, Amazon, and Apple. So that is where I'm at with my current writing projects.   00:01:49 Question of the Week   Question the Week is designed to inspire enjoyable discussions of interesting topics. This week's question, when you have an unpleasant chore that must be done, do you prefer to split it up into smaller parts over a number of days or just to get it all over with at once? No wrong answers, obviously. The inspiration for this question is the fact that it's tax prep time here in the United States, and I have spent a lot of time this week working on that.   Justin says: I prefer to get it over with all at once if possible. Extending your example, I have somehow become the tax preparer for other family members, so there are a few days where that is what I do. I also set aside a few hours every month for vehicle maintenance: check fluids, tire pressure, top off everything, look at belts (replace if worn). It's amazing how more reliable cars are when you look after them a bit.   That is very true. Good car maintenance advice from Justin.   Catriona says: Procrastinate. I love to procrastinate, then the mad dash to the very last second of the deadline. Retired now, so no longer need to be efficiently organized.   Jenny says: Oh, split if I can, procrastinate if I can't. Dishes? Do some or put some away, do more later or let my laundry pile up until I have no pants.   And Juana says: Let's get this over with. (Transcriptionist's note: this was posted in the form of a GIF of Liz Lemon from 30 Rock)   For myself, I suppose the answer is that I essentially get to do both since I'm technically a small business owner as a publisher, I do some tax stuff every month and then usually have a couple of days in March that are all tax prep. Other than that, it really depends on the size of the task in question. My preferred way would be to split a task up into smaller pieces and do 'em until they're done. But if you have something like snow shoveling, for example, you really do have to kind of bite the bullet and get it over with all at once.   00:03:21 February 2025 Ad Results   Now let's see how my ads did in February 2025. February is generally a better month for advertising than November, December, and January. The reason for that is that Valentine's Day and the Super Bowl drives some consumer spending, though not nearly as much as the Christmas and Thanksgiving holidays, and so therefore the cost per click is often lower and you can usually have good results with ads.   First up, Facebook ads. In February, I advertised both Cloak Games/Cloak Mage and all the Ghosts on Facebook. For Cloak Games/Cloak Mage, I got back $2.98 (USD) for every dollar spent, with 6.8% of the profit coming from the audiobooks. For the Ghosts, I got back $3.24 cents for every dollar spent, with 15.4% of the profit coming from the audiobooks. I also ran a few different Amazon ad campaigns. Remember that for an Amazon ad campaign to work, it needs to generate a sale or a complete Kindle Unlimited page readthrough for every six to eight clicks. For Half-Elven Thief, I got back $2.30 for every dollar spent, with a sale for every 0.68 clicks. In other words, we had more total sales than we had clicks. For Stealth and Spells Online: Creation, I lost $2.52 for every dollar spent, with a sale for every 8.1 clicks. For The Linux Command Line Beginner's Guide, I got back $1.86 for every dollar spent, with a sale for every one click and 32% of the month's profit coming from the audiobook. I think this shows how badly I misjudged the LitRPG market with Stealth and Spells Online. The ads for Half-Elven Thief actually get more search terms for LitRPG related searches than Stealth and Spells actually does. I ran BookBub ads for Sevenfold Sword and The Ghosts on Apple, and here's how they did. For The Ghosts, I got back $5.26 for every dollar spent. For Sevenfold Sword, I got back $4.35 for every $1 spent. Finally, for the Demonsouled series, which is currently in KU, I did a combined Facebook and Amazon campaign, and when you run multi-platform ad campaigns like that, the most valuable metric tends to be honestly money back for dollar spent. So for Demonsouled, I got back $2.58 for every dollar spent. So good results, all in all, and I didn't actually lose that much money on Stealth and Spells. So thanks for reading everyone and hopefully I'll have more good books for you to read soon.   00:05:47 Main Topic: Lessons for Writers from Barnes and Noble's Turnaround   So now onto our main topic this week, lessons for Writers from Barnes and Noble's Turnaround because it is fair to say Barnes and Noble has had a turnaround recently. For a while at the end of the 2010s and the early 2020s, people would have their self-publishing predictions for the year, and one of them was almost always that Barnes and Noble is going to finally close, which was a reversal of fortune for it because if you remember in the ‘90s and the 2000s and even the early part of the 2010s, Barnes and Noble was the juggernaut in the publishing industry. They had forced out of business a lot of smaller indie bookstores and what Barnes and Noble wanted in the publishing industry, Barnes and Noble got. Then just as Barnes and Noble disrupted all the smaller book chains and independent bookstores, Amazon came along and disrupted Barnes and Noble. And so for a while it looked like Barnes and Noble was going to go out of business, but Barnes and Noble's revenue actually grew 1.6% in fiscal year 2024, and their foot traffic is up significantly. They're planning 60 new stores after a wave of closures in previous years.   A few years ago, as I said, they seemed headed for extinction, yet a combination of unpredictable factors and good decisions helped turned around Barnes and Noble. What are some of those factors leading into it? I suspect one of them is that many people are forced to be on screens all day and can find this frustrating or stressful, especially when schooling and work were virtual. I've talked to some teachers over the past couple of years and they would tell me stories of, for example, younger children who will burst into tears at the site of a Chromebook just because the experience of remote learning via Chromebooks was so stressful and miserable in 2020 and 2021 (and places that held onto that policy for probably longer than they should have). So much socialization nowadays is conducted online too through TikToks and chats and text messages and so forth. Because of this, many now feel like print books are a break from being constantly online. Various social media people such as TikTokers and Instagrammers make Barnes and Noble trips and hauls, showing off giant stacks of the latest books, filling up feeds. Home book displays are also a trend online, as collectors show off carefully style collections of books. Owning physical books and browsing the shelves at Barnes and Noble has become cool again. Truly history is a wheel that keeps on turning.   So what lessons can you take from this turnaround as a writer (even if your physical books aren't stocked by Barnes and Noble and you don't sell that many eBooks through them)? How they approach their relationship with their readers and their customers still has a few lessons to provide writers.   #1: Focus on your primary mission and also double down on what actually works. Barnes and Noble started to devote much of their store space to a confusing, aimless mixture of toys and gifts mixed in with the books. The stores began to look cluttered and much of this merchandise did not actually sell to their customers. They also wasted a large sum of money trying to compete with Amazon, Apple, and tech companies with their Nook tablets and kept Nook ereaders as a strong store presence long after it was clear they had lost the battle for the ebook market. There was even an extremely ill-advised foray into Barnes and Noble restaurants. Customers were quick to reject $13 avocado toast and $7 oatmeal from a mall chain bookstore.   One, when the company focused on returning to selling print books and making the store a better place to browse, sales improved. Many stores moved the gifts and games away from the book areas and back into the dedicated sections, which cleaned up the layout and made it easier for customers wanting non-book items to find what they were looking for. Since most of the customers were actually there to buy books, that made it easier to buy books.   How to apply this as a writer? Your job as a writer is to create and sell books. Getting lost in side quests, like overly frequent social media posting, creating courses or webinars, and selling merchandises are only taking time away from what your readers actually want the most from you: more books. So double down on writing more books, just as Barnes Noble doubled down on selling more books.   #2: Target the right people. Barnes Noble's display spaces and tables were taken up by books that publishers paid to place there. This led to their prime store space being taken up by books that were often poor sellers or not a good fit for their local customers. It was better to turn down the short-term money but have more targeted displays, including putting similar books in “thematic nooks.”   By focusing much of their marketing on the BookTok/Bookstagram groups of heavy readers, they were able to find ways to appeal to a younger and growing customer base. Since this group loves books both as content and décor, showcasing exclusive or “aesthetic” special editions was a way to bring these customers back into the store and keep them from buying cheaper copies online. These readers were also willing to spend a few dollars extra for the experience and to ensure that the books they were buying weren't damaged, which is often a complaint when you buy books online, that they sometimes aren't packaged properly and arrive damaged in transit. Store space was also devoted to manga readers, another group that reads voraciously and enjoys the experience of reading the print version and later collecting the print version as opposed to the electronic one.   Now, how do you apply this as a writer? Appeal to your core audience. Instead of trying to appeal to everyone, find your core “thematic nook” (as Barnes Noble puts it), meaning similar authors and titles. There are resources like Publisher Rocket that can help you do this. Focus your advertising on finding these readers instead of the general population.   For myself, I've experienced this lesson personally in the last four years because in the last four years I've tried three different new things: The Cormac Rogan Mysteries, the Stealth and Spells LitRPG book, and the Rivah Half-Elven series. And of the three, Rivah was by far the most successful because it was another form of epic fantasy, which I think is what my core audience really wants from me and not contemporary mysteries or LitRPG. So this is the lesson I can attest to through personal experience.   #3: Give customers a good experience. Barnes and Noble spent money on repainting, installing brighter lighting, and changing store layouts. The CEO James Daunt stated it was their aim to make the store feels like “places of discovery.” Chairs were even added back to some stores to allow readers to browse in comfort.   Now, how can you apply this to being a writer? First, you want to make sure that your readers have the easiest possible experience, the most pleasant possible experience in buying books from you. One way to do this is keep your website updated and check for broken links, which is easier said than done. I know, especially for me since Ghost in the Assembly will be my 160th novel, and that is a lot of links to check and my website had gotten complex enough that I finally hired someone to overhaul it and make sure all the links were working. But I think we've had good results since traffic is up and I get much fewer complaints now about dead links. It's often a good idea to refresh ad images to keep potential readers' attention. For Facebook ads, I think based on my experience, the best you can hope for is two to three weeks of good results with a single image. For BookBub, maybe three or four days. So it's good to have a supply of ad images you can rotate out often. Finally, incentivize readers to read your newsletter by keeping it brief and providing some kind of special reward, like a discount or bonus content, which is why I give away a lot of short stories in my email newsletter.   #4: Be willing to change it up or try new things. Barnes and Noble's leadership also ceded more control of the selection and displays to the individual stores, allowing them to better customize the stores towards the taste of the community. For most of Barnes and Noble's history, if you walked into the store and you saw the displays in the front and on the end caps where books were highlighted. Publishers paid through the nose for the privilege of having their books stocked that way. And while there is still some of that, obviously the new regime at Barnes and Noble has changed things around so that more local stores have greater control of what to put where, which means they can put out more books that their local community is more likely to buy. If you walk into a Barnes and Noble in Illinois, for example, you're much more likely to see a large display of Illinois local history than you would have otherwise.   For another example, I once visited a Barnes and Noble in a large suburb that had a very large teenage population that had the Young Adult section wedged in a single cramped back corner by the bathrooms. It was extremely unpleasant to browse, especially if one person was already in the aisle. And of course, if there was a line for the bathroom, which is often the case, teenagers typically want more physical space from strangers. This decision to put the Young Adult section in a cramped corner in the back of the store was clearly made by someone who did not a lot of experience talking to or working with teenagers. After Daunt's changes, Young Adult was moved to the center of the store. The aisles in the new section were extra wide to accommodate groups of teens browsing together, and it was now full of colorful displays, many of which were handmade by staff members. In the times I visited this Barnes and Noble since, it is always the busiest part of the store.   Another surprise area of growth was the refreshing of the stationery and planner section. The previous selection was stale and heavily reliant on older licensed properties like Disney. It wasn't reflective of the trends in the category being popularized (once again by Instagram and TikTok), such as dot grid notebooks with high quality paper and guided journals (like the influencer favorite, the Five Minute Journal, which offers a few brief prompts to reflect on the day). Barnes and Noble bought the stationery brand Paper Source, which brought in fresh designs to its cards and stationery. They also changed their selection to adapt to two of the biggest trends in stationery, bullet journaling and customizable Japanese planners. Stationery enthusiasts were willing to pay a premium to be able to see stationery items in person before buying, since that allows you to avoid counterfeit versions that are sold online and ensure that the product was in pristine condition and would not arrive through the mail damaged. Since the margins on stationery are way higher than they are in books, this was a wise decision.   Now how can we apply this lesson as a writer? One of the advantages of being self-published is the ability to change quickly based on data and reader feedback. For example, the Stealth and Spells Online series was originally called the Sevenfold Sword Online. Once I realized that readers were confusing this series with the main Sevenfold Sword series, I changed the title to help prevent confusion and emphasized that the series was in fact a separate one. I also changed the cover to reflect trends in the LitRPG series, such as characters' faces usually not being shown and a more diffused, animation-influenced color palette.   If one of your books isn't connecting with readers, it may be worth your time to update your blurb and cover trends based on your categories. Another similar experience I had was with the Silent Order covers where I went through five different iterations with that cover before I settled on the version I have now, which definitely sells the best.     #5: Do what Amazon can't. The new CEO of Barnes and Noble focused on what Amazon couldn't do: provide a physical environment for browsing.  Browsing aisles of books with a cup of coffee (from the Barnes and Noble Café) in hand is a relaxing experience for many people. Amazon famously tried to set up its own chain of physical bookstores, and it didn't work out because the experience for customers tended to be industrial and unpleasant in a way that made an airport newsstand seem downright cozy in comparison. The bookstores were stocked with just a very limited selection of popular books on plain shelves with electronic price tags. Nothing about it inspired browsing or finding new books, the most important way physical bookstores inspire readers to buy additional books.   This was an example of Amazon doing the opposite of our first lesson. Rather than doubling down on what was working, they tried something that was away from their core competency of low prices and fast delivery, which was a physical bookstore. In fact, one of these Amazon bookstores opened across the street from author Ann Patchett's Parnassus books, which is an indie bookstore in Nashville that provides lots of help from friendly, knowledgeable staff, autographed books from authors like Patchett, and a full calendar of events with local authors. Reviewers who have visited this indie bookstore rave about the friendly and helpful staff and the cozy atmosphere. Even though Parnassus offered higher prices than the Amazon bookstore across the street, the experience was so much better that it's not surprising that the Amazon bookstore did not work and that Parnassus outlasted this physical Amazon bookstore that opened across the street. As many people have found out the hard way, it is very difficult to compete with Amazon on price. Instead of constantly discounting books with buy two get one free promotions or providing steep discounts through its membership program, Barnes and Noble stopped trying to compete with Amazon on price and turned their attention to something that Amazon couldn't do, which is the physical experience of the store. Events like children's story times and special events (complete with gift bags) for popular releases like Onyx Storm brought in people who hadn't been to a physical store in a while.   Now, the point of this isn't to indulge in Amazon bashing because Amazon does get criticized a lot, sometimes fairly, sometimes not fairly. The point is that trying to compete with Amazon on its core competencies of low price and fast delivery is not a good idea. And so instead, you need to try and find a way to do something well that Amazon can't do or Amazon isn't interested in doing. Even if Amazon remains a big part of your business as an indie writer, you can diversify your profits and readership by looking beyond Amazon.   What can't Amazon do for your readers? You can engage with your readers directly through your newsletter and social media. That's why I try to post at least once a day and respond to comments when possible. You can find ways to provide special content for loyal readers, which I do personally in the form of free short stories, discounts, Coupon of the Week (which we always talk about every week). Giveaways, et cetera provide something that Amazon can't or won't. For example, direct sales platforms like my Payhip store can provide DRM free ebook files, multiple file formats with each purchase, and special bonus content for readers buying direct and so forth. If you buy a book off My Payhip store, you can download the epub file and a PDF file, which you can't do from Amazon anymore.   On a related note, give people who don't want to buy from Amazon a place to buy your books, whether that be other ebook vendors or your own direct sales page (or ideally both). I should mention that personally of my (soon to be) 160 books, only 14% of them are currently on Kindle Unlimited (which means Amazon exclusivity), which is a fortunate position I'm able to be in because Kindle Unlimited is also a big part of the market. I'm able to essentially play in both worlds where I have the majority of my series available wide (and available on my Payhip store with files and the other things we were talking about), while also providing some books for Kindle Unlimited readers, which also is a big part of the pool. I'm fortunate enough to be able to play in both worlds there and continue to do that.   To sum up, Barnes and Noble recovered by focusing on what it does best and finding the people who respond best to that. As a writer, I think your main focus should be on putting out new books and targeting your advertising is the best way to make that approach work for you. If you have a long series, it might be a good idea to make the first book free and advertise that if you want to connect more with your readers, giving away short stories is a good way to do that, especially in your newsletter. So to sum up, perhaps the best way forward for all writers is to remain flexible and to double down on your core competencies and core strengths.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

In this week's episode, we continue our discuss about how seeking prestige can be dangerous for writers, specifically in the form of traditional publishing and the New York Times Bestseller list. This coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book #2 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store: DRAGONSHIELD50 The coupon code is valid through March 21, 2025. So if you need a new audiobook for spring, we've got you covered! TRANSCRIPT 00:00:00   Hello, everyone. Welcome to Episode 241 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 28th, 2025. Today we are continuing our discussion of how to escape the trap of prestige for writers, specifically traditional publishing and The New York Times Bestseller List. Before we get to our main topic, we will do Coupon of the Week, an update on my current writing and audiobook projects, and then Question of the Week.   This week's coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book Two in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. That coupon code is DRAGONSHIELD50. As always, I'll include the coupon code and the link to the store in the show notes. This coupon code is valid through March 21st, 2025. So if you need a new audiobook as we start to head into the spring months, we have got you covered. Now an update on my current writing projects. I'm pleased to report I am done with the rough draft of Ghost in the Assembly. I came in at 106,000 words, so it'll definitely be over a hundred thousand words when it's done. I'm about 20% of the way through the first round of edits, so I am confident in saying that if all goes well and nothing unexpected happens, I am on track to have it out in March. I am also 10,000 words into Shield of Battle, which will be the fifth of six books in the Shield War series and I'm hoping to have that out in April, if all goes well.   In audiobook news, recording for both Cloak of Dragonfire and Orc-Hoard is done. I'm just waiting for them to get through the processing on the various stores so they're available. There is also an audiobook edition of Half Elven Thief Omnibus One and Cloak Mage Omnibus Three that hopefully should be coming in March. More news with that to come.   00:01:55 Question of the Week   Now let's move on to Question of the Week. Question of the Week is intended to inspire interesting discussions of enjoyable topics. This week's question: what is your favorite subgenre of fantasy, high fantasy, epic fantasy, sword and sorcery, historical fantasy, urban fantasy, LitRPG, cultivation, or something else? No wrong answers, obviously.   Cindy says: Epic fantasy or those with a good history for that world. The Ghost Series are fantastic at this.   Thanks, Cindy.   Justin says: I enjoy all those sub-genres, if they are done well. In times past I would've said comic fantasy, but that is because Terry Pratchett at his best was just that good.   Mary says: High fantasy.   Surabhi says: I'd honestly read anything fantasy that's written well and has characters I'm attached to, given that it's not too gritty. Bonus points if there's humor! Also, I love your books so much and they're the perfect blend of fantasy, adventure, and characters. Your books were what really got me into Sword and Sorcery.   Thanks, Surabhi.     Matthew says: See, that's difficult. I love my sabers, both light and metal. I would say urban fantasy crosses the boundary the most. If it's a captivating story, it will be read.   John F says: I can't choose one- Lord of the Rings or LWW, The Inheritance Cycle, The Dresden Files, Caina, Ridmark, or Nadia. I think what draws me is great characters who grow. The setting/genre is just the device. That's why I keep coming back to your books. You create great characters.   Thanks, John F.   John K says: I think I'm partial to historical fantasy. I enjoy all genres, but when I think of my favorites, they tend to be derivations of historical settings. Think Guy Gavriel Kay or Miles Cameron. That said, I was weaned on Robert E. Howard, Fritz Lieber, Michael Moorcock, Karl Edward Wagner, Jack Vance, so a strong sword and sorcery second place.   Juana says: High fantasy. Belgariad, Tolkien, dragons, et cetera.   Jonathan says: Sword and sorcery in space! Prehistoric sword and sorcery, sword and sorcery always.   Quint: says Sword and sorcery!   Michael says: Sword and sorcery.   For myself, I think I would agree with our last couple of commenters and it would be sword and sorcery. My ideal fantasy novel has a barbarian hero wandering from corrupt city state to corrupt city state messing up the business of some evil wizards. I'm also very fond of what's called generic fantasy (if a fighter, a dwarf, an elf, and a wizard are going into a dungeon and fighting some orcs, I'm happy).   00:04:18 Main Topic of the Week: Escaping the Prestige Trap, Part 2   Now onto our main topic for the week, Escaping the Prestige Trap, Part 2, and we'll focus on traditional publishing and the New York Times Bestseller List this week. As we talked about last week, much of the idea of success, especially in the United States, is based on hitting certain milestones in a specific order. In the writing world, these measures of success have until fairly recently been getting an MFA, finding an agent, getting traditionally published, and hitting The New York Times Bestseller List. Last week we talked about the risks of an MFA and an agent. This week, we are going to talk about two more of those writing markers of prestige, getting traditionally published and having a book land on The New York Times Bestseller List. Why are they no longer as important? What should you devote your energy and focus to instead?   So let's start with looking at getting traditionally published. Most writers have dreamed of seeing their book for sale and traditional publishing for a long time has been the only route to this path. Until about 15 years ago, traditional publishing was the way that a majority of authors made their living. Now that big name authors like Hugh Howie, Andy Weir, and Colleen Hoover have had success starting as self-published authors (or in the case of authors Sarah J. Maas and Ali Hazelwood, fan fiction authors) and then are getting traditional publishing deals made for them for their self-published works. It's proof that self-publishing is no longer a sign that the author isn't good enough to be published traditionally. Previous to the rise of the Kindle, that was a common belief that if you were self-published, it was because you were not good enough to get traditionally published. That was sort of this pernicious belief that traditional publishing was a meritocracy, when in fact it tended to be based on who you knew. But that was all 15 years ago and now we are well into the age of self-publishing. Why do authors still want to be traditionally published when in my frank opinion, self-publishing is the better path? Well, I think there are three main reasons for that.   One of the main reasons is that the authors say they want to be traditionally published is to have someone else handle the marketing and the advertising. They don't realize how meager marketing budgets and staffing support are, especially for unknown authors. Many traditionally published authors are handling large portions of their own marketing and hiring publicists out of their own pocket because publishers are spending much less on marketing. The new reality is that traditional publishers aren't going to do much for you as a debut author unless you are already a public figure.   Even traditionally published authors are not exempt from having to do their own marketing now. James Patterson set up an entire company himself to handle his marketing. Though, to be fair to James Patterson, his background was in advertising before he came into publishing, so he wasn't exactly a neophyte in the field, but you see more and more traditionally published authors who you think would be successful just discontented with the system and starting to dabble in self-publishing or looking at alternative publishers like Aethon Books and different arrangements of publishing because the traditional system is just so bad for writers. The second main reason authors want to be traditionally published is that they want to avoid the financial burden of publishing. This is an outdated way of thinking. The barrier to publishing these days is not so much financial as it is knowledge. In fact, I published a book entirely using free open source software in 2017 just to prove that it could be done. It was Silent Order: Eclipse Hand, the fourth book in my science fiction series. I wrote it on Ubuntu using Libre Office and I edited it in Libre Office and I did the formatting on Ubuntu and I did the cover in the GIMP, which is a free and open source image editing program. This was all using free software and I didn't have to pay for the program. Obviously I had to pay for the computer I was using and the Internet connection, but in the modern era, having an internet connection is in many ways almost a requirement, so that's the cost you would be paying anyway.   The idea that you must spend tens of thousands of dollars in formatting, editing, cover, and marketing comes from scammy self-publishing services. Self-publishing, much like traditional publishing, has more than its fair share of scams or from people who aren't willing to take the time to learn these skills and just want to cut someone a check to solve the problem. There are many low cost and effective ways to learn these skills and resources designed specifically for authors. People like Joanna Penn have free videos online explaining how to do this, and as I've said, a lot of the software you can use to self-publish is either free or low cost, and you can get some very good programs like Atticus or Vellum or Jutoh for formatting eBooks for very low cost.   The third reason that writers want to be traditionally published is that many believe they will get paid more this way, which is, unless you are in the top 1% of traditionally published authors, very wrong. Every so often, there's a study bemoaning the fact that most publishers will only sell about $600 worth of any individual book, and that is true of a large percentage of traditionally published books. Traditional publishers typically pay a lump sum called advance, and then royalties based on sales. An average advance is about the same as two or three months of salary from an office job and so not a reflection of the amount of time it typically takes most authors to finish a book. Most books do not earn out their advance, which means the advance is likely to be the only money the author receives for the book. Even well-known traditionally published authors are not earning enough to support themselves as full-time authors. So as you can see, all three of these reasons are putting a lot of faith in traditional publishers, faith that seems increasingly unnecessary or downright misplaced. I think it is very healthy to get rid of the idea that good writing comes from traditional publishers and that the prestige of being traditionally published is the only way you'll be accepted as a writer or be able to earn a living as a full-time writer. I strongly recommend that people stop thinking that marketing is beneath you as an author or too difficult to learn. Whether you are indie or tradpub, you are producing a product that you want to sell, thus you are a businessperson. The idea that only indie authors have to sell their work is outdated. The sooner you accept this reality, the more options you will have. Self-publishing and indie publishing are admittedly more work. However, the benefits are significant. Here are five benefits of self-publishing versus traditional publishing.   The first advantage of self-publishing is you have complete creative control. You decide what the content of your book will be; you decide what the cover will be. If you don't want to make the covers yourself or you don't want to learn how to do that, you can very affordably hire someone to do it for you and they will make the cover exactly to your specifications. You also have more freedom to experiment with cross-genre books. As I've mentioned before, publishers really aren't a fan of cross genre books until they make a ton of money, like the new romantasy trend.   Traditional publishing is very trend driven and cautious. Back in the 2000s before I gave up on traditional publishing and discovered self-publishing, I would submit to agents a lot. Agents all had these guidelines for fantasy saying that they didn't want to see stories with elves and orcs and dwarves and other traditional fantasy creatures because they thought that was passe. Well, when I started self-publishing, I thought I'm going to write a traditional fantasy series with elves and orcs and dwarves and other traditional fantasy creatures just because I can and Frostborn has been my bestselling series of all time in the time I've been self-publishing, so you can see the advantages of having creative control.   The second advantage is you can control the marketing. Tradpub authors often sign a contract that they'll get their social media and website content approved by the publisher before posting. They may even be given boilerplate or pre-written things to post. In self-publishing, you have real time data to help you make decisions and adjust ads and overall strategy on the fly to maximize revenue. For example, if one of your books is selling strangely well on Google Play, it's time to adjust BookBub ads to focus on that platform instead of Amazon.   You can also easily change your cover, your blurb, and so forth after release. I've changed covers of some of my books many times trying to optimize them for increased sales and that is nearly impossible to do with traditional publishing. And in fact, Brandon Sanderson gave a recent interview where he talked about how the original cover of his Mistborn book was so unrelated to the content of the book that it almost sunk the book and hence his career.   You also have the ability to run ad campaigns as you see fit, not just an initial launch like tradpub does. For example, in February 2025, I've been heavily advertising my Demonsouled series even though I finished writing that series back in 2013, but I've been able to increase sales and derive a significant profit from those ads.   A third big advantage is that you get a far greater share of the profits. Most of the stores, if you price an ebook between $2.99 (prices are USD) and $9.99, you will get 70% of the sale price, which means if you sell an ebook for $4.99, you're probably going to get about $3.50 per sale (depending on currency fluctuations and so forth). That is vastly more than you would get from any publishing contract.   You also don't have to worry about the publisher trying to cheat you out of royalties. We talked about an agency stealing money last episode. Every platform you publish your book on, whether Amazon, Barnes and Noble, Kobo, Google Play, Smashwords and Apple will give you a monthly spreadsheet of your sales and then you can look at it for yourself, see exactly how many books you sold and exactly how much money you're going to get. I have only very rarely seen traditional publishing royalty statements that are as clear and have as much data in them as a spreadsheet from Google Play or Amazon. A fourth advantage is you don't have to worry about publishers abandoning you mid-series. In traditional publishing, there is what's called the Publishing Death Spiral where let's say an author is contracted to write a series of five books. The author writes the first book and it sells well. Then the author publishes the second book and it doesn't sell quite as well, but the publisher is annoyed enough by the decrease in sales that they drop the writer entirely and don't finish the series. This happens quite a bit in the traditional publishing world, and you don't have to worry about that in indie publishing because you can just publish as often as you want. If you're not happy with the sales of the first few books in the series, you can change the covers, try ad campaigns, and other strategies.   Finally, you can publish as often as you want and when you want. In traditional publishing, there is often a rule of thumb that an author should only publish one book a year under their name. Considering that last year I published 10 books under my name, that seems somewhat ridiculous, but that's a function of the fact that traditional publishing has only so much capacity and the pieces of the machine involved there are slow and not very responsive. Whereas with self-publishing, you have much more freedom and everything involved with it is much more responsive. There's no artificial deadlines, so you can take as long as you want to prepare it and if the book is ready, you don't have to wait a year to put it out because it would mess up the publisher's schedule.   So what to do instead of chasing traditional publishing? Learn about self-publishing, especially about scams and bad deals related to it. Publish your own works by a platform such as KDP, Barnes and Noble Press, Kobo Writing Life, Apple Books, Google Play, Smashwords, and possibly your own Payhip and/or Shopify store.   Conquer your fear of marketing and advertising. Even traditionally published authors are shouldering more of this work and paying out of their own pocket to hire someone to do it, and if you are paying your own marketing costs, you might as well self-publish and keep a greater share of the profits. The second half of our main topic, another potential risk of prestige, is getting on The New York Times Bestseller List. I should note that I suppose someone could accuse me of sour grapes here saying, oh, Jonathan Moeller, you've never been on The New York Times Bestseller List. You must just be bitter about it. That is not true. I do not want to be on The New York Times Bestseller List. What I would like to be is a number one Amazon bestseller. Admittedly though, that's unlikely, but a number one Amazon bestseller would make a lot more money than a number one New York Times Bestseller List, though because of the way it works, if you are a number one Amazon bestseller, you might be a New York Times Bestseller, but you might not. Let's get into that now.   Many writers have the dream of seeing their name on the New York Times Bestseller List. One self-help guru wrote about “manifesting” this milestone for herself by writing out the words “My book is number one on The New York Times Bestseller List” every day until it happened. Such is the mystique of this milestone that many authors crave it as a necessity. However, this list has seen challenges to its prestige in recent years. The one thing that shocks most people when they dig into the topic is that the list is not an objective list based on the raw number of books sold. The list is “editorial content” and The New York Times can exclude, include, or rank the books on the list however they choose.   What it does not capture is perennial sellers or classics. For example, the Bible and the Quran are obviously some of the bestselling books of all time, but you won't see editions of the Bible or the Quran on the New York Times Bestseller List. Textbooks and classroom materials, I guarantee there are some textbooks that are standards in their field that would be on the bestseller list every year, but they're not because The New York Times doesn't track them. Ebooks available only from a single vendor such as Kindle Unlimited books, ebook sales from not reporting vendors such as Shopify or Payhip. Reference Works including test prep guides (because I guarantee when test season comes around the ACT and SAT prep guides or the GRE prep guides sell a lot of copies) and coloring books or puzzle books.  It would be quite a blow to the authors on the list to realize that if these excluded works were included on the list, they would in all likelihood be consistently below To Kill a Mockingbird, SAT prep books, citation manuals, Bibles/other religious works, and coloring books about The Eras Tour.   Publishers, political figures, religious groups, and anyone with enough money can buy their way into the rank by purchasing their books in enormous quantities. In fact, it's widely acknowledged in the United States that this is essentially a legal form of bribery and a bit of money laundering too, where a publisher will give a truly enormous advance to a public figure or politician that they like, and that advance will essentially be a payment to that public figure in the totally legal form of an enormous book advance that isn't going to pay out. Because this is happening with such frequency, The New York Times gave into the pressure to acknowledge titles suspected of this strategy with a special mark next to it on the list. However, these books remain on the list and can still be called a New York Times Bestseller.   Since the list is not an objective marker of sales and certainly not some guarantee of quality, why focus on making it there? I think trying to get your book on The New York Times Bestseller List would be an enormous waste of time, since the list is fundamentally an artificial construction that doesn't reflect sales reality very well.   So what can you do instead? Focus on raw sales numbers and revenue, not lists. Even Amazon's bestseller category lists have a certain amount of non-quantitative factors. In the indie author community, there's a saying called Bank not Rank, which means you should focus on how much revenue your books are actually generating instead of whatever sales rank they are on whatever platform. I think that's a wiser approach to focus your efforts.   You can use lists like those from Publishers Weekly instead if you're interested in what's selling or trends in the industry, although that too can be manipulated and these use only a fairly small subset of data that favors retail booksellers, but it's still more objective in measuring than The New York Times.   I suppose in the end, you should try and focus on ebook and writing activities that'll bring you actual revenue or satisfaction rather than chasing the hollow prestige of things like traditional publishing, agents, MFAs, and The New York Times Bestseller List.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's behavior, we discuss how seeking prestige can be dangerous for writers, specifically in the form of MFA degrees and literary agents. This week's coupon code will get you 50% off the audiobook of Dragonskull: Sword of the Squire, Book #1 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store: SQUIRE50 The coupon code is valid through March 14, 2025. So if you need a new audiobook for spring, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 240 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 20th, 2025, and today we are discussing how to escape the trap of prestige that can sometimes catch writers, specifically in the form of MFA degrees and literary agents. Before we get into greater detail with that, we will start with Coupon of the Week and then an update on my current writing projects and then also a Question of the Week before we get to the main topic.   But first, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Sword of the Squire, Book One of the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. And that coupon code is SQUIRE50. The coupon code is valid through March 14th, 2025. So if you need a new audiobook as we head into spring, we have got you covered.   Now let's have an update on current writing projects. I am 94,000 words into Ghost in the Assembly. I had two 10,000 word days this week, which really moved the needle forward. We'll talk about those a little bit more later. I'm on Chapter 18 of 21, I believe, and if all goes well, I should hopefully finish the rough draft before the end of the month because I would like to get editing on that as soon as possible. For my next book, that will be Shield of Battle and I am 8,000 words into that and I'm hoping that'll come out in April. Ghost in the Assembly will be in March, if all goes well.   In audiobook news, recording for Cloak of Dragonfire (as excellently narrated by Hollis McCarthy) is finished and also recording on Orc-Hoard, the fourth book of the Half-Elven Thief series (as excellently narrated by Leanne Woodward). Both of those should be coming out sometime in March, if all goes well. So that's where I'm at with my current writing projects.   00:01:45 Question of the Week   And now let's move on to Question of the Week. Question of the Week is intended to inspire interesting discussions of enjoyable topics. This week's question, if you have off work or school because of a snow day or extreme cold or other intense weather, what do you do with the day? No wrong answers. We had a number of responses to this.   Surabhi says: Ha, jokes on you! It never snows where I live. We do sometimes bunk school on rainy days, though. What I mostly do then is catching up on homework or listening to the rain.   Justin says: We're having a snow day here; schools and many businesses are closed. So Lord of the Rings Extended Edition movie marathon! Popcorn popped, hot cocoa and cold soda prepped. I have to admit, that seems like a very good idea.   Mary says: Read, write, watch the snow fall, try to exercise inside.   Michael says: That hasn't happened to me since about 1985, but I seem to recall it was on my birthday and boy was I happy to miss school on my birthday! I think I read fantasy books, drank tea, and played video games.   Juana says: curl up with a book and hot chocolate or tea.   John says: Haven't had a snow day since I was a child, but I did either play in the snow or read a book (at that age, Andre Norton, Lester del Rey, or Ben Bova). I'm relocating later this year back to colder climes, but since I now only work remotely and have for the past six years, sadly my days change very little.   Jenny says: Usually shovel snow, make a pot of warm food, more snow removal, watch movies or shows. Bob says: I'm retired now, so probably not much different than any other day, but when I was working, I'd probably be out shoveling snow so I can get to work whenever the roads were clear. Of course, that necessitated more shoveling when the snowplow dumped its load across the end of my driveway and that's why I moved south, where I rarely see snow.   Yes, if you live in a colder climes and you have a driveway, you know that you'll shovel the driveway and then immediately when you're done, these snowplow will come and block up the end of the driveway.   Finally, Dan says: For myself, I enjoy a free day. However, soon the home duties encroach on this free time.   For myself, the answer is clearly that I write 10,000 words on the first snow day and then again on the second day because I just had two days in a row where it was too cold to leave the house. So what I did was stay home and wrote 20,000 words of Ghost in the Assembly.   00:03:54 Main Topic: Escaping the Trap of Prestige, Part I   Now onto our main topic of the week, Escaping the Trap of Prestige, Part I-as it pertains to MFA (Master of Fine Arts) degrees and agents. I'd like to preface this by saying that I'm not looking to knock anyone who has a MFA or who has a literary agent, especially if it's working out for you and you're happy with it. What I'm trying to do here is warn younger writers who are just starting out about the potential consequences of these things, which can be very severe if you choose wrongly. So that is my goal with this episode, to help writers escape the potentially bad consequences of the prestige trap because newer writers in particular want validation. I mean, we all want validation, but writers especially want validation and new writers are very vulnerable to wanting validation to the point where it's been well known for years that there's a large scam industry of various things that take advantage of newer writers looking for validation such as vanity publishers, scammy agents, and a wide variety of other online publishing scams. This isn't to say that MFAs and literary agents are scams, though some literary agents have committed serious crimes (as we'll discuss later), but again, to warn against the danger of wanting prestige too badly and the bad decisions that can lead you to make. And some of this comes from the idea of success in life, especially in the United States and large parts of the Western world, is hitting certain milestones in a specific order. Like you graduate from college, you get a good job, you get married, you buy a house, you have your first kid, and if you don't do these things in the right order, there's something wrong with you and you have made mistakes in life, which isn't necessarily true, but is something that people can fall fall prey to and use to make destructive decisions. In the writing world, some of those measures of success have until fairly recently been getting a Master of Fine Arts degree, finding an agent, getting traditionally published, and hitting the New York Times list. As of this recording, I have sold well over 2 million books without following that normal route to writing success. In fact, I think it's closer to 2.25 million now, and I mention that not to toot my own horn, but to say that there are routes outside of the potentially dangerous prestige paths I'm talking about. And despite that, many aspiring writers feel they must follow that specific route to writer success, otherwise they aren't real writers. They've got to get the MFA, the agent, traditionally published, and then the New York Times list. The quest for prestige can keep writers from succeeding in two ways that are more significant, getting their work in front of readers who want to read it and deriving income from writing. So today in the first part of this two part episode series, we're going to talk about two of those writing markers of prestige, MFAs and literary agents. Why are they no longer as important? What should you devote your energy and focus to instead?   So number one, the Master of Fine Arts trap. The Master of Fine Arts in writing has often been seen as a marker of writing ability, especially in the world of literary fiction. And I think the big problem, one of the big problems with MFA, first of all is cost. Getting a Master of Fine Arts degree is expensive, especially if you are not fortunate enough to receive scholarships or assistantships and so have to rely on student loans. The average cost of an MFA program is in the mid five figures when all is said and done, not even counting living expenses and textbooks and so forth. If you have to take out student loans to pay for that, that is a considerable loan burden, especially if you already have loans from your undergraduate degree.   Even the people who get their MFA paid for (usually in exchange for teaching introductory writing classes to first year university students), the opportunity cost of taking two to three years to get this degree means you're sacrificing other things in your personal and professional life in order to get this MFA. It's a huge outlay of time and energy, especially if you're moving across the country for a residential program. And what are you getting in exchange for this massive outlay of time, money, and effort?   You probably aren't going to learn the practical non-writing skills that you need in the modern writing world like marketing, data collection and analysis, and publication strategies (all of which I do on a fairly regular basis in addition to writing). All of these skills are important for writers now, even if they are traditionally published. The problem with many MFA programs is that they rarely, if ever teach these skills. It seems that what MFAs train their students to do is to become adjunct faculty professors with semester to semester contracts, which can pay around $2,000 to $4,000 USD per writing or literature course at most small to mid-size colleges and universities in the United States. Being an adjunct professor does not confer any benefits like health insurance or retirement funds.   I was talking about this episode with my podcast transcriptionist and she mentioned once she was at a faculty meeting where an adjunct professor in English with an MFA did the math and realized based on her hourly wage (based on all the actual hours she put into a semester), if she worked at the local gas station chain, she would be making $7 per hour more at the local gas chain and she would be only working 40 hours a week. That can be a very dismaying realization, especially after all the work you have put into getting an MFA and teaching. Many defenders of the MFA degree will say that the real value of the degree is learning how to take criticism and learning to edit. But if you're writing in a genre outside of literary fiction, poetry, and memoirs, you are not likely to find a lot of useful advice. To return to my transcriptionist's tales from her time inside academia, she once told me of meeting a faculty member who confessed that he never read a fantasy book and had no idea how to critique or help these students, and he was a writing professor. He meant well, but he's not even remotely an outlier in terms of MFA instructors and their familiarity with mysteries, romance, and science fiction works and fantasy, which is what most genre fiction is nowadays. Also, the quality of advice and help you receive varies wildly based on the quality of your cohort and instructors and their willingness to help others. It's a steep investment with very, very uncertain returns.   So in short, an MFA takes a huge outlay of time and money with very few tangible benefits, especially with genre writers. In all frankness I would say an MFA is the kind of degree you should not go into debt to get and you should only get if you can have it paid for through scholarships or assistantships or so forth. So what should you do, in my opinion, other than an MFA degree? I think you should write as much as possible. You get better by practicing. You should read extensively. You will learn about writing by reading extensively, ideally in more than one genre. If you read enough and write enough, eventually you get to the moment where you read something and think, hey, I could do a better job than this. This is a major boost in confidence for any writer.   It might be a good idea to join a local or online writing group if you'd like critique from other writers. A warning that writing groups can vary wildly in quality and some of them have a bad case of crab bucket syndrome, so you may have to try more than one group to find one that works for you.   Another thing to do would be to listen to advice from successful writers. I saw a brief video from an author who recently pointed out that many people online giving writing advice aren't current or successful writers. One of the downsides of the Internet is that anyone can brand themselves an expert, whip together a course, and sell it online for a ridiculous fee. And people like this, their successes in creating methods or courses that turn writing into something more complicated to make aspiring writers reliant upon that process. Aspiring writers may end up spinning their wheels following all of these steps instead of getting to the actual work of churning out drafts. They may be spending money they can't afford in order to learn ineffective or even damaging strategies.   Many successful writers offer sensible advice for free, such as Brandon Sanderson posting his writing lectures for free on his YouTube channel. If you're looking for writing advice, you could do a lot worse than watching those lectures. And if you're going to take advice from anyone you read on the internet, it's probably better to take advice from successful writers who have demonstrated that they know what they are doing.   And finally, this may be more general advice, but it's a good idea to be open to learning and observing new experiences. It's probably a good idea to go to museums and cultural events, read about the latest developments in science and history, go on a hike in a new place, and observe the world around you. New writers often ask where writers get their ideas come from, and they very often come from just serendipitous things you can observe in the world around you. And that is also a good way to get out of your own head. If you're worried too much about writing, it's probably time to go for a long walk.   So why are agents potentially dangerous to writers? For a long time (for a couple decades, in fact), from I'd say from maybe the ‘80s and the ‘90s to the rise of the Kindle in the 2010s, the only realistic way to get published for most writers in terms of fiction was to get a literary agent. Publishers did not take unsolicited submissions (most of them did not), and you had to go through an agent to send your manuscript to a publisher. The agents were very selective for a variety of reasons. Because of that, a lot of newer writers still idealize the process of getting agents. You'll see this on Twitter and other social media platforms where new writers will talk constantly about getting agents and what they have to do. And the ones who do get a request from an agent to send in the full manuscript after sending a few query chapters are just besides themselves with joy. And those who do get agents can sometimes sound like they're showing off their new boyfriend or girlfriend, like my agent says they like my book, or my agent says this or that. And as you can probably imagine from my description, this is an arrangement that has a lot of potential danger for the writer.   The traditional first step in this time period I was mentioning after finishing a book has been to get as prestigious of an agent as possible to contact publishers and negotiate deals on their behalf. The agent takes 10 to 20% of what a publisher pays a writer, but in theory can get a writer a better deal and are acting in their best business interests. And as I mentioned before, most significantly, most publishers are not willing to read submissions that are not submitted by an agent. If getting traditionally published is the goal, an agent is the crucial first step. I mean, that's the ideal that we've been talking about. In reality, traditional publishing is as cautious and risk averse as it has ever been. Agents have followed suit. It takes industry connections and/or a significant social media presence to even get an agent to look at your book.   Writing query letters and trying to get an agent also takes away from writing and is a completely separate skillset, as is the networking and social media work that is part of this process. Some people have spent months or even years working on query letters and getting an agent when they could have finished another book or more in the same time. Alright, so that is the practical and logistical reasons it's a bad idea for a writer to seek out an agent, and I frankly think you'd be better off. And now we get to the potentially criminal ones.   The thing about literary agents is there's no licensing or requirement or anything of that nature. You can set up a website and call yourself a literary agent. If you consider something like a lawyer, by contrast, I'm sure those of you who are lawyers in the United States will have many complaints and stories about your state bar, which is in charge of licensing lawyers. But the point is that the state bar exists, and if a lawyer is behaving in an unethical or unscrupulous matter, that can be brought as complaint to the state bar. Nothing like that exists for literary agents at all. And because of that, scammy agents are everywhere. Some try to get writers to pay a fee upfront or other made up fees, or they get cuts from scammy book publishers or book packaging services. Or in general, they just try to squeeze every penny possible from aspiring writers. And this is often sadly very easy to do because as we've mentioned, many newer writers still think getting an agent is a major mark of prestige and humans crave prestige. And even if you get a prestigious and seemingly legitimate agent, that can potentially lead to life ruining problems because many of the legitimate agents are very sticky fingered.   Several years ago, the firm of Donadio and Olson, which represented Fight Club author Chuck Palahniuk, Godfather author Mario Puzo, and Catch 22 author Joseph Heller found out that one of their accountants had been stealing millions from their authors for many years. Although the accountant was sentenced to two years of prison, it's unlikely those authors will receive the money back fully. As Palahniuk put it in a blog post, “the legal process will be long and offers an iffy reward.” Mr. Palahniuk also lost out on money from touring to promote his books because of this crisis and said he was unable to support himself financially as a result of these stolen royalties.   By not filtering your royalties and earning statements through a literary agency that can falsify reports about these documents (as the accountant in question did), you have a full sense of what you are earning and what amounts you should be receiving. Amazon is open to many criticisms because of its decisions, but they pay monthly and they send a very detailed spreadsheet monthly to any Kindle authors of what books sold and what they expect to earn. It's sometimes almost too much data to process. The traditional publishing world would never even consider showing that to writers and agents often keep that from their writers. Palahniuk trusted his agency and accepted the explanations that rampant piracy and financial difficulties in the publishing world were keeping over a million dollars in royalties from him. He even later found out that this accountant was keeping non-financial correspondence from him. Returning to the topic of Brandon Sanderson, I recently saw an interview between him and a podcaster Tim Ferris. He made the interesting point that the power centers in publishing have shifted from traditional publishing agents to the platform holders and the writers, the platform holders being people like Amazon, Apple, and Google who have the platforms that sell the books and the writers who bring the books to those platforms. The power is shifted away from agents and publishers to the platforms and writers. And because of that, in my frank opinion, literary agents are obsolete for those wishing to publish independently.   And my frank opinion is also that you should be independently publishing and not trying to get an agent or go with a traditional publisher. There's no reason to give someone 15% when you can upload the files to a service like KDP yourself. An agent will not be able to get you a better royalty from KDP. Amazon does not negotiate royalty rates at the agent level, and you have to be a writer on the scale of J.K. Rowling or maybe Dean Koontz to get any kind of special deal from Amazon.   So what should you do instead of seeking out an agent? Publish independently or self-publish. Be wary of excuses and explanations that prey upon emotional responses or a sense of loyalty to individuals, such as the case of Chuck Palahniuk, where they preyed on his fears of piracy and the instability of the publishing industry, as well as sympathy for someone who claimed to be taking care of a family member with a terminal disease. That was one of the excuses they used for why the records weren't right. Ask for facts and verify everything regularly. Publishers and agents are not your friends and not your family, and do not accept that approach in your business relationship with them. Learn how to read and interpret any financial statements you receive. Don't trust a third party to do this for you, or if you must do that, make sure they're being audited regularly by a third party, not from just someone else at their firm.   So the conclusion is that in my opinion, the prestige of getting an MFA and an agent are currently not worth the trade-off and there are considerable risks that you take if your main goals are to build a following and sell books. Prestige is not going to put food on the table. And in fact, if you have five figures of student loan debt from an MFA, it may be keeping you from putting food on the table. So if you want to be a writer, I think both seeking out an MFA and seeking out an agent would be a waste of your time and possibly counterproductive.   Next week in Part Two, we'll discuss two more prestige traps in writing: getting traditionally published and hitting the New York Times Bestseller List.   That is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, I discuss eating frozen pizza after a decade-long hiatus, and rate my favorite brands and styles of frozen pizza. 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to episode 239 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 14th, 2025 and today we are rating the different brands of frozen pizza I tried over the last several months. I know that is an odd topic for a writing podcast, but it's my podcast and I like frozen pizza, so we're going to talk about frozen pizza this week. Before we do that, we will have Coupon of the Week and an update on my current writing projects.   So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the eBooks in the Dragonskull series at my Payhip store. That is all nine ebooks and this coupon code will get you 25% off any of them. That is DRAGONBOOK25. We'll have the links and the coupon code in the show notes. Someone pointed out that I've only been giving away coupon codes for audiobooks instead of ebooks, which is a fair argument, so that's why we're doing this. The coupon code will be valid through March 7th, 2025. So if you need a new series to read for spring, we have got you covered.   Now an update on my current writing projects. As of this recording, I am 67,000 words into Ghost in the Assembly, which puts me on Chapter 13 of 21. I think this book will be in the Hundred Thousand Words Club, maybe a little less, maybe a little more, we'll see. I'm still hoping to have it out in March, if all goes well. My secondary project right now is Shield of Battle, the fifth of six books in The Shield War series, and I'm 5,000 words into that. Once Ghost in the Assembly is complete, it will be full speed ahead on Shield of Battle. In audiobook news, recording for Orc-Hoard (as excellently narrated by Leanne Woodward) and recording for Cloak of Dragonfire (as excellently narrated by Hollis McCarthy) are both done and those should be showing up on audiobook stores soon. They haven't quite gotten through processing yet, but it is close.   In regards to Cloak Mage and Half-Elven Thief, I am planning to work on those in the second half of 2025 once Ghost Armor and The Shield War are done, since there are only two books left in Shield War and I'm just about through the fourth book of six for the Ghost Armor series, that won't be too much longer. So that's where I'm at with my current writing projects and let's move on now to Question of the Week.   00:02:22 Question of the Week   Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what is your favorite kind of frozen pizza? No wrong answers, obviously. The inspiration for this question is that it's the topic of the episode, so here are the answers we got from people.   Justin says: We do the Walmart Great Value rising crust frozen pizzas at my house. I add eight ounces of shredded cheese and sprinkle Italian herb mix on top.   I've found that's a good idea myself. If you buy some of the cheaper frozen pizzas, you can add extra pepperoni, oregano, or whatever you want to it and that will enhance the flavor.   John says: Trader Joe's. They have an Italian-made margherita that's quite good.   Scott says: Red Baron Classic Crust, either Supreme or Four Meats.   MW says: The one they sell in my country, brand name Dr. Oetker Ristorante with salami, mozzarella cheese, and green pesto. I often top it up with some goat's cheese. Doug says: Digiorno's Supreme.   Juana says: Half pepperoni, half Canadian Bacon.   Brooks says: Depends on the mood. We typically don't eat frozen pizza. If we do, it's usually Digiorno's, although when I'm craving something junk food-ish and pizza at the same time, I will totally go for Totino's. Plus the story behind that brand and how it revolutionized the frozen pizza business in general is amazing.   Brandy says: I don't have a full size oven at the moment, so Totino's is my favorite because I like cheese pizza and it fits in my toaster oven. Otherwise, I make my own.   Gary says: Generally a smaller local brand-they seem to be a little fresher with higher quality ingredients than larger brands.   Parker says: Totino's, hands down-my favorite junk food.   JT says: I either eat 7-Eleven pizzas or eat Totino's. Otherwise, my pizzas are almost as fresh as the day Adam and Eve were introduced to the concept in Eden. For myself, my answer will be the main topic of this episode, which we're going to get to right now.   00:04:15 Main Topic: Winter 2024/2025 Frozen Pizza Roundup   I used to joke that if I lived long enough and could afford to retire, I wanted to start a YouTube channel that consisted entirely of different reviews of frozen pizza. The idea came from the sitcom Community. I always enjoyed the show since it's about a community college. I used to work in higher ed, so I could definitely relate to most of the jokes. One of the recurring gags is an elderly student named Leonard (who was played by the late actor Richard Erdman) has a YouTube channel where he reviews potato chips, frozen pizza, and other snack foods. Anyway, one member of my family gets quite ill if any gluten is consumed. So for about the last decade, I've been buying and eating gluten-free frozen pizzas, which are very nearly almost as good as the real thing these days. However, I eventually realized I could just buy myself a frozen pizza made with delicious, delicious gluten and get several lunches out of it over the course of the week. So that is what I did. Since I haven't had normal frozen pizza on a regular basis for nearly a decade, I decided to try a new brand every week. So here is the Winter 2024/2025 Frozen Pizza Roundup. Unlike my movie reviews, the pizza reviews will be in chronological order based on when I ate them. Grades are totally subjective and based on my own opinions and nothing else. I'll also be rating the pizza by eating it hot and eating it cold, since cold pizza is a different experience than hot pizza. Cold pizza for lunch the next day is something to look forward to, especially during a busy day.   I should also mention that I bought each pizza myself. No one sent me any free stuff, so while my opinion is subjective, it is nonetheless unbiased. Additionally, I exactly follow the preparation directions for each pizza since I wanted to avoid the phenomenon you sometimes see on recipe blogs where a commenter will complain that a recipe didn't work and then will later admit that they took out the butter, cut the sugar in half, replaced the flour with cornstarch, and substituted canola oil for frosting.   In terms of the health of eating this much pizza, I should point out I lost about five pounds during the time period here. Pizza, like most things, is perfectly fine when consumed in moderation. Eating an entire frozen pizza in one sitting is bad. I could do that when I was 20 years old and working as a truck unloader. Doing that when I'm a middle-aged man who spends most of his time sitting down and typing is a much worse idea. Besides, getting three meals out of a pizza is better and definitely more economical and I'm at the age where if I can lose a pound a month and keep it off, I'm doing well. With that rather lengthy introduction out of the way, on to the pizzas.   First up is the Pothole Pizza Meat Sweats, which I ate on November 15th, 2024. Kwik Trip is a large brand of gas stations and convenience stores in the Upper American Midwest. They're known for having a wide variety of foods. Pothole Pizza is the store brand of frozen pizza, so for my first week of trying a non-GF pizza, I got one of those specifically the Meat Sweats variant with a lot of meat, specifically a whole bunch of pepperoni, sausage, ham, and bacon. It was really quite good.   The crust was on the thicker side without being dough or bready. The sauce had a pleasant garlic flavor to it. The cheese was good and the pepperoni and sausage were ample. The sausage also had a pleasant spiciness to it as well. The abundance of cheese means that it is a little greasy but not unduly so. When cold, it is also good. You can't really taste the sauce, but the cheese sets well and the sausage tastes just as good cold as it does hot.   Overall grade: A+   Next up is the Cheese Mountain Four Meat pizza, which I had on November 22nd, 2024. Cheese Mountain is Kwik Trip's take and bake pizza, which isn't frozen (technically). The advantage of take and bake is that it's easier to cook since it hasn't been frozen, though you really should cook it on the same day that you buy it.   Overall, I like this about the same as Pothole Pizza. The sauce on Pothole Pizza is better, while the crust on Cheese Mountain is superior. I do think the cheese on the Pothole is slightly better as well, which is ironic given that this pizza is named Cheese Mountain, but the cheese is still good. When cold, I don't think it's quite as good as the Pothole Pizza. Both the sausage and pepperoni aren't as spicy as the toppings on the Pothole version. This was still good, but I still prefer the Pothole.   Overall grade: A-   Next up is Heggie's pepperoni pizza, which I ate on December 6th, 2024. Heggie's is a pizza company based out of Minnesota that distributes to the Upper Midwest and the Dakotas. I admit I don't go to bars all that often, but I've been told that Heggie's is the official bar pizza of much of that region, so I decided to try that next.   Having never tried it before, I came in with no expectations and was therefore quite pleasantly surprised by how good it was. It's a thin crust pizza, though a bit on the thicker side, which gives the crust some satisfying heft. The sauce had an excellent tang. The pepperoni was good and the cheese flavorful. When cold, it is likewise excellent. The spiciness of the pepperoni overcomes the more subdued taste a pizza often has while cold. Honestly, this is a superb example of a pepperoni pizza.   Overall Grade: A   Next up is Lottza Motzza Four Meat pizza, which I tried on December 13th, 2024. This was made by Brew Pub Pizza, which is itself owned by Bernatello's, a Wisconsin based frozen pizza manufacturer and distributor. I quite like this one as well. The crust is thin and just a bit flaky, which is nice. The cheese was excellent and as the name indicates, there was indeed a lot of mozzarella cheese. When eaten cold, it is also a good meal.  The large quantity of cheese helps, the crust remains flaky, and the spiciness of the sausage is highlighted when it is cold.   Overall Grade: A   Next up is Legit Three Meat Pizza, which I ate on December 20th, 2024. Legit Three Meat Pizza is made by Pep's Pizza Company, which is based out of Green Bay in Wisconsin. I admit I didn't like this quite as much as the other ones on the list. The meat was good, but the cheese and sausage weren't quite as strong as the other examples on the list so far. I don't think it had quite enough sauce, which is actually amusing because I accidentally dripped a bunch of sauce in my shirt while I was eating it (which might be why I thought it didn't have enough sauce, because some of the sauce ended up on my shirt). Eaten cold, I actually think it tastes better cold than it does hot. However, this is one of the few pizzas on this list where I would recommend you add some oregano, frozen pizza spice, or garlic salt (depending on your preferences) because it's not quite as flavorful as others on this list.   Overall Grade: B   Next up is the Screamin' Sicilian pepperoni pizza, which I tried on January 3rd, 2025. Screamin' Sicilian pepperoni is produced by the Palermo's Pizza Company, which is based in Wisconsin.   I realized when I was writing this that a lot of pizza companies are based in Wisconsin, so I did some research. The reason is quite logical. Wisconsin is one of the leading producers of cheese in the United States, and so the pizza companies want to be closer to the supply, so to speak. Wisconsin is also generally considered to be more small business friendly than the neighboring states of Minnesota and Illinois. Having visited both Minneapolis and Chicago, I can hazard a guess that the only thing harder than running a small business in Minneapolis would be running one in Chicago.   Anyway, back to the pizza. I quite like this one. It has abundant cheese and a very generous layer of pepperoni. There's enough pepperoni that the top layer of it becomes quite crispy. Crispy pepperoni is delicious. Additionally, the cheese is very good. I'd say the biggest weakness in the pizza is the crust, which is somewhat bland and a bit on the bready side. Eaten cold, it remains a good experience. The cheese sets well and the pepperoni retains the taste. As I said before, the crust remains the only weakness.   Overall Grade: A-   Next up is Pothole Pizza Pep Rally, which I ate on January 10th, 2025. This is another pizza from Kwik Trip's Pothole brand, specifically an all pepperoni pizza, and frankly it was just superb. It has the same high quality crust, tasty sauce, and excellent cheese as the Meat Sweats version above. The pizza also has a generous layer of pepperoni, enough that crisps a bit in the oven. The combined flavor is just excellent.   Eaten cold, it tastes just as good. The cheese, the pepperoni, and the sauce (especially the sauce) retain their flavor. I think a strong sauce is key to having pizza taste good while cold. The only thing I can say that's negative about this pizza is that I think it would taste better with sausage, which is why they have the Meat Sweats pizza.   Overall Grade: A   Next up is Pep's Drafthouse Double Pepperoni Doppelboch Pizza, which I ate on January 17th, 2025. This is another pizza from Pep's Pizza Company, also did the Legit Three Meat pizza from several weeks ago. I like this one quite a lot better than the Legit Three Meat pizza.   The crust was a bit thicker but much more flavorful. The pepperoni and the sauce both tasted good. The pizza had a mixture of mozzarella and provolone cheese, which I wasn't sure would work, but it really did. It gave the cheese a somewhat sharper flavor than the straight mozzarella that combined well with the pepperoni. Eaten cold, it isn't quite as good as hot, but granted that's true of many things. The sauce is definitely better when hot, though the cheese and pepperoni still carry the day.   Overall Grade: A-   Next up is Seventh Avenue Pepperoni and Meatball Pizza, which I ate on January 24th, 2025. Seventh Avenue is a regional frozen pizza in the Upper Midwest, specifically based out of Minneapolis. I have to admit, that makes me root for them a bit since as I mentioned above, running a small business in Minneapolis is a bit like playing the small business game on hard mode. Anyway, the pizza is quite good when it's hot. The cheese is on the higher end and the sausage is excellent. The crust isn't quite as good as the other ones on the list, but overall, the pizza is quite tasty. Eaten cold, I actually liked it a bit better. The sauce sets well and the cheese and toppings have strong flavor. I can tell that the cheese was very high quality because I needed to take three lactase pills before I ate it.   Overall Grade: A-   Next up is Tombstone pepperoni and sausage, which I ate on January 31st, 2025. I wanted to close out this review tour by trying some of the larger corporate pizzas, since all the pizzas I tried for this on the list came from relatively smaller, US-based companies. Tombstone was originally one of the oldest frozen pizza companies in the US, founded by Pep and Ron Simek in the ‘60s. Pep Pizza's company (mentioned above) is an effort to carry on that legacy. Tombstone is now owned by a very large multinational corporation that has something of a questionable reputation in certain areas (they're litigious, so you can Google them if you're curious). They're the kind of company whose “Controversies” Wikipedia article is as long as the actual article on the company itself. So honestly, I wasn't sure what to expect. The multinational company in question bought Tombstone way back in 2010, and I haven't had a Tombstone pizza since a couple of years before that. In all honesty, it wasn't bad. Eaten hot, the crust is crisp and a little bit on the thicker side and the sausage is good. I like the sauce as well. The cheese isn't as good as the others on this list, but it's by no means bad. Eaten cold, it's adequate, but as I said, not as good as most of the others on this list.   But in all fairness, the biggest advantage of Tombstone is price. If I remember right, it's at least $2 cheaper than the next cheapest pizza I tried on the list. The downside of buying pizzas from smaller companies is that they tend to be proportionally more expensive. Given how bad the economy remains, this is an important fact, which in all fairness is one of the advantages of a larger company like the multinational food company we've been talking about- it is possible to drive down the cost and deliver a product that might not be as good as some of the others on this list but it is still good enough at a lower price.   Overall Grade: B+   The next large corporate pizza I tried, and the last one we'll mention in this episode, is the Digiorno's Classic Crust pepperoni pizza, which I tried on February 10th, 2025. Digiorno's, like Tombstone, is part of the same food conglomerate I mentioned for the Tombstone pepperoni and sausage pizza, which makes sense because honestly, this tasted almost exactly the same as the Tombstone pizza. I thought that pepperoni was slightly better, but overall, it tasted very nearly the same.   Eaten cold, I don't think it was quite as good. The crust definitely got a bit soggier than the others on the list. I think Digiorno's is mostly known for their thick crust pizza, so I might try one of those instead and see what the difference is. But again, this had the significant advantage of being cheaper than many of the other options I tried. Granted, I still like the Tombstone pizza better, but this wasn't a bad pizza, either.   Overall Grade: B   So now we come to the conclusion. Overall, the Pothole Pizza Meat Sweats, Heggie's pepperoni pizza, and the Lotzza Motzza Four Meat Pizza were my favorites. For the more budget conscious diner, I think the Tombstone Pizza offers the best value for price out of everything on this list. Given that I didn't give anything on this list a lower grade than a B, you might conclude that I like frozen pizza, and you would be right. I very much enjoy frozen pizza, and I very much enjoy having come back to gluten based pizza after a decade, after finally deciding that, you know what? When I have pizza, I'm going to buy a glutenous pizza and a non-gluten pizza for the family member who has trouble with gluten. Still, frozen pizza in general is really a miracle of technological achievement, isn't it? Making pizza from scratch is a lot of work, but you can go to the store, buy an entire pizza for under $10, and cook and eat it with minimal prep time. That would've been an unfathomable wonder for the vast majority of human history, and I think that is to be admired. So to celebrate this achievement, I think I'm going to eat some cold pizza now.   So that's it for this week. Thanks for listening to The Pulp Writer Show. I promise that next week I will go back to talking about writing topics instead of movies or frozen pizza. I hope you found the show enjoyable. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, I take a look at the movies and streaming shows I watched in winter 2024/2025, and share my opinions on them. I also take a look at my ebook advertising results from January 2025. This week's coupon code will get you 50% off the audiobook of Half-Orc Paladin, Book #3 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store: PALADIN50 The coupon code is valid through February 28, 2025. So if you need a new audiobook for the bad February weather, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 238 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 7, 2025 and today we are discussing the movies and streaming shows I watched in Winter 2024 and 2025. Before that, we will do Coupon of the Week, an update on my current writing projects, Question of the Week, and my ad results from January 2025.   First, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Half-Orc Paladin, Book Three in the Half-Elven Thief Series (as excellently narrated by Leanne Woodward) at my Payhip store. That coupon code is PALADIN50. This coupon code will be valid through February the 28th, 2025, so if you need a new audiobook to get you through the bad February weather, we have got you covered.   Now for an update on my current writing and audiobook projects. As I mentioned last week, Shield of Deception is now out and you can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords and my Payhip store. It is doing quite well. Thank you all for that. I hope you enjoy the book and I've been hearing good things about it from people who read it.   Now that Shield of Deception is done, my main project is now Ghost in the Assembly and I am 36,000 words into it as of this recording, which puts me almost on Chapter 8 of 21. So I'm about one third of the way through the rough draft, give or take. If all goes well. I'm hoping that book will be out in March. My secondary project is Shield of Battle, which is the sequel to Shield of Deception and I am about 2,000 words into that. I'm also 50,000 words into what will be the third and final Stealth and Spells book, Stealth and Spells Online: Final Quest. It was originally named Reactant, but I decided to change the name to Final Quest because that sounds better and if all goes well, that will probably be out in the middle of the year, give or take.   In audiobook news, Cloak of Masks (as excellently narrated by Hollis McCarthy) is now out at all audio stores, including Audible, so you can listen to that there. Work is almost done on Cloak of Dragonfire. It's being proof-listened to as I record this and hopefully that should be out before too much longer. So that is where I'm at with my current writing and audiobook projects.   00:02:19 Question of the Week   Next up is Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's topic, which ties into our main topic: what was the favorite movie you saw in 2024? No wrong answers, obviously (including “I hate everything I saw in 2024”). We have a few responses for this.   JD says: It was either Transformers One or Deadpool and Wolverine.   Mary says: I didn't see any movies in 2024.   Doug says: Dune was one of the books I read in the ‘70s. Like your books, I never got enough back then. I was buying Hardcovers. I still have six of them. I have seen the two versions of the books. Can't wait to see this version of the books. I have seen the first movies. Hope to see more.   David says: Godzilla versus Kong was pretty much the only one from last year I saw. I just bought Gladiator 2 but haven't watched it yet.   Davette says: I enjoyed both Dune 2 and The Fall Guy and Inside Out 2 and Deadpool and Wolverine. My favorite was Wicked, mainly because I've been waiting on that movie for years.   Bonnie says: I haven't seen any movies or watched TV in years.   For myself, I think it would be a tie for my favorite movie of 2024 for between Dune 2 and The Fall Guy. The two Dune movies, for all the stuff they changed from the book, are probably the most faithful adaptation it was possible to make with that very dense and very weird book. I thought The Fall Guy was just hilarious and I had no idea it was based on TV series from the ‘80s until I read up about it on the Internet after I saw the movie. It was interesting that we didn't have very many responses to this question the week and of those responses, one third of them was “I didn't see any movies in 2024.” So if the movie industry is wondering why it's in so much trouble, I think we might have just found the answer here in that nobody wants to go to see movies in the theater anymore.   00:04:09 Ad Results for January 2025 Now onto our next topic, how my ads performed in January 2025. Now as usual for my books in January, I used Facebook ads, Amazon ads, and BookBub ads, so let's break them down by category- first, by Facebook ads. As usual, I advertised The Ghosts and Cloak Games/Cloak Mage.   GHOSTS: $4.08 for every dollar, with 22% of the profit coming from the audiobooks.   CLOAK GAMES/MAGE: $3.38 for every dollar, with 6% of the profit coming from the audiobooks. So that went pretty well. I'm hoping that percentage will go up once Cloak of Dragonfire is done and we can put together Cloak Mage Omnibus Three.   I also did some Amazon ads – specifically for HALF-ELVEN THIEF, STEALTH & SPELLS ONLINE: CREATION, and THE LINUX COMMAND LINE BEGINNERS GUIDE.   Remember, for an Amazon ad to be effective, it usually needs to be generating at least one sale for every eight clicks on the ads.   HALF-ELVEN THIEF: $4.65 for every dollar spent, 1.85 sales for every click. It's just an amazing ratio-thank you for that.   STEALTH & SPELLS ONLINE: CREATION: Lost $0.15 for every dollar spent, 1 sale for every 4.76 clicks.   THE LINUX COMMAND LINE BEGINNER'S GUIDE: $3.16 for every dollar spent, 33% of the profit from audio, 1.34 sales for every click.   The standout was HALF-ELVEN THIEF, which actually had more sales than clicks on the ads. That hardly ever happens!   You can see there's a reason I'm going to conclude STEALTH & SPELLS with the third book, because it just doesn't sell well. All of the advertising experiments I have tried to make it sell well have not responded to date. That said, we did improve from December, where I only got a sale for every 14 clicks.   Additionally, Amazon ads work really well with nonfiction books, since they respond a lot better to keyword ads.   Finally, I used Bookbub ads for THE GHOSTS on Apple. That went pretty well.   THE GHOSTS: $4 for every $1 spent.   So, all in all, a pretty good month for ads, though STEALTH & SPELLS remains the weak point. As always everyone, thank you for buying the books and listening to the audiobooks.   00:06:50 Main Topic: Movie/TV Show Reviews of Winter 2024/Early Winter 2025 Now onto our main topic, the movies and streaming shows I watched in Winter 2024 and early winter 2025. As always, my ratings are totally subjective and based on nothing more concrete than my own opinions.   Our first one is Red One, which came out in 2024. This was a strange mashup of genres, a holiday movie, urban fantasy, a thriller, and just a little bit of existential horror. Dwayne “The Rock” Johnson plays Callum Drift, who is the head of Santa Claus's security. Meanwhile, Chris Evans plays an unscrupulous hacker and thief named Jack O'Malley. Jack unwittingly helps unknown malefactors kidnap Santa Claus and so Callum and Jack have to team up to rescue Santa from his kidnappers. This sounds like a lighthearted holiday movie, but it really isn't. The movie is rather dour and takes itself very seriously. Callum acts like he's in a Jason Bourne movie and deals with various supernatural creatures like a special forces operator assessing targets. Additionally, there are some urban fantasy elements with the vast government agency dedicated to hiding the supernatural world from normal people. I don't think the dissonance really worked at all. It had pieces of a light holiday movie and pieces of a thriller and they really didn't mesh. It's not hard to see why this one didn't do well in the theaters, on top of its enormous budget. Overall Grade: D (In the spirit of Christmas generosity)   Next up is Argylle, which came out in 2024. This was a dumb movie, but I enjoyed it, kind of like Murder Mystery with Adam Sandler and Jennifer Aniston on Netflix. I mean that wasn't exactly Shakespeare or Milton, but I would be lying if I said I didn't enjoy myself while watching it. Same thing applies to Argylle. The plot is that the protagonist Ellie Conway is a bestselling spy novelist. Ellie is a bit of an eccentric personality and travels everywhere with her cat in a backpack that has a window in it so the cat can see what's going on. However, it turns out that Ellie's novels are accurately predicting events in real life espionage, so several sinister spy agencies are hunting her down to learn her secret. A spy named Aidan saves Ellie, claiming that he's the only one she can trust. Of course, this is the kind of movie that has a shocking betrayal and plot twist every eight minutes or so, and the revelation of the central twist made me face palm a bit. There is a fight scene at the end involving colored smoke that's absolutely bonkers. It was on Apple Plus or Apple TV or whatever it's called, but that means all the characters did all their computing on shiny new Apple devices, which is always amusing. Overall Grade: D+ (but barely)   Next up is Venom: The Last Dance, which came out in 2024. It wasn't as good as the first two since so many of the characters did not return, but it brought the Venom Trilogy to a mostly satisfying conclusion. Eddie Brock and Venom are on the run after the events of Venom: Let There Be Carnage. Unbeknownst to either of them, the US government has a secret facility holding captured symbiant aliens and the agency that runs the facility is hunting for them. Unbeknownst to the US government, the creator of the symbiotes, an evil entity named Knull is preparing to escape his prison and to do that, he needs Eddie/Venom delivered to him alive, so he dispatches his creatures to Earth hunt down Eddie and Venom, with disastrous results. The best part of the movie was the comedic duo of Eddie and Venom since the movie takes the absurdity of their situation and leans into it. Overall Grade: B- Next up is the Lord of the Rings: The War of the Rohirrim, which came out in 2024. I read an interview with Brandon Sanderson where he said that a big part of the problem with movie adaptations of books is that the filmmakers often want to tell their own story, not the books'. So they basically used the book as a framework for telling their own story, which inevitably annoys the readers of the book. I suspect that was what happened with The War of the Rohirrim. This movie was a mixture of strong points and weaknesses. Apparently it only exists because New Line needed to put out something or they'd lose film rights to Tolkien's stuff, and so The War of the Rohirrim was fast-tracked.   The strong points: the animation looked pretty, the battle scenes were fun to watch, the voice performances were good, and the music was also good.   The weak points: it felt too long and slow-paced. I think a good half-hour could have been cut of the characters looking pensive and thoughtful (and saved the animators a lot of work in the process). Additionally, I don't think the changes to the plot quite worked. It's based out of the Appendices of The Lord of the Rings, specifically the history of Rohan. In the book, the plot is touched off when the corrupt Lord Freca demands that King Helm's daughter Hera marry Freca's son Wulf. Helm takes exception to this and ends up killing Freca. His son Wulf swears vengeance, gathers an army from Rohan's enemies, and sets out to seize the crown for himself. In the book, Helm's sons are killed, and Helm himself dies in the defense of the Hornburg (which later becomes known as Helm's Deep), but his nephew Frealof gathers an army, kills Wulf, and becomes the new king of Rohan.   That would have been perfectly good for the plot, but as we mentioned above, I think the screenwriters decided they wanted to write about a Strong Female Character, so they massively expanded Hera's part and made her the protagonist. The problem with this as an adaptation is that Hera is only mentioned once in the book, so the script has to make up a lot of extra stuff to justify Hera's presence, which always weakens an adaptation of a book. This version of Hera would have been in danger of becoming a stereotypical #girlboss character, but she acts more like a Japanese anime protagonist, which does work better in this sort of movie than an Americanized Strong Female Character.   So, in the end, not a bad movie, but I think it would have worked better if they had stuck closer to the original plot in the book. Overall Grade: B-   Next up is Golden Era, which came out in 2022. This is a documentary about the making of the classic Nintendo 64 game Goldeneye and the company behind it. Until I watched this, I never knew that Rare, the company that made Goldeneye, was based in the UK.   I admit I really didn't play Goldeneye back in the ‘90s and early ‘00s. I did a few times at various social events, but I never really got into it since I didn't own a game console from 1998 to 2019. Nonetheless, Goldeneye was a very influential game that left its mark on all first-person shooter games since. The documentary interviews most of the people who were involved in the making of Goldeneye, and it was fascinating to see how they more or less accidentally created a genre-defining game.   If you enjoyed Goldeneye or are interested in video game history at all, the documentary is worth watching. After many years of official unavailability, Goldeneye is now available on Nintendo Switch and Xbox, so I may have to give it a try. Overall grade: B     Next up is Wonka, which came out in 2023. I didn't really intend to watch this, but it was on in the background while I was playing Starfield…and Starfield has a lot of loading screens. This movie wasn't made for me, not even remotely, but I thought it was a competently executed example of a movie musical.   Anyway, the plot revolves around a young Willy Wonka coming to a city that seems like a weird hybrid between Paris and New York. Wonka sets out to start selling his innovative chocolates, but soon runs into stiff opposition from the corrupt local candy industry, the corrupt local police chief, and his equally corrupt landlady, who has somehow transitioned from hospitality to luring people into debt slavery. Wonka makes allies from his fellow indentured workers, and soon he is conducting local chocolate manufacturing like a heist.   Like I said, this really wasn't made for me, and I'm sure people who actually like musicals would have many more detailed opinions. But this had some genuinely funny bits. Hugh Grant as an Oompa Loompa was hilarious, and so was Rowan Atkinson as a corrupt bishop. The best line: “Judgment has come…in a most unexpected form!” Overall grade: B     Next up is Man on the Inside, which came out in 2024, and this is a Netflix comedy series from Mike Schur, who created Parks and Recreation, The Good Place and Brooklyn 99. To describe this show, think of a meditation about accepting the inevitability of aging and death through Schur's comedic style, and you'll be there.   Anyway, Ted Danson stars as a recently widowed retired professor of engineering named Charles. His daughter is worried that he's not handling things well and becoming too isolated, so suggests that he find a hobby. Charles answers a classified ad for an “older man who can use technology” and finds himself recruited by a private investigator named Julie. Julie's company has been hired to find a thief within a retirement home, and Julie is about 35 years too young to convincingly infiltrate a retirement home. Hence, Charles pretends to be a new resident, and finds himself befriending the residents he is supposed to investigate. All the while, he tries to deal with the remaining grief from his wife's death, which he never got around to processing in the moment.   In my opinion, The Good Place and Brooklyn 99 both kind of fell apart in their final seasons, but Man on the Inside avoids that in its final episodes, providing good resolution to both the conflict and the emotional stakes. I thought it was both bittersweet and quite funny, and I approve that there's going to be a 2nd season. Overall grade: B   Next up is Minted, which came out in 2023, and this was an interesting documentary about the rise in the fall of the NFT, which in the early 2020s we were assured was going to be the next big thing, but it just turned out to be yet another scam.   The documentary follows an interesting course, first explaining what an NFT is, and then interviewing artists who made life-changing money from minting their early NFTS. But then the speculators arrived, and followed swiftly by the scammers. As of 2025, of course, NFTs are quite worthless, like so many much-vaunted Web 3.0 style technologies.   I think the documentary's biggest weakness was assuming that NFT technology was around to stay and would find a use that would help artists. I agree that it's around to stay, but I don't think it adds value to anything at all. Nevertheless, an interesting look into the NFT fad and the impact it had on artists. Overall grade: B     Next up is Gladiator 2, which came out in 2024. This is basically the same movie as the original Gladiator, just reshuffled a bit and with twenty years of improved technology. The main character Hanno is a soldier in an African city that rebels against Rome. After the rebellion is inevitably crushed, he is taken as a slave and ends up as a gladiator in Rome, determined to take his vengeance on the Roman general who ordered the death of his wife. However, the general was only carrying out the orders of the insane twin emperors Geta and Caracalla. For that matter, Hanno's owner, the charming and affable Macrinus, has his own agenda. As Hanno seeks revenge, he finds himself drawn into the deadly game of imperial politics and must confront the secrets of his own past.   The movie is only very vaguely accurate in terms of history, but it does a good job of capturing the corruption and decadence of the Roman Empire at that time. The empire was in very bad shape, and in fact was only a few years from what historians call the Crisis of the Third Century, a fifty year period of continual civil war, assassination, usurpation, and economic meltdown that resulted in the empire breaking into three separate states for about fifteen years. Everyone knows that the Roman Empire fell in 476 AD, but it very nearly didn't make it even to 300 AD. So the ending of Gladiator 2 is a total fantasy, like one of those alt-history books where the Roman Empire ends up conquering the Americas or expanding into outer space.   That said, I enjoyed the movie. Denzel Washington, Pedro Pascal, and Connie Nielsen in particular gave very good performances, with Denzel Washington's Macrinus as the standout. Overall grade: B Next up is High Sierra, which came out in 1941, and this is 1940s true crime grimdark. A common misconception is that black and white films are generally more sanitized and saccharine than modern fare. This definitely isn't true – there wasn't any gratuitous violence and nudity in ‘40s movies, but some of them were very cynical and dark. High Sierra definitely falls into that category. Humphrey Bogart plays Roy Earle, a bank robber currently in Indiana state prison. His former boss Big Mac arranges a pardon for him, and brings him out to California for one last big job.   Unfortunately, the other people on Earle's crew are idiots, and he has a growing sense of impending disaster. Additionally, Earle gets emotionally entangled with two women – Velma, a sick woman from his hometown, and Marie, a woman inured to the lifestyle of criminals. As Earle prepares for the job and attempts to deal with the two women, things get more and more complicated. Definitely on the darker side as I mentioned, but well worth watching, both as a historical artifact and a crime story in its own right. Overall grade: B+   Next is Star Trek: Lower Decks Season 5, which came out in 2024. Lower Decks is an example of a parody of a thing that is so good that it sort of loops around the horseshoe and becomes a good example of the thing it is parodying. Season 5 is the undeserved end to the very funny Lower Decks series. Paramount really, really wants to get purchased by Skydance, and that's probably going to happen in 2025, so there's a lot of clearing the decks at Paramount, and I expect Lower Decks was one of the casualties.   Then again, our protagonists are no longer lower deckers but junior officers, so perhaps it was a natural place to end the show. So Lower Decks went out pretty strong with a collection of funny and good episodes. All the characters experienced plot arcs and development. The lower deckers matured from the callow ensigns they were in Season 1, and the senior officers likewise experienced character growth and development. (I liked Commander Ransom's triumphant battle cry of “high intensity interval training!”)   I'd say the only weakness is that the show ended with multiverse stuff, and I don't like multiverse stuff in general. Still, the show made a compelling argument for the multiverse as a concept, and the multiverse plot did give an excuse to bring back various Trek actors for speaking parts. And, to be fair, Star Trek has been doing multiverse stuff long, long before the Marvel movies ran the concept into the ground – Captain Kirk was dealing with alternate universe stuff back in the 1960s.   The last episode was a satisfactory conclusion to the series. Lower Decks might be over, but once the Skydance acquisition settles down, maybe the character will return in a new show called Junior Officers? One can hope! Overall grade: B+   Next up is the Frasier reboot Season 2, which also came out in 2024. I liked this about as much as I liked Season 1, which is to say I enjoyed it and found it funny. Frasier's and his son Frederick's relationship seems to have reached equilibrium, so the season spent more time on more 1940s style screwball comedy, which is not a bad thing. Some of the best comedy remains the conflicts between Frasier and Frederick, which is of course an echo of Frasier's own conflicts with his father back in the original show in the 1990s.   I think the best episode was the return of Frasier's scheming, Machiavellian agent Bebe and her daughter Phoebe, who did not exactly fall far from the maternal apple tree. The 10-episode format for the season does seem rather cramped compared to the 20-ish episodes per season of the original show, but that was a different era.   Frasier remains, as one of the characters said in the previous season, the same well-meaning buffoon who goes “that extra, ill-advised mile.” I hope we get a Season 3, but with the shakeups we mentioned at Paramount, that seems unlikely. Overall grade: A-     Finally, let's close with the three best things I saw in Winter 2024/2025.   The first of my favorite three is Saturday Night, which came out in 2024. This is a biopic about the chaotic first night of Saturday Night Live back in the 1970s. Quite hilarious in a vicious sort of way, and (from what I understand) it accurately captures the sheer chaos of live TV. Of course, the chaos surrounding SNL is probably a bit higher than usual for standard live television.   After I watched it, I looked it up, and it seems the movie compresses about three months' worth of events into the hour and a half before the launch of the very first episode. What's amusing is that the more outlandish an event in the movie was, the more likely it was to have actually happened in the leadup to the show's launch. It was the mundane stuff that was made up, not the crazy stuff.   JK Simmons was hilarious as Milton Berle. Nowadays, SNL is an Institution, so it was amusing to see it back when everyone thought it was a bad idea that would fail catastrophically. The movie convincingly captured the “look” of the 1970s – all the characters looked like they were made of nicotine, cholesterol, and cocaine, and in some instances, a lot of cocaine. That stuff is bad for you, as several SNL stars later found out to their sorrow.   It really shows the randomness of history – watching the creation of SNL, you wouldn't expect it to have lasting cultural impact, but it did. Overall grade: A The second of my three favorite things I saw was The Thin Man, which came out in 1934. This is based on a novel by Dashiel Hammett (most famous for writing The Maltese Falcon), and was made pre-Hays Code, so the female lead tended to wear outfits that show off a bit more skin than you would otherwise expect in a 1930s movie. Interestingly, The Thin Man is a fusion of a noir detective movie and a screwball comedy, not two genres that are usually connected, and somehow it all works.   Anyway, the movie centers around detective Nick and his wife Nora, who have returned to New York after a four-year sojourn to California. Nick used to be a private detective, but then he married the wealthy Nora, and wanted to retire to a life of ease and parties with a lot of alcohol. Except everyone in New York assumes that Nick isn't retired and is back on the case, and so he gets dragged into the disappearance of an eccentric factory owner and a string of murders that pop up around it. Of course, Nick isn't as reluctant to come out of retirement as he pretends.   As is often the case in many movies made in the 1930s, many of the rich characters are shown as malicious buffoons, especially the factory owner's ex-wife. Nick and Nora, as the protagonists, are of course exempt from this.   This is considered a classic, and deservedly so – the characters are sharply drawn, the dialogue is good, the performances are excellent, the movie manages to portray a fairly complex plot in 90 minutes. You'll want to watch it with the captions on, of course, because while human nature may not have changed in the ninety years since this movie came out, audio technology has sure improved.   Fun fact: Nick and Nora's dog is named Asta, which is apparently a frequent answer in crossword puzzles due to the double vowels. Overall grade: A   Now, for the third of my three favorite things I saw in Winter 2024/2025, that would be Star Wars: Skeleton Crew, which came out in 2024. This is Star Wars meets The Goonies meets Pirates of the Caribbean, and despite that very odd combination of influences, the show was really quite good. The show opens on the idyllic planet of At Attin, which looks like an idealized version of 1980s suburbia filtered through Star Wars. Everyone on the planet has the same job – contributing to the Great Work (whatever that is). Since our four protagonists are kids, they don't pay much attention to that or the concerns of the adults. When one of the children discovers a derelict spaceship in the woods, they accidentally activate it and fly off-planet.   This is a problem because At Attin is protected by a Barrier that doesn't allow travel, and the galaxy is a dangerous place with a lot of pirate gangs roaming around looking for prey. However, the children fall in with Jod, who claims to be a Jedi who will help the kids get back to their home. Everyone they meet warns them that Jod is a con artist and not to be trusted, but he demonstrates Force powers again and again (which would seem to support his claim that he's a Jedi). And the kids' home of At Attin has a mysterious secret, one that Jod desperately wants to claim for himself.   This is very entertaining all the way through. Star Wars really works best as a kids' adventure show (in my opinion), though I'm still looking forward to the second season of Andor, which is Star Wars crossed with a John le Carre spy thriller. Overall grade: A     So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look at five tips for outlining your novel. I also take a look at audiobook sales for 2024. This week's coupon code will get you 50% off the audiobook of Wizard-Thief, Book #2 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store: WIZARD50 The coupon code is valid through February 21, 2025. So if you need a new audiobook for spring, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 237 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January 31st, 2025, and today we're discussing five tips for outlining your novel. Before we get to that, we will have Coupon of the Week, an update on my current writing projects, Question of the Week, and then a look at how my audiobooks performed in 2024.   First up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Wizard Thief, Book Number Two in the Half-Eleven Thief series (as excellently narrated by Leanne Woodward) at my Payhip store. That coupon code is WIZARD50. Both the coupon code and the link to the store will be in the show notes for this episode. This coupon code will be valid through February the 21st, 2025. So if you need a new audiobook to get you through the February doldrums, we have got you covered. And now an update on my current writing and audiobook projects. I am very, very, very pleased to report that Shield of Deception, the fourth book in The Shield War series, is done. As soon as I am finished recording this episode, I'm going to start publishing it at all the stores. So by the time this episode goes live, you should be able to get it at your favorite ebook store. I'm very pleased this is done because I think this is the longest book I have written in the last four years, which of course I picked to do over the Christmas holiday and was in the process of switching over to a new desktop computer. Great planning on my part, but the book is done and hopefully you should be able to enjoy it soon at your favorite ebook store.   Now that Shield of Deception is done, my next project will be Ghost in the Assembly and I'm pleased to report I'm 20,000 words into that. So I'm hopefully on track to have that come out sometime in March. My secondary project is also going to be Shield of Battle, the fifth book in the Shield War series, and hopefully that will be in April, if all goes well.   In audiobook news, Cloak of Masks is now finally available at all audiobook stores: Audible, Amazon, Apple, Google Play, Chirp, and all the others. A reminder that you can also get Ghost Armor Omnibus One, the combination of the first three Ghost Armor books (as excellently narrated by Hollis McCarthy), at Audible, Apple, and Amazon.   00:02:15 Question of the Week   Now it's time for Question of the Week, which is intended to inspire enjoyable discussions of interesting topics. This week's topic: do you watch the special features on the DVD when you watch a movie? I'm talking about the making of and the director and cast and crew interviews and so forth. Not all DVDs have them of course, but some do. We have a few responses to this question.   Justin says: It depends on the movie. The special features in Monty Python and the Holy Grail Special Edition are a must-see in my opinion.   John says: I watched all the Lord of the Rings Extended Edition extras. Really great material. I know I've watched others, but I can't recall offhand. Definitely the gold standard.   Tom says: My general pattern is to watch the trailer, then the movie, then the deleted scenes. Sometimes I'll watch parts of the special features if their name caches my eye, not often though.   James says: With On-Demand through my cable provider, I just watch the movies. Being part of the PC Master Race, I've never had a gaming console to play DVDs on. I haven't bought a DVD in ages. I used to belong to Redbox, but they're not even in business anymore. Elizabeth says: Sometimes, or play in another language with English subtitles.   Brandy says: Sometimes. I watched The Lord of the Rings special features and enjoyed it. I also watch historical extras or look them up.   Bonnie says: I think I may have once? I usually just watch the movie, haven't watched anything in ages, though.   Juana says: Yes. After the feature things are interesting!   Tracy says: I do.   For myself, the inspiration for this question was that I couldn't think of anything to watch, so I was watching the special features on The Lord of the Rings Extended Editions box set, which a few people have already mentioned. I really think those are the gold standard for DVD special features. Not too many special features have middle aged literature professors discussing the origins of the book that inspired the movie. There's like six discs worth of special features in the Extended Edition Lord of the Rings DVDs, and if you watch all of them, it's really a very interesting and comprehensive documentary on how those three movies were made. If you get the Oppenheimer Blu-ray, the special features that come with that are also quite interesting and worth watching in my opinion.   00:04:18 Audiobook Sales in 2024   Now let's talk a little bit about how my audiobooks did in 2024. Ebook sales were down a bit from 2023 to 2024, but my audiobook sales were up from 2023 to 2024. So here are my Top 10 bestselling audiobooks of 2024. It's nice to note that audio (at least for me) was up, in 2024 in a time of general economic contraction. So that's nice. Now my Top 10 audiobooks:   The Ghosts: Omnibus One 2. Frostborn: The Gorgon Spirit 3. Frostborn: The Dark Warden 4. Frostborn: The Broken Mage 5. Frostborn: The World Gate 6. Frostborn: The False King 7. Frostborn: Excalibur 8. Frostborn: The Dwarven Prince 9. Dragonskull: Omnibus One 10. Frostborn: The High Lords   So I have to admit, it's nice to see the Frostborn books still in the Top 10 there because they've long ago made back their production costs. So now it's just a pure profit at this point, which is nice. And it's also amusing that The Ghosts Omnibus One remains my bestselling audiobook of all time just because it's so long. Now let's see how those sales broke down by vendor because as you know, I sell my audiobooks through several different platforms. And so let's see how they did:   ACX (Audible, Amazon, Apple): 76.54% 2. Google Play: 9.84% 3. Storytel: 5.08% 4. Hoopla: 2.73% 5. Spotify: 2.27% 6. Chirp: 1.05% 7. Under 1%: Kobo, Scribd, Audiobooks.com, Overdrive, TuneIn, Bibliotheca, Nook, and Anyplay     So as we can see, Audible in the form of ACX is still pretty dominant, but there is growth on the other platforms, especially Google Play. I was not expecting Google Play to come in second. I would've thought it would've been Chirp or Spotify, but it seems Google Play did very well for me for audiobooks for 2024. So thanks for listening everyone, or at least listening to the audiobooks. We're not done with the podcast yet, so let's now move on to our main topic.   00:06:34 Main Topic: 5 Tips for Creating an Outline for Your Novel   Now let's move on to our main topic, five tips for creating an outline for your novel. In the fiction writing community, there's generally two schools of thoughts, outliners (of which I am definitely one), and discovery writers, who feel that starting with outlines sort of drains the process of its fun and magic. Though I heard an interesting point from one of Brandon Sanderson's videos recently where he said that all outliners do have a little bit of discovery writer in them because if you look at your outline, it'll say something like “there is a chase scene.” Then when you get to that part of the book, you write out eight to ten pages of the chase scene or whatever that you come up with on the spot and then later refine and improve through editing. So that's a good point, but I do think outlining is more useful in general for writing than not outlining is.   So why outline? As I mentioned, many writers do not outline, but I do think outlining does help, especially with beginning writers. For one, it saves time because if you follow the outline, you're less likely to go down a blind alley and realize you have to drop the last 10 or 20,000 words you wrote. It helps prevent getting stuck and not knowing what to write next. And it also really helps because it'll save you time in editing because you're less likely to have to rewrite large portions of the book. And it's also helpful for maintaining continuity as well.   I found also that outlining in advance is good because it forces you to think about things before you start because we all know writers who get really excited about writing, get a third of the way through, and then don't know where to go next. It's because they haven't thought it through. Outlining forces you to really think through the middle, which is where a lot of writers get stuck, and it also forces you to think through the ending and make sure it properly resolves the conflicts and stakes raised in the story.   As an example, I know a beginning writer who did not create an outline when setting out to write for the first time, although she had a strong setting and liked her characters, she realized about halfway through that the conflict wasn't enough to carry her whole story and that changing the conflict or raising the stakes would change the tone of the story too much. And unfortunately, she decided to abandon the draft. You could look at that one way, that it was months of wasted effort for her that could have been prevented with a couple hours of outlining, though I think it's better to look at it as a valuable learning experience where she learned that yes, outlining really will help me with my writing and just sort of had to learn that the hard way through attempting to write without an outline first.   #1: So our first tip for outlining novels is to learn story structure. It's hard to write an outline without understanding good story structure, but the flip side is if you do understand story structure and put good story structure into your outline, it will be all the easier to write your novel. The basic story structure that everyone learns in English class when they're talking about short stories (or should learn an English class when they're talking about short stories), is introduction, conflict, rising action, climax, and resolution. That is essentially basic short story structure that's in short stories and in novels, however long. A longer novel of course we'll have subplots and sort of sub conflicts and maybe false ends and red herrings, but that basic story structure is there throughout. So our first tip for good outlining is to understand story structure. And if you try to hold to that basic five step story structure when you're first starting out, especially when you're first starting out, you'll probably find it a lot easier to go.     #2: Start with the problem. What do we mean by that? First, think of the main conflicts and then start outlining to move the characters/locations around them accordingly. Work the hardest on understanding your central conflict. Your protagonist must have a problem that results in a serious conflict. Now, serious conflict doesn't necessarily imply violence, though in genres such as a thriller and mystery, it can. The conflict must be emotionally significant and serious for the protagonist where there are real stakes involved.   The example I usually go to for this is the movie The King Speech, which is a highly fictionalized version of Britain's King George VI learning to overcome his stutter to speak in public. At no point in the movie is George VI in any physical danger. His wife and children love and respect him, and he's generally well regarded by everyone who knows him. However, the problem is he can't speak in public effectively, and this is a huge emotional problem for him. And frankly, one with serious stakes after his brother abdicates and he becomes king. He needs to be able to speak effectively in public or he won't be able to carry out his duties well. So this conflict of dealing with his stutter and his speech impediment is central to the movie. And even though he's not in any physical danger, it nonetheless has very high stakes for him, which is why I say that the problem has to be emotionally significant and have high stakes for the protagonist.   And there are ways to do that without violence, though of course, if you're writing fantasy or a thriller, you can use all the violence you want. You can help create a significant conflict and problem for your character by asking yourself a few questions. What conflicts and actions lead up to it? What is causing this conflict to happen? What are the stakes? What will happen if it doesn't resolve favorably? And why is the character involved? What must they do to resolve the conflict?   For an example from my own books, I'm going to talk about Half-Elven Thief, which is available on Amazon and Kindle Unlimited if you want to go read that. In Half-Elven Thief, the main character is Rivah, who is a member of a fantasy Thieves Guild in her city. She's massively in debt to her immediate superior in the Thieves Guild who hates her and has been using that debt to exploit work from her and considering selling her into slavery to recover the debt. However, a massive and very dangerous job comes to the Thieves Guild, and Rivah is the one assigned to take the job, and if she pulls off the job, her debt will be repaid and she doesn't have this debt hanging over her head anymore. But the job is to steal a spell book from a very dangerous and powerful wizard, so there's every chance she'll be killed in the process. So the central conflict of Half-Elven Thief, that Rivah needs to steal this spell book from this very dangerous wizard, and the stakes for that is so she can get out from under this debt her superior has been holding over her head for the last three years. So hopefully that is a helpful example of a conflict with serious stakes for the protagonist.   #3: Our third tip is to start with simple. What is the book's blurb or elevator pitch for this story? Write that first. There's a couple different ways you can do that. I've sometimes described my Cloak Games/Cloak Mage series as Shadow Run meets The Dresden Files, which can be a starting point. I've heard people describe the Caina series as Black Widow meets Conan the Barbarian, which is another way to do it. To return to our previous two examples, in The King's Speech, the precise pitch is “faced with becoming King George VI must overcome his speech/stutter and face his emotional problems in order to effectively exercise his office.” And with my book Half-Elven Thief, the elevator pitch was, “in order to escape a dangerous debt, a thief is forced to steal a spell book from a dangerous wizard.” So that is the one sentence starting point, and you can use that to build the conflict.   Another potential way to do this is to write the blurb for your book and then build the conflict off that. For example, here is the blurb for another one of my books, Ghost in the Serpent, which is available at all ebook stores.   Anyway, the blurb: “A deadly poison. A hidden cult of sorcerers. Only Caina can find the truth. Caina is a countess of the Empire, an advisor and friend of three powerful monarchs, but she was once a nightfighter with the Ghosts, the spies and assassins of the Emperor and faced lethal sorcerers and corrupt lords. And when a hidden cult of malevolent sorcerers emerges from the shadows, Caina will show them that she has forgotten none of her old skills.”   So what is this blurb doing? It is introducing the setting and the characters, Caina and the Empire, focusing on the conflict and stakes and focusing on how they relate to Caina. And that allows us to sort of expand out into the conflict. If you read the book, you know that the plot is someone tries to poison Caina and fails. As she investigates what happened, she discovers that her husband had two children that he didn't know about, and for some reason this mysterious cult is trying to kill both Caina and these children, which pulls her deeper into the mystery. So that is the stakes and the conflict, and that is how I was able to build the book around them. #4: Our fourth tip is to just start. Just pick a time, grab your laptop or your notebook or whatever, and just start writing down an outline for your short story or a synopsis. Don't research things about your story while you're outlining. You can just write “TO BE RESEARCHED LATER” in capital letters, which is what I do sometimes. Don't research the perfect way to make an outline, just sit down and make an outline. How I outline personally is what I usually do is I have the central conflict in mind, like the example with Rivah, and then I sit down and write a synopsis of what I want to happen and then I chop up the synopsis into chapters and I go from there. My outlines tend to be about 1,000 to 2,000 words long, depending on the length of the book.   For example, Shield of Deception, which I just published, was on the longer side. It came to about 120,000 words and the outline was about 2,000 words. And it basically started out as a long synopsis I wrote, and then I chopped up the synopsis into chapters and went from there. I included major story beats, where the characters were going to go, and what they did. It doesn't get too detailed. Each chapter…the book had 30 chapters. So each chapter generally was described with about 80 words in the outline, maybe a hundred words, depending on what goes on. The detail varies. Basically, like in a chapter outline, I'll say “Character X comes and confronts Character Y and then they fight.” Then I will extemporize and make up the conversation when I actually get to the writing.   What I try to include in all the outlines is story beats that have to be in the story. The character has to be here or the plot doesn't make sense, or they have to go this location or it's a massive plot hole, or they have to think of this or it causes a plot hole, that kind of thing, which is part of the value of the outlining process is that it forces you to think of these things in advance. What I don't include is that I don't get too super detailed because to return to the Brandon Sanderson example from earlier in the show, when you get to the actual scene, there is a bit of discovery writing, like where I'll write where Character X confronts Character Y about whatever they're arguing about. Then the actual conversation I will just write when I arrive there.   #5: And our fifth and final tip, try a different style of outlining if you're struggling. There are different outlining techniques and styles out there. Here are two examples.   There's the Snowflake Method by Randy Ingermanson, which is where you start with a one sentence summary, build up to a paragraph, and continue to add detail in depth. There's also Dean Koontz's story structure from his book, How to Write Bestselling Fiction. His story structure is:   Get your character into trouble as quickly as possible Their plans backfire Things escalate until defeat seems inevitable Victory against all odds   If you're having trouble starting an outline, that might be a good way to do it. That said, there is no magic bullet. There is not a magic outlining style or perfect outlining style that will guarantee success. So don't get lost in endless reading or studying different kinds of outlines. A finished outline is better than waiting for a perfect one. And in that vein, a book that you have actually written, even if it's not as cool as you want it to be, is still infinitely better than a book that exists only in your head. And all that said, those five tips for outlining, I'm about to do all that myself. There is in the tech industry a phrase called “eating the dog food” or “eating your own dog food,” which means if you make a product and sell a product, you should probably be using the product a great deal. And Microsoft in particular was known for leaning on this. And for myself, I'm going to be doing everything I just talked about here because over the next few days, I'll be writing the outline for Shield of Battle, which at the moment consists of only four sentences I jotted down when I had ideas. I'll be applying all those techniques myself to write the outline for Shield of Battle, and hopefully it will work well for me. I think it will. I think these tips, if you want to start outlining your novels before you write them, would hopefully be helpful for you as well.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look at five ways to use short stories to market your books. This week's coupon code will get you 50% off the audiobook of Half-Elven Thief, Book #1 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store: HALF50 The coupon code is valid through February 14, 2025. So if you need a new audiobook for the January/February doldrums, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 236 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 24th, 2025. Today we are discussing how to use short stories for marketing. Before we get into that, we'll start with Coupon of the Week. I have an update on my current writing projects and then do Question of the Week.   So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Half-Elven Thief, Book One in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store. That code is HALF50. You can find the link and the coupon code in the show notes for this episode. This coupon code will be valid through February the 14th, 2025. So if you need a new audiobook for the January/February doldrums, we have got you covered. Now on to an update on my current writing projects. As of this recording, I am 56% of the way through the first round of edits on Shield of Deception. I am still hoping to have the book out early in February, if all goes well. Once that is out, my main project will be Ghost in the Assembly. I am 16,000 words into that. So that is good news there.   In audiobook news, as I mentioned in the previous show, the audiobook of Ghost Armor Omnibus One (as excellently narrated by Hollis McCarthy) has come out and you can get that at Audible, Apple, and Amazon. Cloak of Masks should be coming soon and a recording for Cloak of Dragonfire is almost done, so we should have some more audiobook news coming pretty soon.   00:01:45 Question of the Week   Now onto Question of the Week, which is designed for an enjoyable discussion of interesting topics. This week's question: what is your favorite kind of Italian food? No wrong answers, obviously, including not liking Italian food. We had quite a few responses on that.   Justin says: Ah yes, pizza, the food of company team building exercises and RPG tabletop sessions. You can't go wrong with pizza. Another dish I adore would be Italian sausage and peppers with penne pasta. It goes together quickly, tastes great, and is easy to clean up afterwards. Alas, I can no longer partake- the green and red pepper has given me gas worse than any bean dish.   Mary says: Ravioli! The right brands, because the cheese mixes vary. I like a number, but not all.   Surabhi says: Pizza wins, without a doubt!   Juana says: Pizza hits all the notes.   Denny says: I love North American pizza. Italian pizza is its own thing and not something I enjoy. I've eaten very little actual Italian food, but generally I do enjoy pasta. John says: Definitely lasagna. There is a little place in Southern California where the chef makes a deconstructed lasagna that is out of this world.   I have to admit, I didn't know there was such a thing as deconstructed lasagna.   Jenny says: Fettuccine Alfredo and Chicken Parmesan are so good, but I love getting some of both so I get the red and white sauces blended and with tasty cheesy chicken.   Brooks says: While I love a lot of Italian dishes, I really like a type of lasagna that is cream based versus marinara based. Usually it's considered a veggie type lasagna. It just adds a different twist. Basically alfredo meets lasagna.   Olaf says: Any kind of pasta (linguini, tortiglioni, rigatoni, farfalle) or gnocchi with a slow cooked bolognaise. My self-made pizza, then of course lasagna and all kinds of pasta with salsicce and let not forget tiramisu and a latte macchiato. James says: It's funny what we call “foreign food.”” Your Taco Bell style taco originated in Texas. What Americans consider Chinese food originated in San Francisco and pizza as we know it originated in New York City.   Bonnie says: Chicken parm and my husband's lasagna.   A different John says: I love a really good risotto, specifically with porcini mushrooms and pancetta. Also the truffle pasta I had in Rome about 10 years ago, but the best pasta I had was rabbit ragout with handmade pappardelle (which I'm pretty sure I didn't say correctly) at a restaurant here in California. My family loves my homemade spaghetti with meatballs. My granddaughter's favorite is actually spaghetti with clams.   Gary says: Almost anything with pesto.   Andrew says: Cannoli.   James says: Only reason I know this is because of the Food Network, but a true pizza (Italians in Italy don't have pizza) order in Italy doesn't sound appetizing to me. I want a supreme with everything but anchovies on it. While pizza, as we know it is an American invention, what an Italian in Italy would order has only tomato sauce, mozzarella cheese, and basil.   Finally, Michael says: Spaghetti.   For myself, I think my answer would be pizza, which I think as we just heard is true of many people, but pizza is kind of a category all its own, especially American pizza, which as we heard is American invention and not an Italian one. For non-pizza, I would say lasagna and spaghetti carbonara.   00:04:56 Main Topic of the Week: Using Short Stories for Marketing Now onto our main topic this week, how to use short stories for marketing. Many authors, myself included (which if you haven't subscribed to my new release newsletter, which you should really do), create short stories for marketing. It can be an effective way to connect with your readers, but why do it?   Two caveats I should get into before we get into why you should use short stories for marketing and the big one is if you don't actually enjoy writing short stories, you shouldn't do it. Marketing tactics work only if you actually enjoy doing it or you can find it at least tolerable. If you actively dislike writing short stories and prefer to write novels, then you should not try to write short stories unless you actively enjoy the process at least as much as you enjoy writing novels. The second caveat is to remember that short stories really don't sell well outside of certain very specific categories like erotica or anthologies (and even anthologies don't sell as well as full length novels). Recently I saw an interview with a longtime fantasy author who lamented because of TikTok and YouTube (and whatever) that young people nowadays prefer shorter books/quicker books and books will have to get shorter. I have to admit that has not been my experience at all. I think of the 158 books I've published, I've never had anyone write to me afterwards and say, hey, you know what? This book was too long and should have been shorter. No, they say the book should have been longer. So I think that might just be an illusion caused by that author in question being mostly traditionally published and having to deal with printing costs and the publishers being stingy on paper. But my own experience has been that readers really prefer longer works, which means that they don't want to pay for short stories and that therefore you're not going to make a lot of money from your short stories. That doesn't mean you can't use your short stories to make money, but the short stories themselves (if you sell them) are probably not going to make a lot of money and therefore giving them out for free is probably a good idea. Obviously, this is not a new idea. Nonfiction writers, especially in the self-help and business genres, have long given out charts, worksheets, and other bonus content to their newsletter subscribers. Short stories can work well as what's called a reader magnet in the indie author space. The reader magnet is where you give away something for free and hope that the people who pick it up like it enough to go on and try your paid content. I do this all the time myself with my free series starters like Cloak Games: Thief Trap or Child of the Ghosts or Sevenfold Sword: Champion, where if you read that book since it's free and enjoy it, hopefully you go on to purchase the rest of the books in the series. Short stories also generally don't sell for very much. I almost always sell mine for $0.99 USD when they're not free, so it's not a major loss of revenue or “devaluing the work” if you give it away for free, especially if it's only temporary. Another advantage is that people very obviously love free stuff, especially digital content that doesn't take up physical space. Whether you live in a one room efficiency apartment or a four bedroom house, there is only so much space to go around and you can only have so much stuff and in fact, people are always looking to declutter. This is not a problem with digital goods and if you're giving away the short stories for free in digital format, your readers can receive it whenever it's most convenient for them and it's not a burden for them to keep or maintain it like a pile of freebie clutter from a conference (like pens and tote bags, for example). Also, the idea that giving away something for free means that it is low quality is just not a value that most modern readers have. It is more a legacy of a tradpub/print books that is probably going to fade over time. Being the one to provide the free content directly to readers is a way to keep their interest and hopefully build enough of a relationship with the reader that they're willing to try out the non-free content. This is the concept of the loss leader, where you give away something for free and hopefully people will go on to buy the paid products that are connected to it. In marketing speak, this is called the Marketing Funnel, where the free thing you give away is the top of your funnel and hopefully people take the free thing and like it and they'll get drawn further into the funnel and will become paying customers. Giving away things for free also has the benefit of building up a positive association with you in the reader's mind. So hopefully when you send out a newsletter or they see that you have a new book available on Amazon or Kobo or Google Play or wherever, that they will have a positive reaction and then purchase the book.   With all that in mind, and now that we've had our caveats and laid the groundwork, let us have five reasons to give away short stories.   #1: It can keep people connected with the characters/world between books and keep up interest for the next book in the series. If there are gaps between the books in your series, new short stories keep people engaged with characters and help them to remember what happened in the previous books. A short story can also excite them for what comes next in the series, especially if it alludes to what's about to happen in the next book. I have found generally it's a good idea to avoid massive spoilers for things in the books in the short stories, though some of that may be unavoidable depending on where it's written and how it's set.   #2: It gives readers insight into characters and events that don't fit into the larger narrative but are still fan favorites or interesting to fans. My main approach when I write short stories is I don't really want them to be standalone, but I don't really want them to be spoiler-y, so I tend to treat them as DVD extras or like bonus scenes on the DVD, like everyone knows that the Lord the Rings movies came out in the theaters 20 years ago in a specific form, but when the Lord the Rings Extended Editions came out in DVD, they had many extra scenes that had been cut from the movie for time or budgetary reasons or whatever.   That is how I view the short stories I give away for free when I publish a new book. It is bonus content that gets included like bonus content from the DVD. A prominent example of that would be Trick or Treat and Blood Walk and Iron Drive short stories from the Cloak Mage series, all of which are written from the perspective of the character Casimir Volansko. These have proven to be very popular short stories for me because Casimir offers the chance to see Nadia's world from a more normal perspective because Nadia, by this point in the series, is a superpowered wizard with many responsibilities, whereas Casimir is a truck driver who just wants to retire. So that makes for an interesting contrast and looking at the world through Casimir's eyes is not something I would probably do in a main book in the series but does make for a fun bonus in the short stories.   You can also do the backstory of a character that isn't central to the narrative. A couple of times I've done that where in a short story I have fleshed out more of a character's backstory, especially with the Frostborn series where I had The Orc's Tale, The Thief's Tale, The Assassin's Tale, The Soldier's Tale, and so forth where we delved into the backstory of some of the point of view characters in the series that we didn't have time to go through in the books.   #3: It will give people a clear, easy to understand reason to sign up for your email newsletter. “Subscribe and receive two free short stories” is a more compelling argument than “subscribe to my newsletter.” If anyone subscribes to my newsletter, they get three free novels to start with: Frostborn: The Skull Quest, Blade of the Ghosts, and Malison: Dragon Curse, I believe are the three right now. But I also emphasize that if you do sign up for my new release newsletter, you do get free short stories on a fairly regular basis. If fact, I'm planning a newsletter for the 27th that will also give away more short stories. So I do send out a couple of newsletters a month whenever I have a new book come out, and there are short stories given away with all of those. So that is a good way to help build loyalty and reader engagement for your newsletter, which leads directly into reason number four.   #4: It is a carrot, not a stick to motivate people to open and read your messages, which helps with your messages getting flagged as spam. As I've mentioned before, I do enjoy writing short stories. I wouldn't do it if I didn't enjoy it, but the main marketing reason, the big one I write short stories for, is to drive engagement for my newsletter, which has a very practical benefit. Many of the anti-spam systems nowadays are very sophisticated and track a lot of what you do in the email and the more you interact with an email, the less likely it is to get classified by spam, so that way if people are clicking on links in the newsletter to get the free short story, that means they're interacting more with the newsletter and that the email is less likely to be classified as spam.   For a while in 2018 and 2019, I thought writing short stories was too much work, so I decided to phase it out, but my newsletter engagement just dropped. I realized it was because so many fewer people were clicking on the links in the emails and therefore they're getting listed as spam. So I thought, you know what? I better get back to writing short stories. If your newsletter messages are just long diary style entries, people will at best skim them or start to tune out. Having reader magnets for the newsletter gets people used to thinking there is some incentive for them to personally keep checking your updates, which of course turns back to the original point, that this will also help drive engagement and meaning your newsletter is more likely to be opened and less likely to be classified as spam.   #5: And finally, the fifth and final reason is making short stories free for a limited period of time instead of permafree gives subscribers and followers an incentive to read your posts and newsletters frequently and closely. Fear of missing out (or FOMO, as it's commonly known), is a powerful force. Having the item be free for limited time and exclusive for newsletter subscribers creates a sense of urgency to keep up with your updates. Exclusive content such as never selling the short story but only making it available to newsletter subscribers is also a big incentive for people to subscribe. Many readers (in fact, I would say most readers) are completionists and don't want to miss out on anything in a series, even for just a single short story in that series.   So those are five reasons to use short stories in your marketing to give them away for free. But there are a couple of caveats I want to add.   First, free content is part of the marketing plan and not the entire marketing plan. After being an indie author for almost 13 years now (wow, that's a long time), I've come to realize there is no single magic silver bullet for marketing, but if you do a lot of different things that have a little effect on their own, that does add up over time.   Second, free content should be in line with reader expectations/interests. For example, I'm writing epic fantasy with the Shield War series, so the short story that comes out with Shield of Deception should really be epic fantasy as well. A mystery writer who gives away romance short stories would probably baffle the reader. Likewise, if I published a Caina book and then gave away a short story that was totally unrelated to the Caina series, or indeed not even in the fantasy genre at all, that would probably confuse and annoy readers.   The third caveat is that content besides short stories can also work, such as deleted scenes and alternative point of view chapters or preview chapters. I know writers who have done that, but it needs to be substantial. For example, subscribing to a newsletter and finding out that the special preview is only a paragraph is not going to create goodwill with new subscribers and you're probably going to get a lot of immediate unsubscribes.   And fourth, and finally, the story you're giving away needs to feel professional. It needs to be formatted and edited and put together properly and the cover needs to look good. That is something I struggled with for a long time because at the start, I would hire out my novel covers and do the short story covers myself, but I didn't really know what I was doing, and eventually I learned to use Photoshop and got better at that so I could have better looking short story covers, which paid off in the long run, but it was a lot of work to get there. So that is something to consider if you're giving away short stories, is how much you want to spend on the cover image for it. It might be a good idea to just do something simple for a short story you're giving away for free, like finding an appropriate stock image and then putting some appropriate typography on it. It doesn't have to look amazing. It just has to look good and professional enough. Those are four caveats to our five previous thoughts.   That is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

In this week's episode, we take a look at five reasons to buy direct from authors through platforms such as Shopify and Payhip. We also take a look at my choice of computing platforms for 2025. This week's coupon code will get you 50% off the audiobook of Ghost in the Tombs, Book #3 in the Ghost Armor series, (as excellently narrated by Hollis McCarthy) at my Payhip store: TOMBS50 The coupon code is valid through February 7, 2025. So if you need a new audiobook for next week's cold weather, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 235 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 17th, 2025 and today we are discussing the advantages of buying direct from the author. I will also share an update on what I've done for my writing computers this year and we also have Coupon of the Week, Question of the Week, and an update on my current writing projects. So let's get right to it.   Let's start with Coupon of the Week. This week's coupon code is for the audiobook of Ghost in the Tombs, as excellently narrated by Hollis McCarthy. That is Book Three of the Ghost Armor series, and this coupon will get you 50% off the audiobook at my Payhip store: TOMBS50. This coupon code will be valid through February 7, 2025. So if you need a new audiobook for next week's cold weather, we have got you covered. Now let's share an update on my current writing projects. As of this recording, I am 116,000 words into Shield of Deception, which puts me on chapter 28 of 31. So I'm hoping before too much longer I will be able to be done with the rough draft, which I think I'm hoping I'm going to be able to finish it on Monday the 20th if all goes well, but we'll see how things work out. I think it's going to end up being around 125,000 words, which will make it the longest book in the Shield War series and probably the longest book I've written since the end of my Dragontiarna series back in 2021. I kind of wanted a break from really long, complex epic fantasy, but I had my break. I'm rested and now we're doing it again. I'm also 13,000 words into Ghost in the Tombs, which will be the fourth book in the Ghost Armor series, and I'm hoping to have that out in March and Shield Deception out in February.   In audiobook news, Cloak of Masks is entirely done and working its way through processing. As I mentioned last week, it should be up on a couple of the stores like Google Play, Kobo, and Chirp, though it is not up on Audible yet. On Audible, though, is Ghost Armor Omnibus One (again narrated by Hollis McCarthy). That is an omnibus bundle of the first three books in the Ghost Armor series. That is available in audio at Audible, Amazon, and Apple. If you're on Audible, it is 31 hours of listening for just one credit, which in my opinion is a pretty good deal. That is where I'm at with my current writing projects.   00:02:32 Question of the Week   Now let's move on to Question of the Week. Question of the Week is intended for enjoyable discussions of interesting topics. This week's question: what is your favorite Mexican dish? No wrong answers, including not enjoying Mexican food. A little bit about semantics. I'm aware that Mexican food is a very broad net and like all such definitions is prone to a substantial bit of haziness. Mexican cuisine is not the same as Tex-Mex, which is not the same as Puerto Rican cuisine, which is not the same as Guatemalan cuisine and so on. And the various regions of Mexico itself all have their own distinct culinary traditions. But this is true of all cuisines. By Mexican food, I mean Mexican food as it is generally defined in the United States, which tends to be an assemblage of various foods from the American Southwest, Mexico, and Latin America. And as you might expect, we had numerous responses.   Our first response is from Justin who says: We have taco night here once a week or so, but no actual tacos are used. A pan of seasoned crumbled hamburger meat along with standard toppings is available for folks to make what they want. That generally becomes beef and cheese burritos and taco salad (regular bowl, corn chips added as desired).   Hollis (who narrates the Ghost and Cloak audiobooks as we as mentioned) says: Quesadillas. Taste decadent but can pack in healthy spinach and peppers and whole wheat tortillas with decadent meat and cheese.   Juana says: burritos, loaded!   Tracy says: chicken and guacamole with roasted veggies.   Becca says: Chile en nogada, basically a meat stuffed grilled chili. I have had it with chicken and beef, usually comes with pomegranate or other fruit containing sauce.   John says: Three barbacoa tacos with cilantro, onion and the green salsa and three beef fajita tacos the same way. With large horchata from a sketchy food truck usually found in front of the local tire shop.   I have to say some of the best Mexican food I've had has come from somewhat sketchy food trucks in front of local tire shops.   Bob says: Any kind of mole. One nearby restaurant had a duck mole that was excellent.   A different John says: I'm always searching for a great cheese enchilada. At least three, please. Cheryl says: Never had Mexican, so can't comment.   Jenny says: Queso dip, especially when it's got beef and chili seasoning (not like chili peppers, but the southwest chili seasoning and beef).   Scott says: Anything Al Pastor (burritos taco, et cetera).   Steve says: Fish tacos, any way I can get them.   Yet another John says: Brisket quesadillas.   I've actually had those and they're very good.   Andrew Abbott says: Quesadilla.   Gary says: Al pastor.   Mandy says: Carnitas.   For myself, I think my favorite would be arroz con pollo with mushrooms. Tasty, very filling, and so long as you don't go too heavy on the cheese, it's not too terribly bad for you. I've had a couple of different variations of it, including one that had carrots and I admit I was dubious when it came out with carrots in the arroz con pollo, but it was really good. Steak fajitas would be a close second in my Mexican food preference list. The inspiration for this question was that I made homemade nachos for dinner twice this week and I also made tacos twice for dinner this week because if you make up enough taco mix, you can get a couple of meals out of it. So that's it for Question of the Week.   00:05:37 Work Computers/Writing Computer for 2025   Now I thought I'd talk a little bit about what I'm going to use for a computer in 2025. The reason for this is a couple of weeks ago, I posted a meme about choosing a new computer on Facebook and promptly forgot I had done so, but then I looked back a week and a half later to see it had gone viral and people are still arguing about the best computer in the comments, which is good summary of social media, isn't it? You can carefully consider a 1,500 word post that will get like three likes at the most but toss a meme up and forget about it and you'll come back in a week to see it had thousands of views and almost 300 comments, all of them arguing for or against specific computing platforms. So that is the reason I thought I would share what I actually picked for my computing needs in 2025.   Three caveats: One, for your own computing requirements, pick whatever meets your needs and that your budget will allow. Windows, Mac OS, Linux, a tablet, whatever. It doesn't really matter. Honestly, I think 90% of people can do 95% of what they need in a web browser nowadays anyway and maybe use a cheap laser printer to print something out like every other month or so. I recently helped an elderly relative with a computer problem and she does about 95% of her computer needs on her Kindle Fire tablet and only breaks out her laptop when a webpage doesn't render properly on mobile. She can even print from her Kindle Fire. That said, I definitely fall into that 10% that cannot use a web browser for everything. Caveat two, my objective isn't to have the best computer or the most powerful computer, it's to have the computer that will be the most efficient in helping me write and publish books. And finally, caveat three. I worked for a long, long time in IT support and I did in fact write an internationally bestselling book about the Linux command line. I have done tech support for operating systems that no longer exist. Remember Windows CE on phones, Palm OS, Windows Phone, getting Mac OSX to talk to Windows Print Services, getting Mac OSX to talk to Active Directory, and Windows Millennium Edition (ugh)? I remember them and none too fondly. That means whatever objection you may have to Windows, Mac OS, Linux, or any other operating system, I probably know about it already have personally experienced it and have in fact tried to fix it while on the phone with someone having a panic attack about that particular problem. So with all that in mind, this is what I will use for computers in 2025 and hopefully for several years longer than that. For my writing/editing computer, I have picked a Mac mini M4. I've mentioned before that I'm increasingly unhappy with Windows 11 because of Microsoft's turn towards AI. I thought long and hard about either Linux or Mac OS and in the end, I decided on Mac OS because I have several subcontractors who all use Excel. Granted, you can install Excel on a Linux system with an emulation layer, but it never works 100% right. Some of the more advanced Excel stuff, which I do use, freaks out with it. There are a number of excellent spreadsheet programs available for Linux as well, but none of them have 100% compatibility with Excel, which is what I need.   Additionally for ebook and paperback formatting, I use Vellum, which is Mac only. I have been very happy with Vellum since 2018, which means I've it to format around 60 different eBooks and paperbacks. So based on all that, I chose the Mac mini M4. I've been reasonably happy with it so far, since I've written about half of Shield of Deception on it. It's quite fast, which shows there are some advantages to the same company producing the CPU and the operating system. Microsoft Word is definitely faster on the M4 and the M Series Macs than it was on the Intel based Macs. I wasn't expecting this, but the overall lack of distraction in Mac OS is nice. It's very unobtrusive. Windows 11 is a very cluttered environment by default with lots of distractions and it is very annoying how Microsoft has been encrusting ads throughout the operating system. You can turn on quiet mode of course, but it's pleasant to have the overall lack of distraction be the default. So the Mac mini M4 will be the computer I use for writing, editing and book layout, but that's not all I do. My everything else computer will be a Windows 11 Intel Core I7 desktop. My previous computer before the Mac mini, a Windows 11 box with Intel Core I7, will also remain in use. The thing about being an indie publisher is that writing and editing isn't all I do. I do my own covers now, which means Photoshop and DAZ3D. Both of those applications are big, fat memory hogs. I definitely did not want to shell out the money for a Mac with that much memory. There's also advertising, which means a lot of spreadsheets and using Photoshop to make those ad images and other miscellaneous tasks like recording expenses, web design, audio proofing, podcast recording, and so forth. In fact, I'm recording this podcast on that computer right now, so my Windows 11 box is now my everything else computer. It doesn't have an NPU chip, which means that Windows 11's more odious features like Recall won't work on it, therefore I plan to nurse it along as long as possible. I have to admit there was an unanticipated pleasant psychological effect to this. When I write, I go to my writing computer and when I need to do something else, I use my everything else computer, so it's easier to avoid getting distracted by something else I need to do while I'm writing.   I should mention gaming. I don't really use desktop computers for gaming any longer. They're for work. If there's a PC game I want to play, it needs to be able to run on my laptop while I sit on my couch. Otherwise, it's not going to happen. In the past five years, I spent more time playing games on the Switch and the Xbox than on desktop PC. So that is my computer plan for 2025, write on the Mac, do everything else on the PC. I should mention that the day before I started recording this, Microsoft pushed out an update that added this big ugly Copilot AI button to Word and Excel. So while I'm going to finish Shield of Deception in Microsoft Word, I am probably going to write Ghost in the Assembly in either Libre Office Writer or maybe MobiOffice. I need something that's cross compatible between Windows and Mac, so I'll be investigating other word processor options with all this Copilot stuff they're jamming into Word, but in the end, I'm grateful I'm able to use two different desktop computers and hopefully I will use these computers to produce many good books for you to read in 2025.   00:12:00 Main Topic of the Week: 5 Reasons You Should Buy Direct from Authors   Now on to our main topic, five reasons you should buy direct from authors. What do we mean by selling direct? It's when the author has his or her own store hosted on a site like Shopify or Payhip that allows the author to sell eBooks, audiobooks, and sometimes paperbacks direct to readers. I should mention this is not intended in any way to be shaming or bullying. If you are most comfortable buying your eBooks from Amazon or Kobo or Apple Books or Google or any other platform, that is what you should do. This is just to talk about the advantages for both readers and writers for buying direct from authors. Payhip and Shopify are the two most popular platforms for selling direct to readers. I use Payhip since I'm mostly interested in selling eBooks and audiobooks direct and not paperbacks. You can actually look at my Payhip store, which is https://payhip.com/jonathanmoeller. The links are also available on my website and indeed in the show notes for the show for Coupon of the Week.   So why even bother with direct sales when most people are now locked into a platform like Amazon or Kobo and their libraries? Why take the time to convince readers to buy directly from the author? What are the advantages to the author and more importantly, what are the advantages to the reader? And there are five of them, which we'll discuss now.   #1: Faster access to new releases. The reason Payhip is always the first platform to become available for one of my new books by about a day or so is that when a new title releases, it's because I'm uploading it myself. With Amazon or other sites, my books are essentially put into a line with many, many other titles and I can't control or predict when it will become available for customers. Various stores can take longer to process or be unavailable/down when a new book releases. Kobo glitched quite badly at various points throughout 2024. In 2021, Barnes and Noble suffered a ransomware attack that blocked the ability to upload new books to the platform for about a month, and all the other stores have had various technical glitches throughout time. That's just the nature of running a large website, but having a site like Payhip gives me a place where people can turn to when it happens. Quite a few people bought Cloak of Illusion from Payhip because Kobo was down for a week when I was trying to upload the book to the site.   #2: The second reason, which is a big advantage for both readers and writers, is that I can control discounts and permafree so it's easier to get discounts from an author's store. It's easier to provide discounts on Payhip because I'm getting a higher profit margin. Even with the 50% discount on Ghost in the Tombs we mentioned this week, I still would make from that discounted audiobook more than on Audible and pretty close to what I get from some of the more generous sites like Chirp or Google Play or Kobo.   Just like with the uploads, I also have complete control over when the discounts happen on Payhip. Otherwise, as I mentioned earlier, I'm at the mercy of when the uploaded book processes on various stores, just like with release dates. It's hard to promote discounts or short-term freebies on those other platforms because the price change move slowly (and often unreliably) there, whereas they're instant on Payhip. Payhip is also my hub for providing free content to my readers beyond my Permafree series starters. Keep an eye on my blog and Facebook page for Coupon of the Week, where as I mentioned earlier in the show, I give out codes with steep discounts for my Payhip store. I also provide free short stories on my Payhip store for a limited time when new books release. Subscribe to my newsletter if you'd like to know when those free short stories become available. I also make a dozen older short stories (both ebook and audiobook) free on my Payhip at the end of each year, an event called 12 Days of Short Story Christmas. If you follow my website and blog, you might remember that from recently. It would take too much time away from writing to do all these things on all the other platforms, and it often isn't technically possible. Using Payhip frees up my time to do more writing instead of trying to work with the tech support of six different vendors when something doesn't switch price in time to run a specific promotion.   #3: A third advantage, and that is a big advantage for readers, is I am not interested in your data and I am not spying on you the way that a large e-commerce site might be. Payhip basically just shows me the buyer's email for an individual's data. I can't see any other purchases you make. I can't see any individual demographic data and I can't see anything that would be uncomfortable for me to know. Basically all I see is your email address and your geographic location (your rough geographic location), which obviously the store needs in order to calculate sales tax liability. I intentionally set up the Payhip store so that you don't need a user account to buy books or audiobooks there. We also try and turn off the more annoying site settings like follow up emails that request reviews. Even the aggregate data on the Payhip app dashboard is extremely limited compared to other platforms. I can see a map shaded in with countries of visitors, which isn't accurate or useful in an age where you can use a VPN to switch your location with the click of a button. [We can see] if users are accessing the link directly from a Google search and the raw number of clicks on the page. Compared to the amount of data collected by other sites, [that is very minimal]. For example, other sites can show that men ages 23 to 28 who like Taylor Swift, own a cat, and live in Canada are looking at your page at midnight on Tuesday. That is much less data than Payhip collects, so therefore, if you're concerned about data privacy, Payhip is a stronger choice than most other ebook and audiobook platforms. For details about what Payhip tracks separate from what the individual author does, check out their privacy policy.   #4: The fourth advantage is the reader gets a choice of file formats and you can send files to another ebook library. With Amazon or indeed any of the other ebook stores, you get your chosen format for an ebook and can't switch that format without using third party software. At my Payhip store, you get three ebook formats: epub, PDF, and when possible, the ancient .mobi format (which is kinda depreciated and gradually going away). I've noticed that people who like PDFs really like PDFs, and so if you want your ebook in PDF form, you can get them in PDF form from my Payhip store.   Having a choice of different file formats allows you to more easily import the books into the platforms you already use like Kindle or Kobo. It's a pretty simple process to send files to your Kindle, Kobo, iPad, or other device so you have access to them in your library there. All my eBooks are integrated with Book Funnel, so if you have a Book Funnel account, they automatically show up in your library. Book Funnel also has directions for sideloading the files onto your various devices.   #5: The fifth advantage, and this is a really big one for readers, is all the files you buy from me on Payhip are DRM free files that you can self-archive. Digital rights management limits your ability to transfer books and audiobooks through apps, devices, and so forth. It controls the way that you access things you have purchased. It's often said that you don't buy digital content, you have a conditional lease on it that's controlled by the platform you buy it from.   The content that you buy can disappear, especially when a platform is sold or closes. We've all heard horror stories of people whose accounts at various online retailers get closed for some reason, and then they lose their access to the library of any media they have purchased there or a platform can go out of business. There was a minor, well, actually a fairly major scandal a few years ago when a romance themed ebook store went out of business and everyone lost their access to their libraries. And for a while Microsoft was offering eBooks for sale through the Edge browser, but as we know, Microsoft tends to change mind about things a lot, and that went away and eventually people lost their ability to access any eBooks they had purchased through the Microsoft store. And this isn't even the first time Microsoft did this. Way back in the ‘90s and early 2000s, Microsoft was trying to be become a music retailer to compete with Apple's iTunes store, and they used a kind of a DRM called Play For Sure. Eventually they got out of that business and shut down Play For Sure's servers and anyone who had purchased music locked to that DRM could no longer play it. Our Payhip store has DRM free files. These allow you to store and archive the files separate from the ebook and audiobook stores so that doesn't happen. It allows you to actually own the content that you buy and build a library that best suits your needs. So that way, if for some reason (let's say for example, your audiobook store account gets hacked and you get locked out of it), you won't lose all your eBooks that you bought through my Payhip store if you downloaded them and stored them on a local storage device or some other kind of archive system.   One final advantage that is more for the author than for the reader, it is a better profit margin for direct sales than is for any of the other stores. The best percentage you can get in the ebook sales on any of the other stores is Amazon, which offers 70% for eBooks between $2.99 and $9.99. Whereas with Payhip, I get about 85% of each sale (minus sales tax and credit card processing fees). The Coupons of the Week we have been doing so far this year are a good example of that. I'm selling the Ghost audiobooks connected with the coupon for 50% off and the standard sales price is $11.99, which means you get them for about $5.99. Even though that's cheap, I still get almost as much money from a $5.99 sale than I would from a purchase on Audible or any of the other major audiobook platforms. Those are five reasons to buy direct from an author. I should note, it's just not good for the author. It offers many advantages for the reader as well.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look at why it is good for writers to read outside their genre, and consider how writers develop with experience. This week's coupon code will get you 50% off the audiobook of Ghost in the Veils, Book #2 in the Ghost Armor Series, (as excellently narrated by Hollis McCarthy) at my Payhip store: VEILS50 The coupon code is valid through January 31, 2025. So if you need a new audiobook for the January weather, we've got you covered!

In this week's episode, I take a look at what goes into writing 10,000 words of a rough draft in a single day. Coupon of the Week returns! This week's coupon code will get you 50% off the audiobook of Ghost in the Serpent, Book #1 in the Ghost Armor series, (as excellently narrated by Hollis McCarthy) at my Payhip store: SERPENT50 The coupon code is valid through January 24, 2025. So if you need a new audiobook for the new year, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to episode 233 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January 3, 2025, making this the first episode of 2025, and we are a quarter of the way through the 21st Century. Today we are looking into what goes into a 10,000 word writing day and how I managed to do ten 10,000 writing word days in 2024. We'll also do Coupon of the Week, an update on my current writing projects, and Question of the Week.   So let's start off with Coupon of the Week. As you might remember from last year, I did do Coupon of the Week for the blog last year, but I sort of fell off doing it in June and never got back around to it. But the new year is time for new endeavors, so we're doing Coupon of the Week again (hopefully in a more organized and sustainable way this time). So this week's coupon code will get you 50% off the audiobook of Ghost in the Serpent, Book One in the Ghost Armor series, as excellent narrated by Hollis McCarthy at my Payhip store. The coupon code is SERPENT50, and that is SERPENT50 (all in caps). Again, that is SERPENT50. The coupon code is valid through January 24th, 2025. So if you need a new audiobook for the new year, we've got you covered. The coupon code and the store link will be in the show notes below. So that is this week's Coupon of the Week.   Now let's move on to my current writing projects. Every year for the past couple of years, I've published a short collection with all the short stories I published in the previous year, and I'm pleased to report that 2024: The complete Short Stories is available now and you can get it for $0.99 USD at Amazon, Barnes and Noble, Kobo, Google Play Apple Books, Payhip, and Smashwords. It's only going to be 99 cents for the month of January, so now would be a good time to get that. I'm surprised how many people buy the anthology because I give away the short stories for free with all my newsletters throughout the year, but people have told me it's more convenient to have one bundle of the short stories that they just get for $0.99. So that's what we're going to do. You can get that for $0.99 through January 31st.   In writing progress, I am now currently 50,000 words into Shield of Deception, which puts me on chapter 12 of 31. So I think I'm between 35 and 40% of the way through the rough draft. It depends on how long the book's going to end up being, but I think it's going to be around 110 to 120,000 words. I'm also about 7,000 words into Ghost in the Assembly, and if all goes well, I'm hoping Shield of Deception will come out this month and Ghost in the Assembly will come out in February, but that may slip by a month because as I said, Shield of Deception is going to be a very long book.   In audiobook news, proofing is underway for Cloak of Masks, so I'm confident that will be out in January and that is excellently narrated by Hollis McCarthy. Leanne Woodward is currently recording Orc-Hoard, the fourth book in the Rivah Half-Elven series. So that is where I'm at with my current writing projects.   00:03:06 Question of the Week   Now let's do Question of the Week, which is intended to inspire enjoyable discussions of interesting topics. This week's question: do you make New Year's Resolutions? No wrong answers, obviously. The inspiration for the question was the fact that I posted this on New Year's Day. I had a few responses to this. Mary says: No, I did do a few things getting cleaned up on the day and switched the calendars at midnight.   Bob says: Never have. I feel it's best to resolve problems as they occur.   Cheryl says: Not anymore. I never kept them, so I gave up making them.   Gary says: Not resolutions per se. It is a good time though, to take stock and evaluate whether I'm doing the things I should be doing to get where I would like to be.   Tracy says: Nope, roll the dice and go! LOL.   Jean says: I'm just good with making it through the year. Still intact, LOL.   I can't argue with that.   Venus says: The last resolution I made, many years ago, was to never make another New Year's Resolution.   For myself, no, I don't really do New Year's Resolutions. I suppose my writing goals for 2025 might qualify, but I have enough books that I essentially own a small publisher now, so it's just sensible to make good business goals for the year.   In my personal life, if I need to make some kind of change, I try to do it at once. The most successful personal changes I've made throughout my life usually tend to be in late spring or summer, not at New Year's Eve. What I actually did on New Year's Eve instead of making resolutions was eat mozzarella sticks, watch a movie, and play video games, which made for a pretty enjoyable New Year's Eve. I wonder if New Year's Resolutions are kind of a zombie cultural artifact since it seems like not too many people actually make them anymore, but that would be beyond the scope of this podcast episode.   00:04:51 Main Topic of the Week: Anatomy of a 10,000 Word Day (side note: all times are based on a 12 hour, not 24 hour clock)   Now let's move on to our main topic for the week, the anatomy of a 10,000 word day. On December 2nd, 2024, I wrote 10,000 words of Orc-Hoard in one day. It was my ninth 10,000 word day of 2024. A few people who are interested in writing asked about the logistics of it, like how did I actually pull it off, that kind of thing. That seems like a reasonable question since not too many people have 10,000 word days.   So let's discuss this a bit. I think for myself, the main two components of a 10,000 word day are one, I don't have anything else I absolutely have to do that day. Two, I don't have any unexpected interruptions that require time and attention. Since I had a grand total of ten 10,000 word days in 2024, you can see how rare these two circumstances are. If there are 365 days between January 1st and December 31st, then the conditions for a 10,000 word day only happen 2% of the time.   First, let's take a look at precisely what I actually did on December 2nd, 2024. I should note this is lightly censored to protect family details, but overall, it is accurate for my schedule on December 2nd. At 6:45 AM, I woke up. At 7:10, I made coffee, checked various accounts to make sure nothing got hacked overnight, checked and answered email, set up social media posts for the day, and wrote 250 words of Shield of Deception because that was my secondary project at the time. At 8:30, I proceeded to the gym and spent an hour exercising. At 9:30, I returned from the gym, showered, and cleaned up. At 9:45, I used the electric leaf blower to get some light snow off the sidewalk and porch. Thankfully, this did not take very long because if there had been enough snow that I would need to break out the shovel and the snow blower, then there wouldn't have been a 10,000 word day. At 10:00, I started writing and I did absolutely nothing else but write for the next several hours. At 12:00 PM I stopped for lunch, and at that point in the day I had written 2,700 words of Orc-Hoard so far. At 12:45, I finished lunch and returned to writing and did nothing else until 2:00. At 2:00, I made some coffee and paused to answer some texts and emails that had come in, and at that point I had written 5,100 words of Orc-Hoard for the day. At 2:20, I resumed writing, did nothing else but write for the next several hours, and by 4:45, I reached the 10,000 word mark of Orc-Hoard. At 5:00, I made dinner and cleaned up afterwards. At 6:00, I wrote another 250 words of Shield of Deception and I set up social media and blog posts for the next day. I answered a few emails and texts and I checked various ad platforms to see how they were performing. At 7:00, I stopped doing writing and work-related things for the day.   As you can see on December 2nd, I didn't have any unexpected interruptions that demanded attention, and I didn't have anything else that I had to do that day, which as I've mentioned before, is really rare. So I'm pleased that I made the most of it.   By contrast, let's look at the next day, December 3rd. I only wrote 6,500 words that day, which is still a good number, but I had numerous other things I had to do and there were several interruptions. I needed to email some people with tax questions. I needed to fill out a fair bit of paperwork for tax compliance related to those questions. I had to make several changes to my ads, and I also needed to go grocery shopping. Additionally, several people came to the front door and a couple of packages were delivered, and therefore I had to stop writing and go answer the door a bunch of times. Obviously, none of these things were bad or particularly onerous. Even the tax paperwork wasn't all that bad as these things go, but they still took up time and had to be done.   Additionally, interruptions are sometimes tricky because in all honesty, I'm not as mentally agile as I used to be when I was younger, and I have a harder time switching tasks abruptly. Like 14 years ago, I could go on my lunch break, slam out 2,000 words, and then go back to work without missing a beat. But that was 14 years ago/15 years ago now. Nowadays, I find it harder to get back to what I was doing before I was interrupted. So the fewer interruptions I have, whether planned or unplanned, the more I will write. When I say do nothing else but write for the next two hours, that is exactly what I meant. No internet browsing, no social media, no playing with my phone, no Photoshop, no checking one thing quickly, just a word processor and a lot of typing.   For those long stretches, I typically use what's called the Pomodoro Method, 25 minutes of uninterrupted activity followed by five minute break before doing it again. I used to check email during those five minute breaks, but that can quickly get out of control. So instead I started playing classic Super Mario Brothers on the Switch during those five minute breaks. That is different enough from writing that makes for a good mental reset and the game loads quickly so I don't waste my break time waiting for the game to load. Similar vintage platform games also make for good Pomodoro breaks. For the actual timer part, I just use the timer app on my phone since that's good enough for what I need it to do. I've had a couple days where I was at like 8,000 words by 3:30 PM and something came up, so then I powered through an extra 2,000 words at night. I try to avoid writing a lot at night because it's good to give the brain rest, but I will if I decide it's necessary. I should note that I've been a full-time writer for nearly a decade now, so that means I have the time to do a 10,000 word day when the circumstances are right, and indeed it's in my best interest to do so.   Back when I had a full-time job, I think I only had one 10,000 word day ever. I was snowed in on a Saturday and there was nothing else to do, so I wrote 10,000 words that day. I think it was for Frostborn: The Master Thief, if I remember right, specifically the part with the wyvern. But since I am now a full-time writer, obviously it is in everyone's best interest if I get as many words down as possible every day when I'm working on a rough draft. I should also note that I don't really think this kind of workflow, the one that I've been using for years, is mentally right for most people. If I'm really interested in something like writing, I focus on it to an intense degree that I think most people would find unsustainable and mentally unhealthy if they tried to do it. So if you're a writer and a 10,000 word day sounds unimaginable, I really don't think you should beat yourself up about it.   So that is how I do a 10,000 word day. Circumstances have to be just right, which is why it doesn't happen all that often, but it's probably for the best. A 10,000 word day is, I have to admit, a lot of mental effort, which is why I very rarely have them back to back.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you listen to all the back episodes on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

In this week's episode, I take a look back at my writing goals for 2024 and see how many I met, and look ahead to my writing goals for 2025. 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 232 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the 20th, 2024 and today we're looking back to see if I met my writing goals for 2024 and looking ahead to see what my writing goals will be in 2025. This will also be the last episode of 2024 so I can take a few days off for Christmas and New Year's, so tune back in 2025 for some more exciting episodes.   In the meantime, we'll start with an update on my current writing projects and then do Question of the Week. My main project right now is Shield of Deception, the fourth book in the Shield War series. I am at 33,000 words into it as of this recording, which if my math is right means I'm about 24% of the way through the rough draft. I'm hoping that will come out in January, but there's good chance it will slip to February because I'm think it's going to be pretty long. My secondary project right now is Ghost in the Assembly and I am 2,000 words into that and I'm hoping to have that out in February, but if Shield of Deception slips to February, then it'll probably be out in March.   In audio news, recording for Cloak of Masks, the eighth Cloak Mage book, is nearly done and I expect to have some files to proof for that before much longer. That will be narrated by Hollis McCarthy. Leanne Woodward has started working on the audiobook version of Orc Hoard, so both of those should be coming along shortly in 2025. So that's where I'm at with my current writing and audiobook projects.   00:01:34 Question of the Week   And now let's move on to Question of the Week. Question of the Week is designed to inspire enjoyable discussions of interesting topics. This week's question: what is your favorite movie or TV version of A Christmas Carol by Charles Dickens? No wrong answers, obviously. The inspiration for this question was I was scrolling through movies on various streaming services and of course this time of year you can watch a billion different versions of A Christmas Carol.   Todd says: my personal favorite of A Christmas Carol is from 1971. This animated classic had the original Scrooge and Marley actors voice the respective characters. Another Christmas television program would also have to be Emmett Otter's Jug Band Christmas. It's got Frank Oz!   I have to admit, I have never heard of Emmett Otter's Jug Band Christmas before this comment.   Justin says: I would have to say the 1951 version with Alastair Sim, although the Muppets are a close second.   Bonnie says: This is one of my hubby's favorite Christmas traditions. Unsure of how many different versions we have. His two are American Christmas Carol with Henry Winkler and the George C. Scott one. I like the Albert Finney musical version and the Alastair Sim one. Paul says: Yes, sentimental favorite is the George C. Scott version from 1984. I like the version with Patrick Stewart as Scrooge as well. We'll watch many versions through the season if I see them on. The Muppet version is great as well. Not a fan of the Jim Carey cartoon version. It is okay, but prefer the first three mentioned.   Andrew says: The Muppet version is the best.   Randy says: Another vote for Kermit here! “Light the lamp, not the rat!”   Jenny says:  OMG Yes, the Muppet's version!   Jeremiah says: Alastair Sim version for classic and modern, the Patrick Stewart version.   Catriona says: The Muppets- just iconic!   Gary says: The Muppets.   Tom says: Yes, A Muppet's Christmas Carol, nothing else comes close.   Becca says: Muppets   Tracy says: I like the one with Patrick Stewart.   For myself, I pretty much closely agree with the commenters here. I think my sentimental favorite is the George C. Scott version from 1984, since that's the one I used to watch when I was younger. Rewatching it as an adult, it's impressive how Scott doesn't even attempt a British accent. It's actually rather surprising that his version of Scrooge is actually pretty funny, with a dry wit.   That said, as many of the commentators here already said, I think the best overall best version of A Christmas Carol is Muppet Christmas Carol from 1992. It works because Michael Caine plays it stone dead serious even when he is sharing the screen with a bunch of Muppets. Caine famously said that he played against the Muppets like he was playing against the Royal Shakespeare Company, and the contrast with Caine's serious performance against the silliness of the Muppets creates a sort of alchemy that works really well. Also, The Man Who Invented Christmas from 2017, a highly fictionalized version of Charles Dickens writing a Christmas Carol, is definitely worth watching even though it takes a few, well, more than a few creative liberties with the facts.   So that is it for Question of the Week this week.   00:04:26 Writing Goals 2024/2025   Now let's look back at my writing goals for 2024, see if I was able to meet them or not, and then look ahead to my writing goals for this coming year of 2025. First of all, I would like to very much thank everyone who bought one of my books or audiobooks this year. I am glad you enjoyed them. I would also like to thank the narrators I worked with this year, C.J. McCallister, Hollis McCarthy, Brad Wills, and Leanne Woodward, who actually did the work of creating amazing audiobooks. Additionally, I would also like to thank my podcast transcriptionist, my Excel bookkeeper, and my audiobook proof listener (all three of whom wished to remain anonymous), who really helped out and took a lot of work off my plate this year so I could focus on writing. 2024 for me on a personal level was a pretty good year. However, I admit it was a rough year for book sales. I was down about 12% overall. This came from two causes. One, a significant portion of the book reading American public disappeared into doomscrolling their news and social media apps from July to about November. Two, I scattered my attention too much across too many series. I think in 2025, I'm going to focus up and do an Andomhaim book every other month like I did from oh, 2013 to 2023 or so. But all that is to come. Let's first look back and see if I met 2024's writing goals.   #1: Write as many words as possible while trying to hit 1 million new words. I did it! I am very pleased to report that I published 1 million words of new fiction in 2024, for the first time since 2020. In 2021, I only published 971,000 words. I figured I had slipped and would get to it the next year. In 2022, however, I only published 814,000 words. This happened due to a combination of a lot of travel and various real-life stresses. In 2023, I published 935,000 words, a significant improvement over the previous year, but I had COVID twice pretty close together in the early spring/summer of that year and that really messed me up for a couple months.   But in 2024 (as of Orc-Hoard), I published 1,490,000 new words of fiction for the year. My ten 10,000 word days for 2024 probably helped with that a great deal. I am very happy about this since I tried to hit a million words in 2021, 2022, and 2023 but just couldn't quite get there. So it is very satisfying (after four years of not quite making it) to have finally published a million words of new fiction in 2024. Naturally, I hope to repeat this feat in 2025, but more on that in a little bit.   #2: Start The Shield War. I did that as well, publishing Shield of Storms, Shield of Darkness, and Shield of Conquest all in 2024, and they're even all in audiobook (as excellently narrated by Brad Wills).   #3: Continue Cloak Mage. I did that as well with Cloak of Titans and Cloak of Illusion. Both books were interesting challenges to write, since Titans burned up a lot of the ongoing subplots for the series. No spoilers. Cloak of Illusion had to work with a new game board, so to speak since so much had changed in the previous book.   #4: Continue Ghost Armor. I did that as well with Ghosts in the Veils and Ghost in the Tombs and both of them are in audiobook (as excellently narrated by Hollis McCarthy). #5: Continue Half-Elven Thief. I was able to do that as well with Wizard Thief, Half-Orc Paladin, and Orc-Hoard. Half-Elven Thief, Wizard Thief, and Half-Orc Paladin are in audiobook, as excellently narrated by Leanne Woodward.   #6: Continue Sevenfold Sword Online. Around June, I renamed this series to Stealth and Spells Online since so many people were getting confused with Sevenfold Sword. I did release Stealth and Spells Online: Leveling in February. Both books in the series are in audio, as excellently narrated by C.J. McAllister.   #7: New audiobooks for new books. There's only so much time, energy, and especially budget for audiobooks, so I decided that I was only going to do audiobooks in new series going forward rather than trying to have old books recorded. I think this worked out pretty well, all told, because 2024 will be the best year so far for my self-published audiobooks. We did end up recording some of the older Cloak Mage audiobooks because I promised Hollis McCarthy a recording spot in April for Ghost in the Veils, but I just couldn't finish that book in time. So we did Cloak Mage #7 instead, with #8 and #9 to come in 2025.   So I'm pleased I met all my writing goals for 2024. As might have guessed, I'm especially pleased about the million words, since I had been trying to reach that in a year for the last four years and we finally managed to do it in 2024. Very satisfying, lemme tell you.   Now let's look ahead to my writing goals for 2025. Here is what I would like to do, in order of priority.   #1: Write as many words as possible, hopefully hitting 1 million words of new fiction. As I mentioned above, it was enormously satisfying to hit a million new words in a year after failing to do so since 2020. So I would like to do that again if possible, though of course circumstances may be out of my control. Regardless, I definitely want to write as much as possible in 2025.   #2: Finish The Shield War. I am exactly halfway through The Shield War, which as I mentioned earlier in the show, puts me on book four of six. I am planning to write a Shield War book every other month in 2025 until the series is complete.   #3: Finish Ghost Armor. I'm also exactly halfway through the Ghost Armor series, which puts me on book four of six. Like with Shield War, I'm planning to write a Ghost Armor book every other month until the series is complete.   #4: Continue Cloak Mage. Once The Shield War and Ghost Armor are complete, I plan to continue Cloak Mage, though I will probably start Cloak of Worlds a little earlier as a secondary project. I was originally planning for 15 books in Cloak Mage, but I realized I have way too much story to fit into the remaining three books. So it's going to be 18 in total (not 15), with a suitably epic conclusion once I get to the 18th and final book.   #5: Continue Half-Elven Thief. I also want to continue Half-Elven Thief because of the three new things I've tried in the last four years, this one has worked the best. I had originally planned for six books, but as with Cloak Mage, there's too much story to fit in six, so it's going to be nine instead.   #6: Conclude Stealth and Spells Online. As of this recording, I am 29,000 words into Stealth and Spells Online: Reactant, which will be the third and very definitely final book in the series (or trilogy, technically, since it's only three). I would very much like to thank everyone who read the first two books or listened to the first two audiobooks.   Stealth and Spells Online, I admit, didn't perform as well as I had hoped. I was just crunching some numbers to get ready for tax time, which means also looking at my bestselling books of 2024. I have published 158 novels, but my top 10 in any given year are usually books I published in that year. My top five bestselling books in 2024 (unless something drastically changes in the next 10 days) are Shield of Storms, Shield of Darkness, Cloak of Titans, Shield of Conquest, and Ghost in the Veils. All five of them came out in 2024, so that's not a big surprise.   Stealth and Spells Online: Leveling came out in February, 2024, so logically you would expect it to be in the top 10. Nope. Top 20? Still nope. Top 30? Got to keep going. It was the 41st bestselling book of 2024. It came out in February, which means it had abundant chances to place in the top 10, but sadly it did not. The Dragonskull and Sevenfold Sword series, both of which have been done for a while, both outsold Stealth and Spells Online: Leveling by a significant margin.   I think the problem is that I wanted to write a LitRPG book, but what I ended up with was a high concept science fiction espionage thriller with some LitRPG elements to it. Maybe I should have written it so the protagonist Noah Carver had a harem of anime monster girls or something. That always seems to be popular in LitRPG. The initial confusion with Sevenfold Sword probably didn't help matters, either. I honestly thought about abandoning the series, but if I left it unfinished, it would nag at me forever like a permanent pebble in my shoe. So I've been working on the third book as a secondary project and will hopefully publish it around this summer or so. It will wrap up the story with no unfinished threads while hopefully providing a satisfactory ending to the readers. That will be the definitive end of my foray into the world of LitRPG, then it will be time to turn to my next focus.   #7: A new epic fantasy series in the Andomhaim setting. I will start on this after The Shield War is done and it will be my main focus for a while, with books coming ideally every other month. I'm still working on the concept, but all I'll say so far is that we'll be set in Owyllain, which we haven't visited in any depth since Sevenfold Sword finished back in 2019. Even back in Sevenfold Sword, we didn't really see all that much of Owyllain, mainly the cities Aenesium and Trojas. So there's a lot of potential for story ideas there.   #8: My eighth and final goal for 2025: new audiobooks as time, budget, and narrator availability allow. My self-published audiobooks did a bit better in 2024 than they did in 2023, so I think I'm going to continue with focusing on new releases rather than trying to bring older series into audio. I would like to do as many new releases in audio as possible, though of course this depends on budget, narrator availability, and a few other factors.   So those are my writing goals for 2025. Hopefully I shall have some excellent new books for you very soon, though there's always a quote from the Book of James that I like to remember when I'm making long-term plans: “Go to now, ye that say, Today or tomorrow we will go into such a city, and continue there a year, and buy and sell, and get gain: Whereas ye know not what shall be on the morrow. For what is your life? It is even a vapour, that appeareth for a little time, and then vanisheth away. For that ye ought to say, If the Lord will, we shall live, and do this, or that.”   So if the Lord wills it, that is what I'm hoping to do in 2025.   So that is it for this week and indeed for 2024. I'd just like to take a moment to thank everyone who has listened to the podcast this year. I hope you have found it enjoyable and at times a profitable experience to do so. And also once again, I'd like to thank my podcast transcriptionist. Without her help, the podcast would not have its own dedicated website and there would definitely not be transcripts for the podcast.   So thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, often with transcripts (added note: transcriptions are available for Episode 140 onward). If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next year and have a Merry Christmas and a Happy New Year.

In this week's episode, we share six tips and tricks for writing while traveling. 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 231 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the 13th, 2024, and today we're discussing tips for writing while traveling, which seems a timely topic as the Christmas holiday is coming up. First, we'll have an update on my current writing projects and do Question of the Week.   For my current writing projects, I'm very pleased to report that Orc-Hoard, the fourth book in the Rivah Half-Elven series is now out. You can get it at Amazon US, UK, Australia, Canada, and in Kindle Unlimited.   I am also very pleased to report that I have now published a million new words of fiction for 2024, which is the first time I've been able to do that in a year since 2020. I will probably talk more about that in an upcoming episode. Now that Orc-Hoard is done, my main project is Shield of Deception, the fourth book in the Shield War series. I'm 11,000 words into that and I'm hoping to have that out in January 2025, if all goes well. My secondary project will be Ghost in the Assembly. I haven't actually started that. I'm still in the outline writing phase, but I'm hoping that will be out in February or potentially March, depending on how long it takes to write Shield of Deception.   In audiobook news, Ghost in the Tombs is now out in audiobook (as excellently narrated by Hollis McCarthy) and you can get it at Audible, Chirp, and most of the usual other audiobook stores. She's also recording Cloak of Masks for us right now, and that should be out in January, if all goes well.   00:01:29 Question of the Week   Now it's time for Question of the Week, which is designed to inspire enjoyable discussions of interesting topics. This week's question: where do you obtain free media like free ebooks, free audiobooks, free movies, and so forth? There are no wrong answers though for obvious reasons please keep answers limited to legal media sources. No piracy, please.   The inspiration for this question was our 12 Days of Short Story Christmas, during which I'll give away a new free short story every business day until December 23rd. If you want some of those free short stories, head to my website now. They will remain free at my Payhip store until December 31st. Now on to answers from Question of the Week.   Our first response is from Grimlar who says: Well, it's not exactly free, but I do find myself buying books from LMBPN publishing every Saturday for $1 each (their new releases from earlier in the week, usually Thursday or earlier). They drop the price of new books for Saturday as a loyalty bonus for their readers. Also, when a series has been completed, they tend to release a box set (or several for a long series), also priced at a dollar per box. They tend to release several books a week, which is handy, provided you like their stuff, which is mostly urban fantasy with some fantasy and some sci-fi. As I said, not free, but does make reading a much more budget friendly pastime.   I should note that LMBPN publishing also puts nearly all their stuff in Kindle Unlimited so if you're paying for a Kindle Unlimited subscription already, that is an easy way to check out their books.   David says: Some places I buy ebooks and audiobooks from offer some free material from time to time. So when I'm looking for something new I stumble across the odd book that is free that I am interested in, when I do stumble across these free offerings, I sometimes look to see if these authors have other free books. I don't bother with free movies.   Jeanne says: I get emails from BookBub, which sometimes has free ebooks, but most of the ebooks are between $0.99 and $2.99. That's probably actually how I came across you (you being Jonathan Moeller in this case). Otherwise, Kobo has a selection of free ebooks, if small.   Jenny says: I love Libby, and back when it was available, Axis 360 and Hoopla. I'm not sure if they've just gone from my library or gone forever. (Side note from transcriptionist: Axis 360 changed names to Boundless in 2023. Hoopla is still in business.)   Adeline says: The only time I ever received free items is when they're directly given away by the owner. Downloading virtual freebies from somewhere just seems wrong since they would still belong to someone. Although I don't have any movie subscription services myself, I still don't download free movies.   Bonnie says: I use Amazon for ebooks. I usually pay quite often though. I get a free town newspaper every two weeks. I don't watch TV anymore, so that isn't an issue.   Rob says: Amazon (you can search and order by cost) and authors do free downloads with their newsletter, not just Jonathan Moeller, but PA Mason, Kelly Armstrong, etc.   Chris says: Kindle Library, following you online gets me updates.   For myself, I get free ebooks through Libby (the local library system's ebook app) and very rarely audiobooks as well. I also, if I see something I like on the Kindle store that's free, I will download that right away. For free and legal movies and TV shows, I usually go to Tubi, which is free but ad supported and has a surprisingly large collection of stuff. So that's it for Question of the Week.   00:04:38 Main Topic of the Week: Writing While Traveling   Now onto our main topic this week, tips and tricks for writing while traveling, since of course many people travel over the Christmas holidays, so this seems like a timely topic.   Two principles to start with: First, think of why you are trying to write while you're traveling. Is this something you really need to be doing and more to the point, is this really something you should be doing? This obviously depends on the nature of your trip. If you are traveling for business reasons and you're sitting in an airport for four hours waiting for your flight and then you have a five hour flight, that would be an excellent time to get some writing done since otherwise, you would just be like everyone else in the airport paying too much for coffee and staring at your phone. If you are on the kind of trip that is a vacation, it might be a good idea to put aside writing while you are doing that just for the sake of your own mental health. If you are on a trip that involves a lot of family obligations, like for example, a funeral, then it might be a good idea just to set aside writing for that time, focus on the emotional needs of the moment and then pick it back up once the trip is over. The other thing to keep in mind if why you are writing is if you have a deadline. That sort of focuses the mind quite a bit and if you have a deadline, you're going to have to plan accordingly. The other thing to keep in mind is flexibility, why you are writing and flexibility because as we know, modern travel is utter chaos. I mean, it was worse in the past. I mean, Odysseus tried to get home from the Siege of Troy and got lost for 10 years, which is less likely nowadays, but travel is still unpleasant and a lot of things can go wrong, and you have to be flexible and seize the moment when you can and accept that sometimes things are beyond your control. If you are working on a deadline while you are traveling, then you'll have to treat it like any other remote work job while you are traveling. Having a true external writing deadline means you need to plan your vacation or trip differently and in a more structured way if possible. You absolutely need to plan this with your traveling companions in advance (if you're traveling with people), so everyone's prepared for this and pick your destination based on internet access instead of relying on standard hotel Wi-Fi because as we all know if you travel, standard hotel Wi-Fi generally is pretty terrible. You may need to bring some sort of mobile hotspot with you or pay extra to use your phone as a mobile hotspot while you are traveling.   If you are genuinely on a deadline and don't want to burn through your mobile data, check the internet setup of your destination before you arrive. It might also be wise to check on guest internet use policies at nearby libraries or universities if your destination does not have reliable internet and you'll need to use the internet for a significant amount of time. Many of these places require registration or a fee for non-residents/non-students but tend to have far more reliable internet than coffee shops or hotels.   Also, if you're in the phase of writing where you're writing your rough draft, if you're not editing and relying on an online editing tool like Grammarly or Pro Writing Aid, then you can probably do without internet if you absolutely have to. If you're just writing, just open up your laptop, sit down and write, it actually might be beneficial to have the internet off if you are prone to being distracted by the internet, but if you do need internet, bear that in mind.   For the next part of this episode, we're going to focus on the second type of writing while traveling, the feeling that many writers have that they should be writing while traveling or on vacation and fear of missing progress or falling out of their hard-won routine. I'll also provide some suggestions if you decide you want to write while traveling in spite of the various obstacles you might face.   If you don't have a deadline and this isn't a necessity for you and you really want to get some writing done while you're traveling, you need to ask yourself why. Writing because you want to means you can be flexible, but you still want to plan your expectations in advance to make the trip smoother and to deal with things in accordance with reality (always a good idea).   If you're not on a deadline and you don't have to be doing this, why do you want to write while traveling? Do you just want to keep the streak going by at least writing something? Do you want to keep your normal writing routine exactly? Are the reasons why you want to write more important than the personal, work, or family obligations on this trip? Like I said before, there are some trips where it's really in the best interest if you put aside any writing or work for the time and focus on the needs of the trip, whether that's a vacation by yourself or a family vacation, a family gathering such as a holiday or a funeral or another family gathering that's a bit happier than a funeral, like a graduation or a wedding or a baptism, that kind of thing. Do you want a soothing writing retreat at a lakeside cabin, but really you're spending a week with ten relatives in a cabin that you just rented? Then you might need to rethink your expectations for writing during that week. Now onto some tips for writing while traveling.   #1: If possible, plan the time. Note that this may not always be possible. You may have to carve out your own time to get writing done because it's definitely not a group activity, especially if you are on vacation with friends or family or something of that nature. Are you going to be able to sneak in half an hour of writing while everyone else is off on the boat or going to town for ice cream? That's a far more realistic of a goal in that circumstance than an imagined weeklong writing retreat.   Here's a recent example for myself. Over Thanksgiving before dinner, I was the only one who was not taking a nap in the house. I was the only one who was awake. I could have used that time to read or play video games, but instead I pulled out my computer and wrote a thousand words of Orc-Hoard. Now obviously there is nothing wrong with playing video games or reading or quietly browsing the internet in that circumstance, but I felt like what I really wanted to do in that moment while everyone else was taking their naps was to get a thousand words down. So that's what I did, and that's also a good example of a flexibility of seizing the moment when it presents itself.   I should also note that traveling is definitely not the time to start a radical new habit. If you can't get out of bed before 07:00 during a normal day, getting up to write at 04:30 while traveling is unrealistic, especially if you're staying up later, dealing with jet lag, or not sleeping well as usual, since it's often difficult to get a decent night's sleep in a hotel or somebody's guest room.   One long block of writing time may be more realistic than every day of the trip, especially if you're traveling with groups or with small children. Maybe you use the train ride or flight (or better yet, the seemingly endless wait for a delayed flight) as your writing time for the trip, and don't worry about the days at your destination. Like I mentioned before, if you're stuck at the airport waiting four hours before a flight will take you on a three-day trip and you get 3,000 words written during those four hours, you've probably got your trip writing covered.   #2: If possible, minimize distractions/create a working setup. Find a low traffic area if you're going to write such as the guest bedroom or your hotel room or something. Some hotels have work areas or lounges that are more tucked away from the lobby because hotel lobbies can get pretty noisy, especially nowadays when people seem compelled to bring their dogs with them into hotels. We also cover how to minimize distractions pretty extensively in our November Writing Challenge episodes, specifically Episodes 225 and 226, so you can listen to those tips there.   #3: I think this might be the most important tip: find small windows of opportunity. In other words, be flexible. Find short bursts of opportunities to write such as when you're in line for the rental car or waiting for your coffee at a busy coffee shop. These short bursts of two to three minutes might be the most realistic goal for traveling while writing, especially if you can teach yourself to write on your phone with your thumbs.   This might sound a bit outlandish, but I do know people who do this and have written entire books thumb typing on their phones on their commute from rural Britain to London every day. Then you will give yourself a big leg up because there are small, modern laptops you can use pretty effectively in small moments and carry with you, but everyone carries their phones with them most of the time nowadays, so you can whip out your phone and thumb type out a few paragraphs while you're waiting in line. That would be to your advantage, and honestly, it's probably a better use of your time in line than idly browsing social media or the internet on your phone.   #4:  Find a way to store ideas on the fly (especially important for short bursts of writing). You can use the Notes app or voice memos on your phone. Test this before the trip so it feels like instinct to do, to write down things quickly or to record paragraphs or carry a small pocket notebook with a pen. I should note for that myself, I only very rarely write ideas down because I have lots of ideas and I've always figured that if the idea is good, it'll come back to me when I think about it later, and if it's no good, I'll forget about it. I's sort of a survival of the fittest for ideas inside my head, but a lot of people's brains don't work that way, so it's a good idea if your brain doesn't work that way to write down ideas as they come to you.   #5: Be realistic about your goal, and this also ties into being flexible and having a realistic idea of what's going to happen on your trip. Is it worth pausing writing to have undivided time with family/ friends on this trip or is it worth pausing writing so you can relax (for example, if you're going on vacation or if you are visiting family, whether for a happy occasion like a wedding or a graduation or for a sad occasion like a funeral)?   Believe it or not, coming from me who was just boasting about publishing a million new words of fiction this year, there are some advantages to pausing writing for a while when you're compelled to do so by something like a trip. The potential positives: you can come back fresh to your work and your progress, especially after seeing lots of new things. That can work well with some people and help someone out of a rut.   Another advantage is if you're traveling, you don't have to deal with traveling with your laptop or additional tech equipment just for writing purposes or risk getting them damaged or lost. It's a lot easier to travel with a modern smartphone than it is with a modern laptop. This can also give you more enjoyable and focused time with family on vacation, which will help if you need to focus on writing instead of them at some later point, like for example, not making your second cousin's play because of a later deadline won't feel like a pattern of neglect if you just spent a week visiting them at the lake. This can also believe it or not, help with family strife because if you are frustrated with not meeting your writing goals while on your vacation, but if you give yourself permission to take a break, you won't be frustrated and you will probably be better company for any people you are visiting. The advantage is you can enjoy your vacation and spend time with your family or friends being fully present in the moment and not being distracted by what you have to do.   For myself, I've been publishing for…in the coming April, I will have been self-publishing for 14 years and I've veered back and forth at different times over this over the years. There are some trips I've gone on where I've done a significant bit of writing at the time, and there are other trips I've gone on where I haven't done any writing at all and focused on the moment. Again, it really depends on the circumstances of the trip. If, for example, I'm visiting family and everyone's taking naps in the afternoon, why not whip out my laptop and start typing and see if I can get out a thousand words before everyone wakes up and it's time for dinner? But other trips, for example, I've spent all day in the car driving from various national monuments and landmarks, and if you're doing that, that is really not a good time to attempt any writing for those kinds of trips, and so I did not do any writing on those kinds of trips.   Let me use myself as an example here. This coming Christmas holiday between Christmas Eve and about December 29th/December 30th, I'm not planning on doing any writing at all. I might do some writing if, for example, everyone's taking a nap or everyone's out doing errands or on phone calls or something and I have nothing else to do, so I might as well whip out my laptop and see if I can squeeze out a thousand words, but for the most part, I'm planning to focus on the holiday and not do any writing or very much writing between Christmas Eve and the 29th and the 30th or thereabouts. Then usually if I do that kind of thing where I have to take a couple days off or a weekend off or that kind of thing, I feel pretty refreshed and eager to get back at it once I am done with the trip and the vacation or the holiday is over.   Additionally, is it more realistic to use the trip for inspiration instead of getting writing done? You could visit museums related to what you're writing about, historical sites or buildings, or visit new cities. If you're planning to set a book there someday. Thinking of it as a research/inspiration trip may help with a feeling of guilt from not writing and make the trip more enjoyable.   What I've been doing lately is, as I've mentioned before frequently on this podcast, I usually do my own covers now, and that requires, of course, a steady supply of stock photos. So when I'm on a trip lately, if I see something scenic, it's time to whip out the camera and take a few pictures because modern smartphone cameras are good enough and produce high enough resolution images that you can use them on book covers. Several of the book covers I have published this year with my books have elements in them that were taken from photos I took while I was on a trip. So that is one example of how I shut off writing entirely during these trips, but then still take a lot of pictures that I can use for later stock photo use in my book covers.   #6: And now for tip number six that I'm going to emphasize quite a bit, if you are in fact writing while you are traveling, make sure you have a method for backing up your work. This is so important. I'm going to repeat it again. Make sure you have a method for backing up your work to the cloud or a flash drive or something. One of the risks of traveling is that your laptop can be lost, damaged, or stolen, and if you don't have a backup of what you're working on the laptop, you will lose all your work, which is one of the most disheartening feelings you can have.   Fortunately, there are many, many low-cost options to back up your work. You could use a flash drive and copy your work to a flash drive at the end of every session. The advantage of that is your work's in two places. The disadvantage of that is that a flash drive like laptop can be lost, damaged, or stolen, so it's a good idea to use a cloud solution. We talked about finding reliable internet, but you might want to just find just enough internet to connect to a cloud service like Dropbox or Google Drive or OneDrive or Apple Service and then back up your work to the cloud, and that way if your laptop is lost, damaged or stolen, you will not lose your progress. It's an interesting thing nowadays that laptops, as expensive they can be, are often less valuable to their users than the data they contain. The data is the important part, and you want to make sure that you back it up regularly. Even if you don't have a cloud provider, you can just email yourself the file every day of your work progress, so that way if your laptop is again lost, damaged, or stolen, you have a backup copy in your email account.   Recently, I was talking to a relative who is subscribed to Dropbox and he's complaining that he's paying, I think it's like $90 a year for a Dropbox to back up his laptop, and I told him to think of it as the computer equivalent of car insurance. I mean, in the ideal world, if you have car insurance and you get into a car accident, the insurance company will declare your car totaled and write you a check for the value of the car that will help you get your next vehicle. Having a cloud subscription like that is the equivalent of car insurance for computers so that way if once again, repeat it with me, if your computer is lost, damaged, or stolen, all your data is safely backed up in the cloud and you can download it right away to your next computer. You can tell I used to work in IT because I'm really banging on about this, but if you are traveling and you are working, make sure you have a good backup solution for your work. This will avoid, trust me, much later heartbreak.   So to wrap up, I'd say what the main thing I've learned for many years of doing this is that if you want to write while you are traveling, be flexible, which is something I have to admit runs against my personality because I do have a very rigid and routine driven personality, and it was totally up to me, I would do exactly the same thing, exactly the same time every day, but obviously life doesn't work that way.   One must learn flexibility, and flexibility is especially important while traveling. I'd say that is the biggest thing to keep in mind if you want to write while traveling, accept that sometimes you're not going to get any writing done during your trip and that is for the best or accept that other times that there may be moments where if you need to, you can write a thousand words while you're waiting at the airport or everyone else you're visiting is on the phone or running errands.   So I hope these tips and tricks will help you if you decide to write while you are traveling. So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

In this week's episode, I take a look back at the movies and TV shows I watched in Autumn 2024, and rate them from my least favorite to my favorite. TRANSCRIPT Hello, everyone. Welcome to episode 230 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the Sixth, 2024, and today we are looking at my movie/TV show roundup for Fall 2024. Before we get to that, we'll have an update on my current writing projects and then we will do Question of the Week.   First up, I'm pleased to report that the rough draft of Orc Hoard is done at 78,000 words, so it'll probably end up being about exactly the same length as Half-Orc Paladin, the previous book in the series. I've also written a short story called Commander's Wrath that newsletter subscribers will get a free ebook copy of when Orc Hoard comes out and hopefully we're on track to have that out before Christmas. I'm also 7,000 words into Shield of Deception, which will be the fourth book in The Shield War series and if all goes well, I'm hoping to have that out in January or February. In audiobook news, recording is currently underway for Cloak of Masks and that will probably be out towards the end of January or perhaps February, depending on how long processing takes.   00:01:02 Question of the Week   Question of the Week is designed to inspire enjoyable discussions of interesting topics. This week's question, what do you listen to while working: genre of music, audiobooks, podcast, nothing else so you can concentrate, et cetera. No wrong answers obviously, and we had quite a few answers.   David says: I listen to audiobooks and music. Music ranges from classical to country to pop, bands and soul artists to instrumental. No rap or heavy metal or dance music or I listen to music from YouTube channels. If I have to really focus on what I'm doing, I'll turn it low so it doesn't distract.   Justin says: video game music is my first choice. It can help you grind in real life just like it does in the game. If that isn't working for me, then rock or classical music with movie soundtracks at third.   Brooks says: I tend to gravitate towards hard rock/punk rock. I have to stay adrenalized. Outside work, I'll listen to almost anything.   Michael says: I find I can't listen to words or lyrics without getting distracted by them, so instrumental music is the way to go. Usually video game music too (the Stelara soundtrack is particularly epic), movie scores (Kingdom of Heaven is one of my favorites), or Dungeon Synth, an amazing music genre I only discovered recently.   Barbara says: sometimes I play music while writing, but most of the time I prefer the silence so I can better hear the voices in my head. Of course, I prefer very specific types of music that always end up coming back no matter how much I try to stray.   Jenny says: lots of EDM and techno if words would distract me or my solid nineties pop punk angsty mix. I also have a giant one I called “I heard it in a video game” for background music. John says: When I did/could work, I enjoyed outlaw country music, particularly that from Texas. Put me in a kick butt and take names kind of mood. When you're a plumber who gets paid by the work done, not the hour, that's where one wants to be.   (A different) John says: I only listen to music when I'm working in the kitchen. I'm eclectic. Sometimes classical music, sometimes ‘80s prog rock with Hawaiian music and occasionally jazz tossed in.   Juana says: I like rock and roll from many eras. I put my eclectic music on shuffle. I also listen to movie soundtracks: Star Wars, Star Trek, Harry Potter, Animal House, et al.   Brandy says: If I'm cooking, I listen to Pandora. There's a pop ‘90s - ‘20s station. I do have a few that are specifically listed, angry or sad, one more angry German metal or Mongolian throat metal, the other more goth and industrial. I read books instead of listening. If I'm proofing, I usually have something on in the background. Today it's Sanctuary Season One.   Morgan says: ADHD means I jump around a lot on what I'm listening to depending on the day, but audiobooks- usually fantasy or horror. Podcasts- Pathfinder actual play podcasts, horror podcasts, and wrestling/gaming news podcasts. Music, whatever artist/album I'm obsessing over at the time, but usually prog rock, metal, or rap.   Matthew says: I always have my iPad for background noise. If I'm particularly invested in getting chapters done, I'll put on something largely audible.   Gary says: audiobooks, podcasts, worship music, Christian hard rock.   Bob says: Retired now, but when I was working I didn't listen to anything-needed to concentrate on what I was doing. When paying bills, I sometimes have some Morse Code on in the background (one of my previous means of paying the bills). On long car trips, it's nice to have some distraction -whatever radio station I can find, preferably one with a story. In truck stops, we used to find some stories on disc that had the actors doing the voice of the characters and some of them were pretty good.   For myself, I almost always listen to music while I'm working and that genre is usually soundtracks and video games, movies, and TV shows (in that order) that I liked, which makes it difficult to discuss music with people, I have to admit. I do listen to podcasts when I'm working outside, so long as I'm not using a power tool that requires earplugs for safe operation (which sadly seems to be most of the time).   00:04:42 Main Topic: Autumn 2024 Movie/TV Review Roundup   Now on to our main topic, the review roundup of the movies and streaming shows I watched in Autumn 2024. I was going to do a combined Autumn/Winter 2024 one, but it was getting a bit too long, so Winter 2024/2025 will be its own post in a few months. I seemed to watch a lot of time travel movies this time around and quite a few with Space Magic. As ever, the grades are totally subjective and based on nothing more than my own thoughts and opinions. Now let's take a look at the movies and streaming shows from least favorite to most favorite.   First up is Escanaba in Da Moonlight, which came out in 2001 and it is a surrealist comedy about hunting traditions set in Michigan's Upper Peninsula. 42-year-old Reuben Sodi is the only man in his family who has never shot a buck, so when he complains about this to his Native American wife, she casts a spell to help Ruben bag his first buck, which results in a very bizarre nighttime journey/vision quest. This includes UFOs, visitations by nighttime spirits, and a Department of Natural Resources officer having a mental breakdown. This was a funny movie, but it was definitely very weird and even more specific. If you're at all familiar with the hunting culture of Upper American Midwest, you'll get the humor. If you're not familiar with it, this will be like watching a movie from another planet. Overall grade: C.   Next up is Looper, which came out in 2012. I didn't actually like this movie very much, but I respect how well done it was. Joseph Gordon Levitt plays Joe and is a type of assassin called a looper living in the US in 2044. About 30 years after 2044, time travel is invented but immediately outlawed. Since it's difficult to get away with murder in 2074 due to advanced technology, crime syndicates have taken to sending people they want eliminated back in time to 2044 where the loopers immediately execute the target in exchange for a big fat payout. Loopers can live like kings, but there's a price. Eventually the loop is closed and the looper's future self is sent back to be killed by his past self. Failure to comply results in an extremely grisly fate at the hands of the syndicate. Joe, being a hardened killer and drug addict, is fine with all this and even helps turn in a fellow looper who failed to close his own loop. Then Joe's future self arrives. Joe is about to kill Future Joe (played by Bruce Willis), but Future Joe escapes and Present Joe has to hunt down and kill Future Joe if he wants to survive.   In the process, Present Joe stumbles across the farm of a woman named Sarah (played by Emily Blunt) and her young son Sid. Present Joe realizes that future Joe has traveled back to kill the child, Sid, who will be responsible for the death of Future Joe's wife in the future. Despite everything he's done, Present Joe is not okay with this and gears up to help Sarah defend Sid from Future Joe. This movie was on the very dark side of noir filmmaking: no good characters, essentially only various degrees of bad people trying to navigate their way through the maze of time crimes. I did strongly dislike how fundamentally nihilistic the movie was and the addition of telekinesis did seem like kind of a plot crutch. There is also some unnecessary nudity. Rian Johnson is actually an excellent filmmaker. Knives Out and Glass Onion were both very good, but I cannot imagine how someone will watch Looper and think, hey, this guy is a good choice for a Star Wars movie. Overall Grade: B-   Next up is Agatha All Along, which came out in 2024. It was extremely well written and well-acted. You almost have to watch it twice just to admire how well put together the plot was. I wasn't expecting to like Agatha All Along, but it is an excellent example of writing a show with a villain protagonist and actually pulling it off. The show is also a good example of something I've talked about before on the podcast and the blog: characters can be likable, emotionally sympathetic, or both. It's sometimes tricky to write a character who's both, unlikable but emotionally sympathetic. By contrast, Agatha Harkness is an excellent example of a character who's both likable and highly, highly unsympathetic. Agatha All Along is indeed a show with a villain protagonist, but Agatha is charismatic enough to remain likable even though she's unquestionably an absolute monster who deserves every bit of suffering she endures.   Actress Kathryn Hahn deserves major credit for making someone as evil as Agatha so charismatic. Agatha retains just enough of a sliver of sympathy to keep the audience from turning on her, but even when she shows flashes of humanity, beneath that there are even more layers of monster. She also does a very sort of a modern Doctor Who/ Sherlock thing where she talks very fast and puts up a flippant and silly facade, but she's actually calculating things several steps in advance and manipulating everyone around her to her final goal. Anyway, the plot of Agatha All Along is that Agatha finally breaks free from the spell of the Scarlet Witch placed on here at the end of Wandavision. However, Agatha doesn't have any magic left, which is a major problem for her because she has very many enemies who very much want to see her dead as soon as possible, but then a mysterious teenager turns up and asks for Agatha's help. He wants to walk the legendary Witches' Road and it has said that someone who walks the road and survives to the end will receive their heart's desire. Since Agatha doesn't have any other options and she has some major enemies, she agrees. Agatha, the teenager, and the Witches' Road itself all have very dark secrets and their reveal makes for some major drama. As I mentioned, the show was very well written and acted. I suspect that may be the secret for movie or TV success in the 2020s economic climate: good actors, an excellent script, and keep your costs down. Overall grade: B   Our next movie is Field of Dreams, which came out in 1989. An Iowa farmer discovers he's a very specific kind of necromancer, like how sports medicine is a specific field of study. Maybe sports necromancy is a specific subclass for evil wizards or something. All joking aside, the main character is Ray Kinsella (played by Kevin Costner) and he's walking his cornfield one day and he hears a mysterious voice tell him “If you build it, he will come.” Ray builds a baseball field in one of his cornfields and began speaking to the ghost of Shoeless Joe, a popular baseball player who died in 1951. Soon a lot of other ghosts arrive and start playing baseball as well. The mysterious voice starts urging Ray to “ease his pain” and Ray concludes this must means Terrance Mann (played by James Earl Jones), an activist writer from the sixties who dropped out of the public eye and is living in seclusion. So Ray starts on a cross country trip to persuade Mann to come to his baseball field. This movie is really perhaps the ur-example of the Feel-Good Eighties Movies and maybe a Baby Boomer movie. The characters speak with near religious reverence for the ‘60s, baseball is the Great American Pastime, and Ray really wants to heal his relationship with the father he rebelled against back in the ‘60s. The best part of the movie was unquestionably James Earl Jones' character and his performance as he resigns himself to Ray's craziness and then starts to believe in it was pretty great. Overall grade: B Next up is Holiday, which came out in 1938. Holiday is a romantic comedy from the 1930s. Cary Grant plays Johnny Case, who has fallen in love with Julia Seton, the daughter of a wealthy New York banking family. However, his more individualistic outlook soon puts him at odds with Julia's more traditionalist family, though this draws the attention of Julia's elder sister Linda (played by Katharine Hepburn). It felt a bit like watching a play and a little research revealed that it was indeed based on a play from 1928, which may be why the film didn't do so well when it originally came out, though it is regarded as a classic today.   Viewers in the Great Depression era would probably find it difficult to sympathize with a man who wanted to turn down a well-paying job at a bank, not out of moral objections to the bank's business practices, but because he would feel constrained. The Seton family is played as eccentric and somewhat troubled, but not as buffoons or villains as rich people were often portrayed in other 1930s movies. Good performances and worth watching as a classic, though sound technology has improved quite a bit in the last 90 years, so you probably will want to watch it with the captions on. Overall grade: B   Next movie is Twisters, which came out in 2024. This is basically the same movie as Twister from back in 1995, but with some of the plot of Pride and Prejudice bolted on. Kate Carter (played by Daisy Edgar-Jones) is an Oklahoma storm chaser with her boyfriend and best friends. One day, one of their storm chases goes horribly wrong, killing Kate's boyfriend and most of their friends. Five years later, Kate is working for the National Weather Service in New York when her old friend Javi, the other survivor of that storm, asks for her help testing a new radar tracking system. Kate reluctantly agrees and they return to Oklahoma and crosses horns with storm YouTuber Tyler Owens (played by Glenn Powell) who makes videos of his truck shooting fireworks into tornadoes. Naturally, Kate and Tyler immediately misunderstand each other in the same way as in Pride and Prejudice but are forced to work together when it turns out that Javi's company might have ulterior motives. I thought this was a thoroughly enjoyable summer popcorn flick. Given how both Covid and the 2023 writers' strike hit this movie's production like two successive freight trains, it's astonishing it turned out so well. Overall grade: A-   Next up is The Rings of Power Season 2, which came out in 2024. I have the same attitude towards this as I do with Starfield. I really like it. In fact, my Xbox told me I played Starfield for 270 hours in 2024, but I get why some people do not. This show is essentially very elaborate fan fiction. The Lord of the Rings movie trilogy, despite the changes from the book, was still recognizably The Lord of the Rings. The Rings of Power is almost entirely its own thing. Nevertheless, I enjoyed this for a couple of reasons and hope it continues. First, it's nice to have an epic fantasy TV series that's not a nihilistic pornographic torture fest like Game of Thrones and House of the Dragon and is more competently executed than Disney's ill-fated Willow Series.   Second, all things must be taken in their context. What do I mean by this? Perhaps a food comparison will illustrate the point. The book the Lord of the Rings is like Kobe beef prepared by the finest chefs in the world, the sort of experience you get maybe once or twice in your life if fortune smiles upon you. The Lord of the Rings movie trilogy is like a high-quality supermarket steak grilled in the backyard by someone who's pretty good at it. The Rings of Power is like McDonald's, but there are times when you really want some McDonald's. In fact, I kind of want a Big Mac after saying all of that, but The Rings of Power is really good McDonald's, the kind of McDonald's you have after driving the car for 250 miles without stopping across one of America's flatter and less populous states. The only place to eat for like a hundred miles in any direction is this McDonald's in the same building as a gas station, so you stop and don't expect very much, but it turns out the fries are crispy and salty and the nuggets are just right.   I don't think it's surprising that The Rings of Power has had such a mixed reception. The Venn diagram of “enjoys Lord of the Rings” has some wildly divergent circles to it and that is a testament to the fact that the Lord of the Rings is such a great work of literature that so many people from so many very different ideological identity groups enjoy and identify with the book. Even ideological identity groups that are mortal foes agree on their approval of the Lord the Rings. So naturally each different group has its own strong opinion of what an adaptation should look like.   With that very long-winded introduction out of the way, I liked season two and I thought it was an improvement over Season One, a lot more narrative tension. Season One perhaps spent too much time setting the table and building context, but Season Two works well in making Season One better in hindsight. The Rings of Power version of Galadriel is improved in Season Two because she was one of the few characters in Season One able to throw off Sauron's mental domination and seduction. The highlight of the season was the toxic dynamic between Sauron and Celebrimbor.  Actors Charlie Vickers and Charles Edwards did an amazing job portraying the slow-moving disaster that Sauron and Celebrimbor's collaboration would create, two intellectual equals working together to create something great, but nonetheless, Sauron twists everything to his own ends. Their final scene together was just astonishingly good. The portrayal of Sauron is both very modern and true to Tolkien, a destructive narcissist who actually believes whatever lies he's speaking at any given moment. He really, truly believes he's going to heal Middle Earth, no matter how many people he has to kill to do it. The scenes with Prince Durin, his father, and one of the dwarven rings of power were great as well. It had the same sort of feel to it as an adult child watching with horror as a beloved parent succumbs to a drug addiction. The best new character the show created (in my opinion) is Adar, one of the progenitors of the orcs. Tolkien himself could never really decide on the origin of the orcs and came up with different thoughts throughout his lifetime. When editing The Silmarillion, Christopher Tolkien settled on the corrupted former elves version, which seems to be what his father had been leaning towards anyway. Rings of Power takes that to its logical conclusion. Adar wants his orcish progeny to live free of the dark lords Morgoth and Sauron, which makes sense because in the books, the orcs hated Morgoth and Sauron and only served them out of fear. Indeed, in The Lord of the Rings, Sauron seems to have secret police and informers among the orcs to keep track of their loyalties. Since the show displays how twisted and cruel Sauron really is, it makes sense that Adar is willing to go to any lengths to stop Sauron, no matter how extreme. The orcs are still monsters, including Adar himself, but they're monsters who want to be free of an even greater monster than themselves. If you've read The Silmarillion or The Lord of the Rings, you'll know all the characters' efforts are doomed to failure, especially Adar and Celebrimbor's, which lends an air of inevitable tragedy to everything that happens. I know some people were mad that Tom Bombadil was basically Wizard Yoda, but I thought it worked. Tom Bombadil is so inscrutable of a character that he can really do whatever he wants so long as he's inscrutable. It was also great how composer Bear McCreary wove a variation of Sauron's theme throughout the show. The soundtrack was A+ work in my opinion. Overall, I enjoyed the show and would like it to continue. If you know the difference between Fëanor, Finwë, Finrod, Felagund, Finarfin, Findulias, Fingon, and Fingolfin (without having to look it up), and in fact have everything about them from The Silmarillion memorized, you'll hate this show. But I think it's worth watching. Overall Grade: A-   Next up is Casa Bonita Mi Amor, which came out in 2024. Way back in the 1990s I saw an episode of Frasier where Frasier and his brother Niles decide to buy a restaurant. A series of hilarious cascading disasters result. At the time I decided I never wanted to own a restaurant and every piece of both factual information and fictional media I have consumed since has not changed this decision. Casa Bonita Mi Amor definitely will not challenge that decision. Apparently, Casa Bonita was a beloved theme restaurant in Colorado that went out of business during Covid. Trey Parker and Matt Stone, creators of South Park, decided to buy the restaurant themselves and reopen it. They budgeted $3.6 million for the restoration of the building. Costs soon swelled to $40 million and the problems were still only just beginning. This is an excellent and entertaining example of the “rich man buys restaurant, soon finds himself over his head” genre of documentary filmmaking. Overall grade: A   Finally, my two favorite things I saw in Autumn 2024 and the first of them is the movie Frequency, which came out in 2000. It's another variant on a time travel story, but I like this one considerably better than Looper. Frank Sullivan is a firefighter and devoted family man living in New York circa 1969. His son John is a police detective living in the house 30 years later in 1999 with emotional problems because he never got over his father's tragic death in a dangerous fire 30 years earlier in 1969.   When the son of a friend stumbles across his father's old ham radio, John lets the kid goof around with it. Later that night, John starts talking to someone on that radio and to his astonishment realizes he's talking to his father from 30 years ago on the same ham radio. Desperate, John tries to warn Frank about the fire that kills him and it works. Frank survives the fire and instead of dying 1969, instead dies in 1989 from lung cancer due to a pack a day habit. The scene where history changes and John suddenly realizes what has happened was pretty great, but this isn't the ending. We're only 40% of the way through the movie. John successfully managed to put right what once went wrong.   However, in doing so, he accidentally also put wrong what once went right. His mother is a nurse and in the original timeline was on bereavement leave the day after Frank's death. In the new timeline, Frank is okay, so she goes to work and saves a patient who otherwise would've died in medical error and the patient happens to be the deadly serial killer known as the Nightingale. To his horror, John realizes that The Nightingale is now free to continue his murder spree and his new target is John's mother and Frank's wife.   As I've mentioned numerous times before, I'm not really a fan of time travel stories, but this one was quite well done. Interestingly, the plot structure was similar to Avengers Endgame. The Avengers go back in time to steal the Infinity Stones to undo Thanos' Snap, but Past Thanos figures out what's going on and follows the Avengers back to the present and attempts to make things even worse than they already are. John manages to save Frank from the fire, but this means the Nightingale serial killer survives and might create a worse present than the one John already has, so that really adds an altogether excellent element of dramatic tension to the entire movie. As one amusing side note, this movie shared Field of Dream's reverence for baseball as the Great American Pastime and John manages to convince Frank he's telling the truth about their time travel radio by accurately predicting the outcome of baseball games. Overall grade: A Now the second favorite thing I watched in Autumn 2024, The Grand Tour: One for the Road, which came out in 2024. I admit that when I started self-publishing in 2011, I knew absolutely nothing about the contemporary United Kingdom, like I couldn't even told you whether the UK used the Pound or the Euro. When I started getting book royalties from Amazon UK, let's just say I learned about currency conversion rates really fast, but as UK book royalties fluctuated as they do, I started reading the UK news since when there's an election or major news event in the UK, book royalties tend to drop for a few days after the same way they do when something similar happens in the US. Because of that, I saw the news article when Jeremy Clarkson was fired from Top Gear in 2015 for punching out a producer. At the time, there were some seasons of Top Gear on Netflix, so I was curious and started watching and was thoroughly entertained.   When Grand Tour started on Amazon, I started watching that as well and I was also thoroughly entertained, but all good things must come to an end. Jeremy Clarkson, Richard Hammond, and James May go on one last road trip adventure across Zimbabwe. The usual hijinks ensue for one last time, and it was a fitting end to Top Gear/The Grand Tour. I'll miss the show, but I am grateful for over a decade of entertainment from Top Gear/The Grand Tour and from the various spinoffs like Clarkson's Farm and James May's travel show. Overall grade: A   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we wrap up the November Writing Challenge by taking a look back at the Five Iron Laws Of Storytelling, which have often been discussed on this show before. Be sure to get your free copy of STORYTELLING: HOW TO WRITE A NOVEL at my Payhip store. The book will remain free until December 9th: https://payhip.com/b/JPDoT TRANSCRIPT Note: Spoiler alert at 3:35. Please check this section of the podcast before proceeding if you are concerned about spoilers for several older television shows, movies, video games, and books.     00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 229 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 26th, 2024, and today we are wrapping up our November Writing Challenge with a look back at The Five Iron Laws of Storytelling. You may note that I am recording this a bit earlier than I usually do, but that is because I want to take a couple days off for Thanksgiving.   To celebrate the end of our November Writing Challenge and to congratulate you all for listening to these shows, I am giving away free copies of my nonfiction book, Storytelling: How to Write a Novel on my Payhip Store. The link will be in the show notes, and if you follow that link, you can get a free copy of Storytelling: How to Write a Novel from my Payhip Store until December 9th. So follow that link in the show notes to my Payhip store and you can get a free copy of Storytelling: How to Write a Novel until December 9th. Before we get to our main topic, let's have a look at my current writing projects. My main project right now is Orc Hoard, the fourth book in the Rivah Half-Elven series, and that puts me at 55,000 words into it and that puts me on chapter 11 of 18. So I think the final draft will be around 85,000 words or so, which will make it the longest book in the series to date. And if all goes well, I very, very, very much want to have that out before Christmas. I'm also about 4,000 words into Shield of Deception, which will be the fourth book in my Shield War series and if all goes well, I am hoping that will be the first book I publish in 2025.   In audiobook news, the audiobook of Cloak of Spears, as excellent narrated by Hollis McCarthy, is now available at all the usual ebook stores. I will include a short preview of the audiobook of Cloak of Spears at the end of this episode, so you can listen to that then. And that is where I'm at with my current writing projects as we wrap up November and head into December.   00:01:57 Main Topic: The Five Iron Laws of Storytelling   So now let's go right into our main topic, The Five Iron Laws of Storytelling. I figured this would be a good main topic to wrap up our November Writing Challenge with as it is a good reminder and a good summation of many of the things we talked about in the past month. The Five Iron Laws of Storytelling is a concept I first talked about on my website like 10 years ago now. The name Iron Law is sort of a tongue in cheek joke because I got the idea from a science fiction author Jerry Pournelle, who termed what he called Pournelle's Iron Law of Bureaucracy, where describing that after a certain amount of time, a bureaucracy will cease to attend to the function to which it was created and instead devote its attention to sustaining and perpetuating the bureaucracy. And I'm sure we can all think of examples of that, so that's where I took the name from, but it's not so much Iron Laws as these are useful principles to guide you while you are writing a fictional story, whether it's a short story, a screenplay, or a novel. I would say it's fair to argue that storytelling does have some laws you can follow (or at least if you don't like the term laws, best practices) and a writer will ignore those best practices to his peril. When people get ticked off about the ending of a story like the ending of The Sopranos or the ending to Stephen King's Dark Tower series, if they simply don't like a novel or a TV show, it's usually because the writer ignored one of more of these Iron Laws that we're going to talk about. These then are what I believe to be The Five Iron Laws of Storytelling.   When discussing them, I will cite five examples that I think to be excellent examples of the craft of storytelling: the movie the King's Speech, the movie Wreck-It Ralph, the movie Gravity, the novel Pride and Prejudice, and the TV series Breaking Bad. I should note that I did not personally care for Breaking Bad because it was too nihilistic for my taste, but nonetheless, it was an excellently crafted example of a well-written story. I'll also cite four things I believe to be examples of bad storytelling: the final two volumes of Stephen King's Dark Tower series, the Dragon Age 2 computer game, the original ending of the Mass Effect 3 computer game, and the ending of the Sopranos TV series. So note that there will be spoilers for all of these shows, films, books, and games. Now onto the five laws.   #1: The protagonist must have a problem that results in a conflict because if there is no problem, there is no story. Conflict and problems are engines that drive the story. A happy life with minimal conflicts and problems might be the ideal that we all want in real life, but it does make for an exceedingly dull story. The main character of his story needs to have a problem that results in some kind of conflict. Note that this conflict doesn't necessarily have to have an actual villain, it just needs a problem to solve. The movie The King's Speech doesn't have a villain (though the future and former King Edward VII is kind of a jerk) but instead revolves around George VI's efforts to deal with his speech impediment. Gravity likewise has no villain but centers around Dr. Stone's efforts to survive in the harsh environment of space. So the protagonist must have a problem. The story is about how he or she deals with said problem, which leads us on to number two. #2: The protagonist's problem and conflict must be consequential to the protagonist and have real stakes for the protagonist. The problem has to be serious because if it is not, there are no real stakes, the reader will get bored and cease to care about the character. The worst of all worlds is an unlikeable character with a trivial problem. Walter White in Breaking Bad is a thoroughly unlikable character, but he becomes sympathetic to the audience because of the nature of his problem. He's dying of cancer and so he turns to meth production to ensure his family's security after his death. Walter's problem, of course, has very real stakes, his own mortality and his family's future, but the stakes need not be life and death, but nonetheless, they need to be emotionally serious and significant to the protagonist.   In the King's Speech, at no point in the movie is George VI in any kind of physical danger. He is wealthy and respected, his wife and children love him, and he does not have the self-destructive impulses and nature of his brother. Nevertheless, his problem is real. It is emotionally painful and opposes a risk to both himself and his sense of duty to the monarchy and the country. Likewise, Elizabeth Bennett in Pride and Prejudice is in no physical danger throughout the book. Nonetheless, the stakes of her problem and her feelings for Mr. Darcy are consequential. If she does not secure a good marriage when her father dies, there is a very real possibility she'll be impoverished. Or if she marries an unsuitable man like Mr. Wickham, her life will be miserable. So while a young woman dealing with her feelings seems like a trivial problem, it will nonetheless have potentially dire consequences for Elizabeth and her family if she chooses wrongly.   Physical danger is likewise an easy way to introduce high stakes to a story. In Gravity, Dr. Stone faces constant risk of death in a variety of agonizing ways due to the harsh nature of space. Wreck-It Ralph faces the prospect of non-existence if he dies outside his game. In Breaking Bad, other than the inevitable death from cancer, Walter White faces increasingly high odds of getting shot in the head by his business partners and customers, since crystal meth is clearly not a business for conservative-minded investors. Regardless of the nature of the problem and the conflict, it must be consequential and carry high risks and dangers for the protagonist. That said, the problem must be something the protagonist can conceivably deal with. Too vague of a problem or too powerful of a problem, and the story goes off the rails.   When I'm recording this in November of 2024, it's a few months since the fourth Dragon Age video game came out, and if you look at the internet at all, there are of course frequent debates about which Dragon Age game was the best and which one was the worst. But in my opinion, Dragon Age 2 is the weakest of them because it runs smack dab into the problem we've been talking about. The central conflict in the game was strife between the mages and the Templars who are supposed to police the mages. The Templars claim that the mages are demon worshiping abominations while the mages claim that Templars are arbitrary and brutal. As it turns out both sides are right, regardless of which faction the protagonist chooses to aid, making the conflict of Dragon Age 2 to be human nature/social injustice. Regardless, it's not a problem that can be resolved within the game and in the ending, the Templars and the mages go to war no matter what decisions the player actually makes, so I'm afraid that the story falls flat.   #3: The protagonist must take action and struggle to resolve his or her conflict and problem.  A common failure in storytelling is a protagonist who has a serious problem but does nothing about it. We've all read stories with a passive protagonist, or even worse, a protagonist who does nothing but whine about his difficulties or thinks that by feeling bad about his or her problems, they will somehow magically get better. Worst of all is when a protagonist does nothing but whine or complain for two hours or 300 pages and somehow does solve all of his or her problems. This is apparently a common problem in the genre of romance novels. The opposite of this problem is the boring invincible hero. This is common in science fiction or fantasy series where towards the end of the series, the hero is so powerful that he or she can defeat all his problems using magic or a blast from a particle cannon. Struggle is necessary for a story. If the protagonist does not struggle, the story will probably be boring. No, the protagonist has to take action, actual active action to resolve the problem, but he or she must struggle while doing so. In Breaking Bad, Walter White sets out to solve his family's impending financial ruin by brewing up some crystal meth for sale. In Wreck-it Ralph, Ralph wants respect from the other denizens of his game, so he jumps to another game to win a medal and therefore prestige. In Gravity, Dr. Stone struggles to stay alive the entire time in the face of the indifferent hostility of outer space to human life. If these characters did nothing to surmount their problems, we would have boring stories.   #4: The protagonist must face challenges and setbacks and his or her efforts to resolve the problem that may even backfire. This is a good antidote to the boring invincible hero problem we just mentioned. Think of this as the unexpected complications ensue rule. You see this all the time in real life, it matters both serious and trivial. Like say you need to mail your rent check but you're out of stamps, so you drive to the post office, but there's an accident in the intersection and you have to take a different route. As you take a different route, your car breaks down. All these new problems need to be dealt with and you still have to mail the check. We've all had days like that, and fictional protagonists should be no different in the pursuit of their goals.   Additionally, it's possible for a protagonist to inadvertently make things worse through his or her actions. Like in Wreck-It Ralph, Ralph sets off for his medal of heroism, but in doing so, accidentally puts his own game out of order and inadvertently unleashes the virus like cy-bugs in the Sugar Rush game. Walter White in Breaking Bad is a textbook example of this. In the course of attempting to solve his problems, he makes a number of extremely bad decisions that estrange him from his family and sent his business partners gunning for his head. In the King's Speech, George VI gives up in despair believing he'll never overcome his speech impediment. In Pride and Prejudice, Elizabeth torpedoes her relationship with Mr. Darcy because of her misunderstanding of his motives. And if you've seen Gravity, you know that Dr. Stone's situation frequently goes from bad to worse.   #5:  The ending must provide satisfactory emotional resolution to the problems raised in the story. Of all the Five Iron Laws of Storytelling, this one is undeniably the most important. Screw this one up and readers will be ticked and talk about on the Internet for years. Whatever crisis comes up in the story, whatever conflict or difficulties, it must be resolved in an emotionally satisfying manner   by the end of the story. It can be a happy ending or a sad ending or a mixture of the two, but it must be emotionally satisfying.   Let's look at some bad examples first. Stephen King is an excellent writer. If you've read his book 11/22/63, you know that's a great book. But when he's written as much as he has, not everything is going to be good, of course. And Stephen King's The Dark Tower series is a good example of a weak ending. After 22 years and seven books, the protagonist Roland learns that he has repeated his quest to the Dark Tower over and over again for thousands of years, forgetting every time, which makes everything that happened in the previous seven books utterly meaningless since the events happened before and will happen again. Therefore, there is no emotional resolution to the story or Roland's quest for the Dark Tower. The computer game Mass Effect 3 is another example of how not to end a story. In the case of Mass Effect 3, the original ending is simply too abbreviated. Commander Shepherd sacrifices himself or herself. A weird light shoots out of the Citadel. The Normandy crash lands on an alien planet, and that's it. Considering the hundreds of hours of gameplay involved and the intricate network of emotional relationships between Shepherd's companion and the dozens of subplots over the three games, the ending was too short to provide adequate emotional resolution. It felt a bit like a cop out as if the writers had simply said, okay, we're done, stop here, and had given up before attempting the necessary ending. The ending of Dragon Age: Origins by contrast was an excellent example of a well done ending.   The ending of the Sopranos is an even more extreme version of this.  Infamously, the series simply ends with a cut to black in the middle of Tony Soprano and his family eating dinner. Many viewers thought their televisions had failed. This is the ultimate example of a story of failing to provide emotional resolution. The final episode does not even attempt to do so. I suspect these problems arise when a writer tries to be realistic, which is what happens when a writer mistakes verisimilitude (a story feeling realistic) for realism. A story requires suspension of disbelief and attempting phony realism can cause the story to break down.   But let's move from the negative to the positive and look at some good examples of endings. The ending of Breaking Bad was well executed, since it resolved the story's emotional conflicts. Walter White does not escape punishment for as many crimes since he's shot to death in the end. Additionally, he dies in the act of resolving some of the conflicts that he helped create. His meth empire has been taken over by his enemies and his former partner has been forced to prepare meth for them. Walter tries to provide for his family, free his partner, and defeat his rivals and dies at the end, killed not by his cancer, but by finally facing the consequences of his many bad decisions. Note that this is by no means a happy ending, but it is a satisfying ending, which is more important.   The King's Speech ends well, with George VI addressing the nation over the radio without melting down due to his speech impediment, simultaneously resolving the conflicts over his stammer and his fear of accepting his duties as king. This is an ambivalently happy ending. George VI has overcome his conflicts, but the viewers know that the United Kingdom is about to go through World War II and George himself will die prematurely of lung cancer and heart disease in 1952. Nevertheless, the conflicts within the story have been resolved.   Wreck-It Ralph has a more straightforwardly happy ending. Every single conflict raised within the story is resolved. Ralph accepts his role as villain in the game, realizing he is a vital part of the team. He gains the respect of his neighbors, and the villainous King Candy and the cy-bugs are defeated. Additionally, even when the side conflicts are resolved: Fix It Felix marries Sergeant Calhoun, King Candy's malevolent influence over the racing game has ended, and the homeless video game characters are able to set up inside Ralph's game.   To sum up, stories have a sort of irresistible logic to them. Much like a properly balanced equation. a writer should set out to create a story that follows this logic, which will result in a far more enjoyable experience for the reader.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.   Don't forget to get your free book copy of Storytelling, how to Write a Novel from my Payhip store.

In this week's episode, we conclude our November Writing Challenge with questions from beginner writers. We also check in with our transcriptionist and see how she did with the challenge. Bonus! The transcriptionist's official Writing Playlist: Now I'm in It-HAIM Build Me Up From Bones- Sarah Jarosz Outnumbered- Dermot Kennedy Pain is Cold Water- Noah Kahan Orpheus- Vincent Lima Flight Risk- Tommy Lefroy If I Don't See You Again- Wyatt Flores Brink of Love- Teddy Thompson The Wire- Patrick Droney Coming Home- Leon Bridges More Love- Sara Bareilles White Flag-JOSEPH TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 228th of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 22nd, 2024, and today we are discussing the fourth and final part of our November Writing Challenge, which will answer questions from beginning writers. Before getting into that, we will have an update on my current writing and audiobook projects and our Question of the Week.   First up, Cloak of Illusion, as I mentioned last week, is now out. You can get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip Store. There was a bit of a processing glitch on Kobo that slowed it down this week, but now the book should be available at Kobo, so if you're a Kobo reader, you can buy it for your Kobo reader or read it in Kobo Plus without any difficulty. Now that Cloak of Illusion is out (and selling very well, thank you all for that), my next project is Orc Hoard. That will be the fourth Rivah Half-Elven Thief book and I am 44,000 words into it (on chapter 10 of 18, which means I'm over halfway through). I very, very much want to have this book out before Christmas and I will be doing my best to make that happen. I am also about 2,000 words into Shield of Deception, which will be the fourth Shield War book (and hopefully will be my first book in 2025). The outline has 31 chapters, which means this will be the longest book I have tackled in a while, so I'm glad I'm getting kind of a head start on it as the secondary project while I work on Orc Hoard.   In audiobook news, as we mentioned last week, Shield of Conquest is out at all the audiobook stores (as excellently narrated by Brad Wills), and you can get that at your favorite audiobook store. In other good audiobook news, Cloak of Spears (as excellently narrated by Hollis McCarthy) is now out at all the audiobook stores and if you are looking for something to listen to on your long Thanksgiving drive or plane trip, I should mention that Cloak of Spears is about 12 hours long, so it will have you covered.   00:02:01: Question of the Week So that's where I'm at with my current writing and audiobook projects and let's move on now to Question of the Week. Question of the Week is designed to inspire enjoyable discussions of interesting topics and this week's question ties directly into what we just talked about: what do you do for entertainment while traveling (whether by car, plane, train or otherwise- podcasts, audiobooks, portable games, that kind of thing)? No wrong answers, obviously. The inspiration for this question, as you might guess, was the upcoming Thanksgiving holiday, which for many people was a great deal of travel and finding ways to amuse yourself while traveling.   So in answer to this question, Justin says: music- classical, rock, movie scores, and video game tunes. If I'm traveling, I'm almost always driving. Music helps relax and entertain without demanding my attention.   Brett says: I read- very often one of your books. You've published 100+ books, but because I've read them multiple times, I may be at 1,000 plus reads of your books. (I got to say Brett has a good taste here.) If I'm driving, I don't usually have any entertainment.   Surabhi says: I love reading while traveling. Kindle is a nice advantage, being easy to carry, and I usually have easy to read books to read for traveling, which of course is why I have so many of your books in my Kindle Library. They're simple yet enjoyable to read.   I got to say Kindle does make traveling with books a lot easier. I remember in the old days all I had was space for two books to bring on a trip, and so I was trying to pick out which two books to bring. Venus says: Reading and geocaching.   Bonnie says: about all the traveling I've done recently is to work and back, usually local radio station and ‘80s music.   Juana says: so my dad drove like he was in NASCAR. Consequently, I read books, because I was not brave enough to watch death coming for us. The habit is still with me.   Darla says: riding in car listening to Sirius XM, looking at scenery or talking to the driver, driving by myself- listening to radio or CD music and singing. On an airplane, I read hard copy books or ebooks on my tablet, maybe try to sleep.   Cheryl says: read the Kindle, but mainly keep an eye on the road, even as a passenger. You never know what is going to jump out into a country highway here in Australia.   Ashley says: I listen to audiobooks while driving and that has made working overnights more bearable.   Adeline says: Apple's Books app on my phone has been my best friend while on the move for years-planes, trains, London's public transportation.   MW says: while driving, I listen to either music or a podcast. When I'm being a passenger, I love to read or draw. I'm always carrying my Kindle and my sketchbook everywhere, or I try to catch some sleep. I generally avoid conversing unless I'm actually traveling with someone, but even then I reserve some time for myself.   John says: audiobooks while driving, Kindle on my phone while flying or lounging around, physical books while camping, though I use the phone at night. I like to hang out in restaurants and pubs at the bar, reading books and talking to strangers. If there's a beach or river, occasionally fish and walk around either the city, beach, or trail.   Jenny says: all the books or podcasts/radio shows. BBC has a fun one I have on CD called Cabin Pressure. It's hilarious. And if I'm alone in the car, singing along at full volume with my singalong playlist.   Just a comment quick, I did listen to all of Cabin Pressure in 2022 and early 2023, and it is indeed hilarious and I recommend listening to it if you get the chance. JT says: when I travel, I generally intend to read and thus take several books. Instead, I listen to YouTube videos, audiobooks, music, play games, or nap. It is rather frustrating. Brandy says: I haven't been able to drive myself since 2010, so I generally read books, coordinate meds, snacks, and travel stops since my partner is diabetic and I am epileptic. I navigate, take pictures of interesting scenery for attempted art later, bug people through texts, and Facebook.   Barbara says: if I'm not driving, I usually just watch the traffic and scenery. Of course, depending on whom the driver is, I may just close my eyes so I don't panic. Unfortunately, I have to board an airplane in a couple of weeks for an out-of-state wedding. I'll distract myself from the agony of the flight by reading.   Morgan says: I don't travel much, but I'm a delivery driver for work and I do a lot of audiobooks and podcasts, especially tabletop RPG actual play podcasts. And Rob says: usually talk to the driver/navigate. If it's by bus or train. I read.   For myself, whenever I travel, most of the time I'm the one who's doing the driving, which obviously narrows down the entertainment options. So when I travel any long distances, I'm usually listening to audio books. A quirk I have with that is that I prefer to listen to audiobooks of books I've already read. So if I need to tune out the audiobook and focus on heavy traffic for a while, which happens often, then I don't feel like I'm missing anything.   00:06:30 Main Topic of the Week: November Writing Challenge Week 4   Now it's onto our main topic, the fourth and final week of our November Writing Challenge. As you know, if you've listened to the previous three episodes, our November Writing Challenge is sort of a let's call a low stress way to build a writing habit and get into writing and do writing because the traditional way of getting into writing in November, NaNoWriMo, may be a bit overwhelming for some people. If you feel like you're missing out when others are working on a bigger writing challenge this month, and if you want to start writing but feel overwhelmed, a smaller writing challenge for the absolute beginner- 300 words a day or some other small number of your choosing. The key is that it should be small and something you can manage daily. Follow along with our podcast transcriptionist who has never finished writing a book and feels overwhelmed at the idea of starting one. Follow her progress and see what advice I have for her and other beginner writers.   So with that in mind, let's start with our transcriptionist update for the fourth and final week of the challenge. She says, “I completed another week of the challenge. I averaged 355 words per day, taking an average of 14 minutes per day. It's getting easier as the challenge goes on this month. For my overall challenge, I averaged 363 words per day, taking an average of 14 minutes per day to finish my daily word count. I finished three chapters of a rough draft even in a month where a lot of things happened in real life that ordinarily would've kept me from trying. I plan to keep going with the challenge in December since it feels like a habit at this point.”   So as we can see, our transcriptionist had good results from the challenge and feels like she's gone a long way to build a consistent writing habit. As I've said before many times on the podcast, don't let the perfect be the enemy of the possible and the achievable. And if a 1,000 words or 1,600 words a day just seems overwhelming, 300 words a day might be far more achievable. So that might be something worth looking into. So now onto the questions I've been sent about writing from beginning writers. So we're going to go through these questions one by one.   #1: Do you listen to music while you write? Yes, I do. My preferred genre is soundtracks from movies, TV shows, and computer games that I like. And my listening habits tend to be a bit eclectic and not transferable to other people because if I talk to other people about my age, they prefer listening to bands they remember from their teenage years or their twenties. It's true for everyone, whatever the music you were listening to when you were a teenager and in your early twenties becomes the gold standard for music for the rest of your life, and nothing else can quite live into that. But for me, I prefer listening to soundtracks from movies, TV shows, and especially computer games I enjoy. For example, yesterday I was working on chapters 9 and 10 of Orc Hoard, and during that time I listened to the main theme from Dragon Age: The Veilguard like 15 times in a row. Am I going to play Dragon Age: The Veilguard? No, I don't have time for another computer game of that size, but I like Han Zimmer's music and have many of his soundtracks and I like the main theme to Dragon Age: The Veilguard, so I listen to it like 15 times in a row.   #2: Our next question: is writing fun for you most of the time? I would say it is fun for me most of the time. It's always an expenditure of energy, however. I mean there's always this temptation in the back of your mind or in my mind that I could knock off for the day and play Starfield all day, but then the words wouldn't get done, the books wouldn't get done, and then the books wouldn't sell, so I would have no money to pay my bills. So that is pretty good motivation to write for me. But we're talking about beginning writers here and I'd say it's important to recognize that writing should usually be fun, but it's not always going to be fun.   Creating anything, whether writing a book or writing a song or painting a picture or building a cabinet, whatever it is, is always going to take an expenditure of energy and it is a form of work. Even if it's not as difficult as compared to say digging ditches or doing open heart surgery, it is still a kind of work and therefore there are times when it will feel like work and you have to make yourself do it. If you absolutely hate writing and don't enjoy doing it at all, then by all means you should not be doing it. Go find something else to do that you enjoy and you'll be happier and healthier for it, but if you do enjoy writing most of the time, then that is probably a good place to be.   #3: Our next question: how do you know how much worldbuilding is too little or too much? That is a good question because worldbuilding is definitely one of those writing adjacent tasks that can really be something of a rabbit hole that writers go down and then don't actually get writing any writing done. And I would say the answer is simple. You need to do whatever the right amount of world building is just enough, which I realize is very glib and pat answer, but it's true. You just need to do just enough worldbuilding that the story will be interesting, so that there may be mysteries for the character to solve. Worldbuilding is a bigger deal in fantasy obviously, especially fantasy that deals entirely with secondary worlds where you've made up the entire world and the history and so forth. What you want to do is avoid info dumping. I did an earlier episode about that where the joke was that if contemporary novels written the way that a fantasy novel is written, when someone went to an American airport for the first time and they encountered the security checkpoint, one of the characters would stop and deliver a three page history of the TSA and airplane security procedures in the United States over the last 30 years, which is what you want to avoid. You want to do just enough world building that the story moves forward. You don't want to get bogged down into it. And depending on the nature of your story, you may want to keep some of the world building secret in order to help create a mystery that will hold the reader's interest and drive the plot forward. For fantasy novels, Brandon Sanderson is notoriously good at this where he'll design an elaborate magic system and keep part of it concealed from the reader, and then the reveal about the magic system or the nature of the world is part of the climax of the book. Even in contemporary novels like mysteries or thrillers, you can do that with world building since obviously mysteries and thrillers have their own fictional parts of the world that you construct as part of the world building and so you can have reveals about your fictional police department or fictional spy agency be part of the world building. So to sum up, just do enough world building that you can tell your story, but don't get bogged down in it.   #4: Our next question: what's something no one told you about writing but you wish they had? Well, that's a good question. I think the biggest thing that I wish someone had told me, but it turns out I probably would've had to learn it myself, is the extreme value of persistence plus time plus experience. I saw an interesting Tweet the other day that said that your twenties are basically like being a level one character in an RPG where you have no skills, no experience, and you need to spend all your time level grinding on boring and repetitive tasks in order to acquire the experience and skills that will carry you through your thirties, forties, fifties, and hopefully onward. That struck me as very true because in my case, I started self-publishing when I was about 30 and I obviously spent all of my twenties essentially learning how to self-publish even though I didn't know that what is what I was doing at the time because self-publishing in this current form hadn't come along yet. So as I was teaching myself to write novels and with my technology blog, teaching myself about how to write for the internet and search engines and so forth, I didn't realize it at the time, but I was acquiring these skills that would be very valuable to me in my thirties and forties as I continue self-publishing. So to sum up that question, I would say what I wish I had been told and really understood in my twenties when I was starting out was the value of persistence over time. Because if you look at it, the Grand Canyon is essentially water exercising persistence over time.   #5: Our next question: should I tell people I'm writing a book? Well, that is a tricky question and I would say the answer boils down to it depends, which again is a pat and glib answer, but it really does depend on your personal circumstances and your relationship with your family and friends as well. For one thing, a lot of people say they're going to do things and never do them. In fact, I'd say a lot of people who announced very loudly that they're going to lose weight or learn to draw or learn to write a book or learn to program, never actually get very far or give up on it. So there's something to be said for remaining quiet and just doing things and letting the results speak for themselves once they can no longer be kept quiet. I would also say it really does depend on your relationship with your family, friends, and spouse and/or life partner. If you have a spouse or life partner who is very supportive of your goals and is willing to encourage you, then it's a good idea to tell them. It's not a good idea to keep secrets in that kind of relationship. But if you suspect your spouse, boyfriend, girlfriend, or life partner is going to belittle and mock you, it might be a good idea to keep this to yourself. For your family and friends, it might, again, it really depends on the individual personalities involved in your relationship with them. Some friend groups and families have this very bad habit of crab bucket syndrome or tall poppy syndrome where if someone tries to exceed the overall average of the group, they try to pull them back down to their level. That's why you occasionally hear stories of someone who gives up drinking or loses a lot of weight ends up losing their friend group in their process because it turns out their friend group was based on excessive consumption of alcohol or excessive consumption of food and something like that might occur with your friends and family as well. So I would say, on balance, it probably would be best to keep it to yourself unless you think your friends, family, and a significant other would be encouraging and welcoming of your efforts in this endeavor. But as always, it depends and your mileage may vary.   #6: Our next question is a pretty interesting one that people ask frequently: how long until I can become a full-time author? Now this is again a very complicated question that boils down to your circumstances, and once again, the answer is it depends. Terry Brooks, when he wrote a writing advice book about 20 years ago, said that his editor, Lester del Rey, advised him not to go full-time until he had a year's salary in the bank, and that was 40 years ago. Nowadays, I would say at the bare minimum of going full time is you want to have a year's full salary in the bank and you would want to be making at least 40% more than you would be from your day job. Why 40%? Because once you are self-employed, especially in the US, you are responsible for paying a lot of things that your employer usually does, such as a variety of taxes and insurance costs. Also it's a very good idea, especially in the US, to have some sort of savings for retirement such as a 401K or something similar because there's absolutely no guarantee Social Security is going to be around by the time you retire. So I would say those are the absolute bare minimum before you would even think about doing this is to have a year's salary in the bank and you are making 40% more than your day job on a consistent basis. Again, it might be something you don't want to consider doing at all and you would need to ask yourself, why do you want to be a full-time author? Would it be the prestige of it? Would it be the fact that you really hate your day job? I have to say the reality of being a full-time author is often quite different than the fantasy people have of it, and that there have in fact been many authors who very successfully wrote while also maintaining day jobs. Anthony Trollope very famously wrote for two hours every morning before he went to work for the British Postal Service, and he did that his entire career and some of his books are remembered as classics of English literature to this day. Glenn Cook the fantasy author worked at a GM plant the entire time he was a writer because the benefits and pension were quite good. J.R.R. Tolkien was famously a professor of philology for his entire professional career and he wrote on the side and that became Lord of the Rings. So there's absolutely nothing wrong with keeping a full-time job and also writing on the side as you're comfortable doing so. So some writers have gone full-time, especially since the indie revolution started, found they absolutely hated it and then went back to working a day job and working and writing on the side. And again, there's absolutely nothing wrong with that. And for many people it is in fact a very good idea, especially if you have children, more than one child (children are expensive) and they need medical care or if you or another family member has a sort of chronic condition and it helps to have it covered by your employer's health insurance. So again, I hate to keep saying this, but it really does boil down to your personal circumstances and whether it's the right fit for you and your family and your financial situation or not. For myself, I'll give a few examples for my own life here. For myself, I've been a full-time writer for over eight years now. I've been very fortunate to be able to do that. Thank you all for buying the books and helping me to do that. I think my personality is pretty well suited to that because I have absolutely no problems writing for most of the day the way when many writers would find uncomfortable, and I have no problem doing a 6,000 word days or higher on a regular basis. That said, it was not originally my plan to be a full-time writer. I had originally planned to keep my day job and write on the side, but due to family circumstances, I had to move to a different state. And at the time I thought I could look for a different job or I could give full-time writing a go and see what happens, and I gave full-time writing a go and it's worked out pretty well for the last eight years. Thank you. So for me, in my circumstances at the time and the time since going full-time made sense and was a good choice. But again, and I hate to keep saying it, but it really does depend on your personal circumstances, finances, and family situation.   #7: Now our last question, does piracy and AI mean that people won't be able to make money writing anymore? The answer to that is a big old no. Let's address those one at a time-first, piracy. Piracy has been around since the existence of the internet. It is older than the internet. Both J.R.R. Tolkien and Charles Dickens had American publishers who ripped off their works and made bootleg copies of them that led to a bunch of lawsuits. So piracy is nothing new. The internet has just made it easier, and we know that the way to beat piracy is to make getting your books easier and more convenient than it would be to pirate them. There's always going to be a level of people who pirate stuff no matter what. And to be frank, you should not consider that being lost sales because the people who pirate everything are going to pay for anything anyway, though I've had a few readers email from me from time to time saying that they did pirate my stuff and felt bad about it and eventually went on to become regular readers and paying customers. So there's really nothing you can do to stop piracy and it's kind of futile to try and fight it. I do know one indie writer who spent hundreds of thousands of dollars trying to shut down pirate sites, and it was, in my opinion, while that was a noble fight, it was a tremendous waste of money. So piracy, it's best not to worry too much about it. It is one of those things like retail shrink (which is what the big box retailers call shoplifting) that is always going to be with us. The way as an indie author to fight that is to make your work as available as on many paying platforms as possible so that it's very easy for people to get it legitimately.   While AI is a big deal, I think it is somewhat overrated, and I also think that it has some structural problems that it's going to run into sooner or later. For one thing when it comes to writing, while you could use AI to churn out an entire novel, it would require significant editing to make it palatable, in which case you might as well just write it yourself. For another thing, AI is very, very expensive mainly not for the individual users, but for the companies that run them. And I'm not at this point entirely convinced that AI has long-term profitability. I wonder if it's another tech bubble, like the way the Metaverse was at the start of the 2020s when Facebook thought that the pandemic restrictions were going to be permanent and that society was going to become entirely remote. Subsequent events proved otherwise, and Facebook ended up temporarily losing about two thirds of its company value on its whole Metaverse bet. Finally, this is a bit on the fluffier side, but novel writing's art and art is essentially about human emotion and human connection. And no matter how smart the AI gets, that is something that would be very difficult for it to copy -one's own unique voice, one's own unique writing style. Those are something that only humans can do. And so I don't think AI is a long-term threat to fiction. It might be a long-term threat to things like sports writing and instant news articles, but less so for fiction. So to sum up, I don't think piracy and AI mean that people will no longer be able to make money from writing.   And now for the final segment of our writing challenge episode, Jon's Advice Corner. We'll start with editing tips, what to do once your rough draft is done.   So first, what should I do to edit the book once it's done. For myself, what I usually do is I do a first read through using track changes in Microsoft Word, chapter by chapter. And what I focus on then is reducing length, getting rid of sections that don't make sense, reducing excess words, tightening up sentences, making sure there are no continuity errors. I very often in this phase will split up chapters and do smaller chapters or rearrange scenes or move things around. Once that's done, I do a second edit where I essentially have my computer read the book aloud to me, and that's for typo checking. And sometimes you notice things when read aloud that you wouldn't have noticed on the page.   After that, I have a couple different people who check it for typos for me and then we publish. Then I do another typo check, and then any typos that I find after the publishing process, I upload and correct as I get them. So that's my process. People would say that you need to hire an editor, and I think for many people that's true, but for myself, after 157 books, I'm reasonably confident I know what I'm doing and so I am confident doing it myself, even as I recognize that's not good advice to give to younger writers.   Our next question, how do drafts work? The standard term is the first draft is just the first writing you do, getting all the writing down on the page. Depending on the writer, some people do second, third, and fourth drafts where depending on the writer, they might rewrite it entirely from scratch or just do editing on what they've already written. And then the final draft is one you are done with and comfortable with. Next question, how do I know when I should stop editing? That's a tricky question because many beginning writers fall into the trap of endlessly polishing their book over and over and over rather than writing new things. I would say once you've done your edits, once you've had a couple of beta readers look at it, eventually just decide that it is done and that we are going to move on and write new things because no matter how well you write, it's never going to be quite as cool as it is in your head when you are imagining it. I mean, you can get close, but it's never going to be quite there. So I would say a quick rule of thumb is maybe do two drafts, have your beta readers go over it, and then that would be a good place to call it quits because the truth is you can endlessly repolish the same book over and over and over again, but that may not be the best use of your time. Next editing question, how many beta readers should I have? It depends. I heard of one writer who has like 30 or 40 beta readers, and I think that might be a bit excessive, but if you can do three to five people whose opinions you trust and who aren't going to just say complete nonsense, that would probably be a good idea to do. I'd say around three to five (though as I mentioned, some writers can go much higher).   Once you're editing is done and you have a final draft, you decide if you want to self-publish it or look for an agent.   Here are things to avoid while publishing. For one thing, you really need to avoid predatory publishers. If you are approached by a publishing company that wants you to pay in any capacity to publish, it is probably a scam and you should avoid it. If you are self-publishing, you will need to come up with your own cover design anyway. But if you are approached by a publishing company that offers you a package where you pay $1,000 or $3,000 or even more, that is probably a scam and you won't get good value for your money. This is again, my opinion. I think new writers and in fact writers at all levels of experience would be better off self-publishing, but I would recommend avoiding agents and avoiding publicists.   Hiring a publicist for your book is just going to waste your money, and an agent will probably not get you anywhere these days. It really helps if you want to be traditionally published to be famous before you try to get traditionally published-like a former president of the United States. If a former president of the United States decides that he (or someday she) is going to write a book, the former president of the United States is going to have absolutely no trouble finding the book a publisher whatsoever. If a music star or a movie star on the level of someone like Taylor Swift or Tom Cruise decides they want to write a book, they also will have no trouble finding a publisher. But for regular people like you and me, you are probably better off self-publishing and learning the skills to market and the various related publishing skills yourself. Things you would want to understand well before proceeding with these is finding a cover designer. Unless you are proficient with Photoshop and familiar with book covers, you should probably hire a cover designer, and this can be very affordable since many of the big cover designers offer premades where they just drop in your name and title for around $150 to $200 (though custom cover can require more). Hiring editors-this is again, something probably you should research and check out various writing groups on Facebook for recommendations. You want someone who isn't that expensive. You'll want someone who comes with good client recommendations. Hiring narrators is also something to research well in advance. But it might be a little early with your first book because audiobooks are so expensive.   So that's it for our questions, and that is it for our November Writing Challenge. As a bonus, our transcriptionist included her official writing playlist, which I'm not going to read here, but you can see it on the show notes if you are curious. And I would include my writing playlist, but as I said, it's mostly random computer game, movie, and TV show soundtracks that I enjoyed.   So that is it for this week. Thank you for coming along for our November Writing Challenge. I hope you found it helpful and informative. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we continue our November Writing Challenge, and take a look at the most common roadblocks writers face. We also check in with our transcriptionist, and see how she is progressing in our November Writing Challenge. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 227 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 15th, 2024, and today we are discussing part three of our November Writing Challenge, which will deal with overcoming roadblocks in your writing progress. First we'll have an update on my current writing projects and then we will have Question of the Week, and then we'll get to our main topic of overcoming roadblocks. First up, writing projects. I am almost/very nearly done with Cloak of Illusion. In fact, I would have finished completely yesterday, but I had some unexpected home repairs come up and now that those are resolved, as soon as this podcast recording is completed, I'm hoping to finish up completely on Cloak of Illusion and publish it this weekend. So hopefully when this show comes out on Monday the 18th, the book should be showing up on the various ebook stores. Be sure to subscribe to my new release newsletter as well and you will get a free Nadia short story called Trick or Treat in ebook form. I am 24,000 words into Orc Hoard, which will be the next Rivah book, and I'm hoping to have that out in December as my final book of 2024. My secondary project while I'm working on that will also be Shield of Deception because I am hoping to have that out as my first book in 2025. Hard to believe we're about halfway through the 2020s already. In audiobook news, Shield of Conquest came out this week and you should be able to get it at all the usual audiobook stores, and that is excellently narrated by Brad Wills. Cloak of Spears, as excellently narrated by Hollis McCarthy, should be out before too much longer as well. So that is where I'm at with my current writing projects.   00:01:36 Question of the Week Now on to Question of the Week, which had a lot of responses this week. Question of the Week is designed to inspire interesting discussions of enjoyable topics. This week's question: do you buy any hardback books? No wrong answers, obviously. I asked this question because I was reading an article about for many traditionally published authors, hardbacks used to be the primary source of royalties. Nowadays, for many authors, that has been superseded by audiobooks. Since I'm indie, my main source of revenue has always been ebooks. We had many different responses to this question. JL says: I only read ebooks now. I have not bought a physical book in over a decade. Surabhi says: Hardcovers, being very expensive, are a big no-no for me. I'd love to be able to afford hardcovers, it's always either paperbacks or ebooks. Justin says: If I'm getting paper, I will do my best to make it hardback. Paperback books have a limited lifespan and number of readings in them compared to hardback books. Most of my book purchasing is ebooks but reference works and great stories get the hardback treatment. Mary says: Only if there's no paperback. Dave says: Ebooks and audiobooks all the way. They're generally cheaper or easier to read, or with audiobooks I can do other things while I listen. Also as I get older, being able to increase the font size makes it easier to read. I definitely agree with Dave on that, let me tell ya. Jenny says: Can't afford it usually. My hardcover budget goes to RPG books. I myself do have quite a few RPG books, which is amusing because I don't actually play the game but I just like looking at the artwork. Juana says: Yes. I have 60+ signed editions of authors I like. Some paperbacks of the Frostborn series (Wonder who wrote those?). That is indeed a mystery. Catriona says: I used to collect hardbacks of favorite authors- buy each new release e.g. Terry Pratchett. But when I moved from Hong Kong to Thailand I got rid of most of my fiction books and bought the Kindle versions. Shipping after COVID was just extortionate! Morgan says: I don't really buy physical books anymore. My brain is too fried to read so I mostly do audiobooks while I work. I only have so much money, so it is hard to justify buying a physical copy of a book I already have the audio copy for when I know I probably won't physically read it. Gary says: I prefer hardbacks. When buying new though, I generally buy paperbacks unless it is for reference or one of my favorite authors. I always check though because now the hardbacks are often not much more. Jeanne says: Depends on the book. I would totally invest in hardcover copies of Lord of the Rings, for example. I am currently investing in leatherbound versions of the Word on Fire Bible, which is a step up from the hardcover. Authors I don't know or who I read for light fun, I'll get as ebooks. Marilyn says: No, but used to buy only hardback books. Ran out of room on my bookshelves and didn't like to get rid of my books. I ended up buying an ereader. I have 1,729 books. I do have a few hardbacks but not many. Not everything is in an electronic format. When I used to travel, my suitcase would be full of books. Now I have room for clothes. That is one nice advantage of the ebook revolution. Back in the day when I would pack for a trip, I would have to choose which books I would bring but now you can just bring your phone and you're set. MG says: If I can get a hardback I do, but I haven't bought any recently. Barbara says: I purchase very few print books these days and those I do purchase tend to be theology related. Whether I purchase hard or soft bound print books will depend on the availability and price. And since I'm no longer in seminary (I graduated in 2021), my theology books tend to be digital because that's what I read. If I purchase print books, I'd run out of room to store them. Especially since I'm already out of bookshelf space. Michael says: Not really, not anymore. They take up too much space. I might buy a very posh one if it looks amazing (stuff from the Folio Society perhaps) but that's it. Bonnie says: I mainly read ebooks now. I think the last hardcover I bought was Zora Neale Hurston's Barracoon. Jeff says: Since I got a Kindle in 2010, I haven't bought a physical book. I am approaching 500 ebooks. I was a SF Book Club member for many, many years so I do have hundreds of hardcover books. A lot of them are stored in totes because of lack of room. Juan says: Used to. Space is a factor now. So now only for my son because I don't want him to have an electronic device in his face so much, but usually the first thing I do at a bookstore when I see a good book is look for it on Apple Books. Usually half the price or so. Always less expensive as well. Barbara says: Used to buy lots of books, got at least 3,00 but with arthritis in my hands, I'm now stuck with ebooks. Got at least 3,000 of them, too. I've got to get rid of some of my physical books, but I'll still keep the ones that aren't replaceable. John says: I only buy collectible editions at this point, or if there isn't an ebook for something I want to reread (but then it's usually paperback). Sometimes old hardbacks have been cheaper than the Kindle versions. When I reread Wheel of Time a few years ago in anticipation of the Amazon series that was the case. Ended up just donating the books just a couple of years later. Carol says: I do love the feel of a hardcover book, the smell, the sound of pages turning, but I'm fully converted to ebooks. So convenient, can read anywhere, carry everywhere, so sadly I haven't bought a physical book for years. Cheryl says: I only have hardbacks of the “classics” as collections to hand down to my grandchildren. Haven't bought any paper versions of books for a few years now and they were paperbacks. Most were on Kindle. Venus says: I will buy certain books in hardcover but only the ones I wish to have available after a collapse of society. David says: I have always preferred hardback, but space constraints have left only those of my favorite authors. I have over 2,000 books on my Kindle. Michael says: I do. For myself, I do buy hardbacks but still very, very selectively. If Timothy Zahn, Jim Butcher, and a few other select authors I've been reading for decades have a new hardcover, I'll buy it. Otherwise, it's ebooks or paperbacks. For nonfiction books, I'm a bit less choosy. If I read say, a historical ebook and liked it, I might get the hardback or possibly the paperback to keep as a reference book. It's interesting from the general consensus of the comments that it seems like ebooks are the dominant format for books now and that if you really want to know if you're someone's favorite author or not, see if they buy your hardbacks. Given the expense and space premium of hardbacks, that's how you know they really like your book.   00:07:43: Main Topic of the Week: November Writing Challenge Now on our main topic of the week, week three of our November Writing Challenge. The topic we are discussing this week is overcoming roadblocks. If you're not familiar with our podcast series for November, you can listen to the previous two episodes, and we have a short summary here. If you feel like you're missing out when others are working on bigger writing challenges this month and you want to start writing but not to feel overwhelmed, a smaller writing challenge for the absolute beginner, 300 words a day (or some other small number of your choosing). The key is that it should be small and something you can manage daily. As I mentioned on previous episodes with this topic, I wonder if National Novel of Writing Month is akin do a sort of crash diet for people where you can lose weight very quickly, let's say like five pounds in a month, but then once you do that, you go back to your old habits. In fact, you go back to your old habits with as much force as before and you end up gaining 10 pounds and you're worse off than you were before. I think a more gradual writing challenge might be akin to losing one pound a month, but you keep it off and that adds up over time. So follow along with our podcast transcriptionist who has never finished writing a book and feels overwhelmed at the ideas of starting one. We can follow her progress and see what advice I have for her as she faces writing challenges. So week three, overcoming roadblocks. If you've ever done any writing or you've ever had anything to write, as you know, there are many roadblocks that can come up to impede your writing progress. The first ones we'll address are logistical roadblocks and we'll recap some points from Episode 220: 8 Tips For Finishing Your Rough Draft. Perhaps one of the biggest roadblocks is time. It's trying to find the time to write. I found is a good idea to schedule your writing time and take advantage of smaller moments of opportunity to write. There is a difference between the perfect time to write and the available time to write. As I've said many times before, the perfect is the enemy of the possible or even the achievable. You might have in your head the image of the perfect time to write and the perfect environment. That may take a lot of work to achieve and be difficult to find. Additionally, I found that many people in their days have what tend to be wasted chunks of time that you kind of have to waste based on the circumstances, like you're in a waiting room, you're on hold, or you are sitting in a room with nothing to do. You have to watch for somebody to arrive or wait for the phone to ring, that kind of thing. There are a lot of ways to pass the time that way. If you're in, for example, the doctor's waiting room, you see everyone sitting on there on their phones reading the news or whatever, but that could be an excellent time to get some writing done. You could obtain a cheap laptop like a netbook type laptop or you could even teach yourself to write on your phone with your thumbs. Those kind of chunks of wasted time throughout the day are an excellent time to squeeze out a couple hundred words and if you can squeeze out a couple hundred words every day, that will add up very quickly. The biggest enemy of finding writing time I found are the many distractions we have in our day-to-day lives. And in fact, I was just talking about your phone. If you have your phone with you, that's a built-in distraction machine where you could maybe write 15 words and then reward yourself by checking your email or your Facebook or whatever. And then before you know it, you've been on your phone for 20 minutes and your writing time has disappeared. The same thing obviously can happen if you're writing on a laptop or a desktop computer or whatever. To manage these distractions, there's a couple of different tricks. You could just shut off the internet on your phone for a while and not turn it on again until you've reached your writing goal. If you find being distracted on your phone or your computer is a consistent problem, you could use apps or browser extensions to manage digital distractions that will prevent, say notifications from interrupting you, whether from email or turning off the internet and keeping from getting into it until a set period of time has passed. For environmental distractions (and what I mean by environmental distractions are noise, people interrupting you and so forth), it can be a good idea to find a place where you'll face fewer interruptions. At various times, I have written in a school or a university or a public library where people tend not to bother strangers too much and therefore, if you sit quietly and get on with your typing, no one's going to bother you. Some people enjoy writing in a coffee shop. I've never really found that to be an enjoyable experience. I have done that many times based on what the circumstances were at the time, but if it was up to me, my favorite writing place would be in my office with the door shut and headphones on and music playing and I'm just writing away. But life doesn't always give us that luxury, so I have written in other locations, but if you can figure out the best way to give yourself a distraction free writing environment, even if it's just noise canceling headphones, that might be the way to go.   Another thing to watch out for that can eat up your time is writing adjacent tasks, things that are connected to writing but not actually writing itself, such as researching, outlining, reading about writing, listening to podcasts about writing, et cetera. These are all keeping you from the goal of getting your words down, which is and the ultimate purpose of our November Writing Challenge, to get your words done every day. Some of these things may be necessary, but you can do them later and some of them are not necessary and not helpful to your productivity, like reading about writing or social media relating to writing or authors is only giving you the illusion of productivity rather than actual productivity. There may be value in these activities, but they are not helping you get the words down on the page.   So let's move on to what could be a more difficult type of roadblocks, the mental roadblocks, roadblocks where you just don't feel confident or you don't feel like you want to write or you don't even feel like you're good at writing and you're wasting your time by writing. So motivation is a thing to consider. It's like you might want to write down a few reasons why you started a writing challenge in November. Why do you want to write? Why is this important to you? Do you want to be able to finish a novel and say that you finished a novel? Do you want to create something cool that's similar to the vision of the creative things you see in your head when you think about it? And what's the best outcome of you writing each day and what's the best-case scenario of what will happen if you keep writing? It might be a good idea to consider all of these things. If you feel bad at writing or feel that you're not good enough, that seems to be a bigger problem for many people. There are a couple tips and tricks that you can use to work around that. The first thing is to don't revise as you go. Don't revise, don't look back. Just keep going. Get it all down on page as fast as you can and then keep going. And the secret is if you're writing a rough draft, you can ignore your inner critic because the point of the rough draft is to get all the words on the page and then you fix them later in editing. An amusing anecdote about that-one of my audiobook narrators wanted to get caught up on projects and he asked if I could send him the rough draft chapters and then as I was writing the book and then he could narrate the rough draft chapters and then he could make any changes I made in editing later. I had to turn him down because the truth is I do a lot of editing on my rough drafts, like Cloak of Illusion was originally 96,000 words, and I think when all the editing is done, it'll be like 94,000 words, maybe 93,500. So that's a lot of things eliminated. I moved around a lot of scenes. I changed a character's name six times, which is one of the reasons why I had to turn down that idea from the narrator because when I introduced a new character, sometimes I change the character's name four or five times during the course of writing until I'm finally satisfied that this is what the character's name should be. So imagine having to go back and rerecord that all the time, but that returns to my original point, where it's best to just ignore your inner critic while you are writing and just get all the words down on page and you can sort them through later. I found editing to be something of a less harrowing process than writing the rough draft. A metaphor I've used before is that a couple years ago, actually, well more than a couple years now, I moved into a third-floor apartment with no elevator, and so I had to carry all my books up those stairs to the new apartment, which since I had a lot of books at the time, was a lot of work (this was before ebooks). Once all the books were carried upstairs to the apartment, only then could I take them out of the boxes and put them on the shelves. That was a lot easier than carrying all those books up three flights of stairs, let me tell you. But I use that as a metaphor to compare the writing process, the first draft is carrying all the books up the stairs and then arranging them on the library shelves as the editing process. Another metaphor that people have found helpful is that the rough draft is like building a sand castle. You first have to drag all the sand to your sandbox and only then is it time to start building the sandcastle. You got to fill up that sandbox first. Now what to do if you hate what you're writing, you absolutely hate it. You don't like what you're doing and you're dragging yourself to the word processor every day. It might be time to ask yourself a couple of hard questions. And the hardest one is, is this really what you want to write? Are you writing something that you want to write or are you trying to write something that you think would sell well or market well to the audience? I talked a bit about this way back in Episode 191: The Worst Writing Advice, about writing to market. Writing to market, if you go too far with it, is a bad idea because by the time you finish and the book is ready to sell, the market may have already grown tired of the trend and moved on to dystopian mermaid stories or something else. Readers also have a sense of when a story is rushed or written in a way that the author hates, not always but very often sort of picked up that the writer hated what they were writing and didn't want to be doing it. It's much better to write something that you're excited to write. You can do a little bit of writing to market in that you look what's popular and say something like, hey, romantic suspense is popular and I enjoy romantic suspense and I want to write romantic suspense. So go ahead and do that. Something else to keep in mind is that tastes change. I saw an interesting article the other day arguing that sort of cynical anti-heroes and deconstruction of popular tropes is going to become less and less popular because that was very popular in the US in the 2000s and the early 2010s when the US in general was more stable and more prosperous. Although I don't think anyone would disagree to say that the United States in the 2020s, thanks to Covid and a variety of other factors, seems to be less stable and less prosperous than it was 20 years ago. And so times are more troubled, then people have less of an appetite and troubled times for cynical anti-heroes and are more drawn to straightforward tales of noble heroes prevailing over evil, whatever the genre might be, whether fantasy or mystery or thriller or whatever. That's the kind of thing to keep in mind with how taste change. So you're really better off writing what you want to write rather than chasing trends because the trends we were just talking about went over a 20 year period. But trends on a smaller level can change very quickly within the space of a few years or even a few months. So you should write in a genre that interests you and you should write characters that you respect and characters that are dealing with an action and conflict that you find interesting. That is one way to hold your interest as you're writing is because you like the characters, you like what you're writing, and you want to see what happens next.   Another problem that you might face if you hate what you're writing is that you might be writing something boring that doesn't need to be in the book. Mystery writer Elmore Leonard famously said in his rules for writing, try to leave out the parts that readers skip. In other words, leave out the boring stuff. So if you're writing a scene and you don't enjoy writing the scene, and you're not looking forward to writing the scene, and you find it boring, maybe it's time to ask yourself: does this scene really need to be in the book? We've all read books that had scenes where it was clear the writer was trying to fill space or thought necessary to go into more detail of, for example, a thousand mile river journey than was really necessary for the plot. If something's boring, just cut it out. There's a famous story that veteran actors who are really good at their craft will sometimes convince the director to cut out dialogue when they say that the actor can convey the meaning of the scene with just the look or expression rather than clunky dialogue. And that is often the case for these experienced actors and is very often the case for writers as well. So if you find yourself struggling with a particular scene, it might just be a good idea to cut it out or sum it up in a paragraph. Like if you have difficulty writing a journey, you could say, just sum it up in a paragraph that they got on a plane and went from New York to Los Angeles. There's no reason to devote two chapters to that. So those are our tips this week for overcoming roadblocks in your writing. Let's have an update from our transcriptionist on her progress with our November writing challenge. “An episode on roadblocks is good timing because I hit some roadblocks last week. There was a day where I wasn't able to get time to write because of what was happening in real life, but since I have been averaging over my goal a day, I still averaged 363 words per day this week, even with missing a day. It took me an average of 13 minutes each day. I wrote out a plan for the challenge that said I could miss a day under specific circumstances and my word count for previous days could apply to that day or if I didn't have extra words, I would make up the words on a Saturday, so I didn't beat up myself or feel like I failed the challenge for missing a day. I had a plan for if I missed a day.” So that seems like a good approach to planning the challenge. And she had a few questions for me actually. The main question for me was: how do you manage distractions? For myself, I use a couple of different techniques. I've mentioned before when I'm writing new stuff, my main method is the Pomodoro method. That's where you set up a timer for 25 minutes, turn off the internet, and just focus on your task for 25 minutes. And I found that if I adhere properly to the Pomodoro method, I can usually get about 1,000 to 1,100 words every Pomodoro for 25 minutes. To reset my brain between Pomodoros, I will usually play Classic Super Mario Brothers on the Switch for five minutes (because you're supposed to take breaks between Pomodoros) and then back to a 25 minute Pomodoro. I do try to hit a minimum word count during the day, ideally 5,000 to 6,000. If I get more, great. If something goes wrong, I tend to have a fallback position if of like 3,000 words. That's usually good on a busy day. I do revise my goals if something comes up because sometimes things come up that you have to pay attention to immediately and it can't wait. Home repair is a big one. For example, a couple times I have this very old wooden fence on my property that I really need to get replaced, and sometimes the wind will knock something loose and a couple times I've had the wind knock the beams of a segment loose from a fence post. If I spot that right away and fix it immediately, it's not a problem. But if I miss it and the entire fence segment falls over, then that's like a couple hours, maybe even a half a day repair job to fix that. So sometimes you come across things like that that need to be addressed immediately. And if that happens, I just roll with it. I try to fix the problem as quick as I can and then try to get as many words as I can in the time that's left, which is why I talked about having a fallback position of 3,000 words if something goes wrong. Sometimes you just lose the entire day to writing until something more important comes up and that's just the way it is. But if you have a no writing day, don't despair and remember the words of Scarlet O'Hara from Gone with the Wind: Tomorrow is another day. If you have a bad writing day, that doesn't mean tomorrow has to be a bad writing day and you get another swing at the ball, so to speak. So that is it for this week. Thank you for listening to The Pulp Writer Show and Week Three of our November Writing Challenge. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we continue with our November Writing Challenge, and discuss how outlining can be a helpful tool in writing your novel and building a writing habit. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 226 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 8th, 2024 and today we are discussing Part 2 of our November Writing Challenge and that will mostly discuss the usefulness of making outlines. Before we get into that, we will have an update on my current writing projects and Question of the Week. We will also close out the episode with a preview of the upcoming audiobook Cloak of Spears, as narrated by Hollis McCarthy. First up, writing progress. The rough draft of Cloak of Illusion is done at about 96,000 words, and I'm about 25% of the way through the first editing pass. I also wrote a short story called Trick or Treat that will be a companion to the book. Newsletter subscribers will get a free ebook copy of that short story when Cloak of Illusion comes out, hopefully before the end of November. So now would be an excellent time to subscribe to my new release newsletter. After Cloak of Illusion is published, my next project will be Orc Hoard, the 4th book in the Rivah Half-Elven series, and I'm about 21,000 words into that. In audiobook news, as you may have already heard, Cloak of Spears is done. That will be narrated by Hollis McCarthy and it is working its way through processing right now. Shield of Conquest narrated by Brad Wills is also still working its way through processing on the various audiobook platforms. So you can get both audiobooks on my Payhip store right now if you don't want to wait. So that is where I met with my writing projects. 00:01:25 Question of the Week Now let's talk about Question of the Week. It's time for Question of the Week, designed to inspire interesting discussions of enjoyable topics. This week's question: what is your favorite book cover (like in terms of the artwork, the design, etcetera)? No wrong answers, obviously. We had a few answers this week. Justin says: For that, I go back to the guilty pleasures of my youth, a teenager on a Burroughs kick at the time, digging for paperbacks in a secondhand bookstore. Savage Pellucidar, cover by Frank Franzetta (the 1974 Ace edition reprint), which I still have stashed away. Franzetta was an incredible artist. I love his Sea Witch and Death Dealer, but we're talking about book covers here. Savage Pellucidar was the one for me. Mary says: Maps and Legends by Michael Chabon. Then, that cover was a work of art with three detachable bands. Surabhi says: Hard to choose one. I personally love those young adult “Book Tok” book covers: Shadow and Bone, Six of Crows, The Cruel Prince. I don't know. Something about such covers immediately sparks interest in me. Randy says he always liked the Heinlein juvenile covers. Gary S. says: This was difficult for me because I like hardcovers, but I like to take the jacket off while I read so it doesn't get torn. Consequently, I seldom look at the covers. Gary B says: Anne McCaffrey's The White Dragon. I've got a poster/artwork of it and pretty much anything by Michael Whelan. Becca says: Stoner by Tad Williams, pretty much tops my list of favorite covers, then maybe The Dragonstone by McKiernan. Catriona says: Terry Pratchett's The Colour of Magic. MG says: That's quite difficult to answer, but I have a Return of the King copy with this Alan Lee cover, going to have to go with this. For myself, I think I would go with a hardback edition of The Silmarillion from the late 1990s. I think it was published in ‘99. It was illustrated by Ted Nasmith and the cover image shows Maglor throwing the final Silmaril into the sea in despair for his deeds. If you know the context of that scene, it's an amazingly powerful cover. So that is it for Question of the Week and tune in again for next week's Question of the Week. 00:03:22 Main Topic of the Week Now it's time to our main topic for our second week of our November Writing Challenge. This week we're going to talk about building story structure and how outlining can help with this. If you haven't heard of my November Writing Challenge, the idea is that you write 300 words or a similarly small number every day in hopes of building up a small but sustainable writing habit. I was thinking of NaNoWriMo, where you write 1600 words a day in an effort to get to 50,000 words a month, is well and good for someone like me, where I essentially write a book every month unless something comes up. But for someone starting out, it can be a bit like the sort of crash diet where you lose 5 pounds in a month and then gain 10 back over the next two months as your habits snap back. That's because you didn't lose the weight through sustainable means, so that is the goal with the November writing challenge: to build the base of a sustainable writing habit. So let's talk about how story structure can help you do that. In last week's episode, I mentioned that making the outline of your story can help with the process of writing. In this week's episode, we're going to go into more detail about story structure and conflict. Knowing how these work in your stories is essential to building an outline. You will find that having a proper structure to your story makes it easier to write, in the same way that having a proper foundation for your house makes it easier to construct. We'll talk about what I call the five iron laws of storytelling and the importance of your story having conflict and at the end of the episode, we will get a quick update from my podcast transcriptionist, who is following along with the November Writing Challenge. We will see how that is working out for her so far. So first, why write an outline? I think the main value of writing an outline, especially for beginning writers, is that it forces you to think about the story in advance and forces you to work out any potential plot holes in advance, since it's very easy to find yourself writing yourself into a corner and not knowing how to proceed. Obviously, writing an outline is not for everyone, and some writers say it impairs their creativity and they can't write with an outline. And that's fine, if you know that about yourself. But if you're just starting out, you may not be experienced enough to realize that about your writing style, and you may in fact benefit quite a bit from having written an outline in advance. So with that in mind, what does an outline need? First thing you need to understand is the shape of the story. Who is the protagonist? What is the protagonist's goal? What is the conflict, and what will the protagonist have to do to resolve that conflict? You can, if you want, put in the number of chapters in the outline. The way I usually do it is I write a 2,000 word or so synopsis of the book, and then I chop it up into chapters, though lately my final drafts don't have the same number of chapters as the outline because as I go through, I'll think of things to improve or scenes to move around and so forth. You may find a similar experience when writing from an outline yourself. It is nothing to worry about and can happen. It's also important to keep in mind that the conflict does need to escalate, and you do need to have a strong central conflict. So what do I mean by having a protagonist with the conflict that escalates and he takes action to it? This is something I actually have talked about in this podcast quite a bit, and in my nonfiction book Storytelling: How to Write a Novel. I have something I (rather tongue in cheek) call the five iron laws of storytelling, where if you want to write a good, compelling story, you need to have these five rules you should follow. Now, this is not, you know, true at all times in all places. But I do think you will probably get good results by following these five rules. Now what are these five rules, the five iron laws of storytelling? #1: The protagonist must have a problem that results in a conflict. #2: The protagonist's problem and conflict must be consequential and have real stakes. #3 The protagonist must take action and struggle to resolve his or her conflict and problem. #4 The protagonist must face challenges and setbacks, and his or her efforts to resolve the problem may even backfire. #5, The ending must absolutely provide satisfactory emotional resolution to the problems raised in the story. That might be the most important one of all. Where outlining can help you with this is if you see the story laid out in an outline as in a chart in something like Plottr or something like that, you can look it over and see- do I have a protagonist who has a interesting problem? Is the problem consequential for the protagonist? Is the protagonist trying to resolve the conflict? Is the protagonist experiencing setbacks and challenges, and perhaps even unintended consequences as he or she tries to resolve the problem? And finally, is the resolution emotionally satisfying? It doesn't have to be a happy ending. It doesn't have to be a totally sad ending. It can be a bittersweet ending. But whatever the ending, it has to resolve the conflict of the story in an emotionally satisfactory manner. Anything else can be absolutely disastrous. So if you are writing an outline for your novel or story, and you follow these five iron laws of storytelling, then I think you are on good track to have a good, well written story with a conflict and a protagonist that readers will find enjoyable and interesting. It is important to have a good conflict in the story. You can jump back to Episode 222 of the podcast, in which we talked about story conflicts, which offered much valuable advice on introducing conflicts. Some of the key points of that episode are there are many different types of conflict the story can have. The word conflict by its very nature seems to pull up images of like, violent conflict. That's often the word we use to describe conflict, to describe violence as conflict, but it doesn't have to be a violent conflict at all. It can be, you know, certain types of legal thrillers. There's no violence at all. It can be, you know, conflict between a man and a woman who are romantically attracted to each other but are unable to resolve these feelings, which can, you know, that kind of conflict drives a significant portion of the entire publishing industry. Ideally, a story should have multiple conflicts and even different types of conflict. There are numerous ways to add conflict into a story. They include putting characters into an unfamiliar environment, forcing your characters into making decisions, and having different characters face the same conflict in different ways. For more details on that, you can check out Episode 222 of this podcast. For tips and tricks on introducing more conflicts into your novel, I would recommend Episode 110 of this podcast, Three Techniques for Starting Your Novel and Introducing Conflict. In Episode 110, I said that there are lots of fun and exciting ways to introduce the conflict. I say fun and exciting because this is often where the story starts getting quite energetic. In a fantasy novel, it might be when the hero's village is attacked by orcs. In a mystery story, it's when someone stumbles across a dead body. In a thriller novel, perhaps the hero finds that a sinister terror plot is already well underway. The conflict can also be introduced more sedately. In an action-themed book, it is easy to introduce the conflict via sudden violence, the attack of orcs, or a surprise murder. Other kinds of stories may not involve so much physical danger. The central conflict of most romance novels, for example, is whether or not in the heroine and the love interest will get together and whether or not they can overcome the assorted obstacles preventing them from having a relationship. Romance novels might introduce conflict by having the love interest antagonize the heroine in some way, which is a common trope. Perhaps the love interest is a lawyer who represents the heroine's business rival, or the heroine is a local law enforcement official and the love interest is an FBI agent who threatens to take over her case. Regardless of how the conflict is introduced, the most important part of the conflict is that it must compel the protagonist to take action. If the conflict or the antagonist isn't serious enough to force the protagonist to act, then nothing happens and you don't have a story, so that perhaps is the main take away from conflict. The conflict has to be emotionally significant for the protagonist, and the protagonist has to take action to resolve it, even if the action makes things worse or causes setbacks. If you have a passive protagonist, that will very quickly turn off quite a few readers. So to sum up, the advantage of outlining is that it lets you work through potential problems in advance, and what you want in the outline is a protagonist with an emotionally relatable problem, a protagonist who takes action to resolve the problem, and a resolution to the story that is emotionally satisfying in terms of the conflict being resolved. The five iron laws of storytelling are a good checklist to look over your outline and make sure that you have a good, solid story structure. You can use them in fact as a checklist to see whether you think your outline is going to work and whether or not you can write a, you know, satisfying novel off it. So now we come to the update from my transcriptionist. As I mentioned, she was doing our November Writing Challenge and as part of our series of shows on that, she will send in weekly updates with her progress. Here is how she did this past week. “My goal for the challenge is 300 words a day. I picked a number that felt really low to help with the problem I have of not starting something when the goal is too undefined or too big. I also tend to do something intensely or not at all, with most days tending to the latter when in real life or obstacles get in the way. 300 words a day felt like something I could commit to without any worry, provided nothing really major comes up this month. So far I'm averaging 484 words per day and it's taking me an average of 15 minutes per day. I picked a specific chapter from my outline that was not the introduction I've been stuck on and a specific time of day to write. Doing both has made the process easier. In that vein, my questions for you are: do you write chapters or any pieces of the story out of order, or do you stick to the outline order when writing? Do you recommend people try writing out of order if they feel stuck?” So those are both interesting questions. For the first one, do you write chapters or any pieces of the story out of order, or do you stick to outline order when writing? I almost always write in the order of my outline. What changes is that when editing, I will very often split chapters up and move them around because I tend to write long chapters. In the editing for Cloak of Illusion so far, one chapter was like 10,000 words and another was 7,000 words, both of which are too long to be chapters. So the 10,000 word chapter got split up into three smaller ones and rearranged. The 7,000 word one got split into two chapters and moved around. So to give a shorter answer to that question, the answer would be no. When writing I tend to stick to the outline, but during editing I do tend to move things around as I think works best for the story. But editing is a different topic entirely. The second question: do you recommend people try writing it out of order if they feel stuck? You can try that. The pros are if you feel stuck on a particular scene, you can go ahead and write a different scene and then come back to that scene later. Or maybe it will turn out that the reason you're stuck is because the story didn't need the scene. You know, I do know some people who do write from an outline, but then tend to write out of order. The downside of that is if you're not careful, you can get your story's internal continuity mixed up a bit, but then that is another problem to fix in editing once the rough draft is finished, since right now we're at the stage where you get all the words down on the page or the word processor and then worry about fixing them later. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful and that you are finding our November Writing Challenge series to be useful as well. A reminder that you that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week. 00:15:45 Audio excerpt from Cloak of Spears, as narrated by Hollis McCarthy  

In this week's episode we take a look at a November Writing Challenge and offer tips for new writers to develop a sustainable writing habit. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 225 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 1st 2024 and today we are discussing part one of our November Writing Challenge. Before we get into that, we will talk about my current writing projects- we'll see where I'm at with that and do Question of the Week (because we did have time for Question of the Week this week). First up, writing progress. I am 85,000 words into Cloak of Illusion, and I am hoping to finish the rough draft next week, if all goes well. I think we'll end up about in the neighborhood of 100,000 words for the rough draft (with possibly 5,000 words either way, see how it goes). I'm also 17,000 words into Orc Hoard.  That will be the 4th Rivah Half-Elven book, and I'm hoping to have that out in December before the end of the calendar year. In audiobook news, production on Shield of Conquest is done. It's all paid for and ready, and it's just working its way through processing on various platforms, so it should be available soon. And you get it on my Payhip store right now, if you don't want to wait for the other platforms. Audio for Cloak of Spears is almost done. I should have a file to proof soon, which is very exciting. And then Hollis McCarthy, who did Cloak of Spears, is also going to be working on Ghost in the Tombs and that should be out before too much longer and also Shield of Conquest was excellently narrated by Brad Wills. So that is where I'm at with my current writing projects. 00:01:30 Question of the Week Now let's move on to Question of the Week. Now it's time for Question of the Week, which is designed to inspire interesting discussions of enjoyable topics. This week's question: do you keep a record of the books you have read? Obviously Goodreads is a giant website designed to do just that, but there are other methods, obviously. This question was inspired by one of those other methods. I was at a Barnes and Noble the other day and was bemused by the giant wall of reading journals that you can use to keep track of the books you have read. This elicited quite a few responses, this Question of the Week. They tend to fall into one of two camps, as we shall soon see. Joaquim says: No. No time, at least not for the physical books, even an app supporting barcodes was not successful and was later discontinued. For ebooks it's different because all your books are available on a list in Kindle/Digital Editions/Calibre (depending on their type). Justin says: No, it would look like bragging. I am a speed reader and don't watch TV. Reading is my primary mode of leisure. JD says: I have never even considered making a reading log. Surely that would be time better used for reading. AM says: I use a dot grid journal to make my own reading log and enjoy customizing what I track and adding some artistic embellishments. It's just a fun offline project for me and it made me self-conscious of what I read when I tracked on Goodreads. Adeline says: not keeping track at all. Doing that at the rate I go through books would just be a loss of a lot of time which could be spent reading. Barbara says: No, I don't keep any record of the books I read. I've been a voracious reader since I figured out what the alphabet was for back in first grade, used to get in trouble in class for reading ahead. I read fiction and nonfiction, although not equally. I have favorite authors, some of whose books I reread regularly. My digital library contains over 2,000 books, most of which I've read and while I think I don't read all that fast, in reality I read something over 700 words per minute. What's worse, I retain most of what I read, but if someone wants to keep track of what he or she reads, that doesn't bother me at all. Different strokes for different folks, as the song says. Jesse says: If I pick one up I have already read and don't immediately recognize it within a paragraph or two, it is probably time for a reread. Roger says: I buy a book before I read it, so my record is either on my bookshelves or on the Kindle. Kim says: I used to note in each paper version when I read/reread the books. Since ebooks, I keep a spreadsheet of book title and series, author, date read, major characters, reading order, my own personal ranking. Helps me keep track of authors, their series, crossovers, same-universe stories, and when the next books are coming out. I track all of that. Brandy says: It's impossible for me to do so. I reread whole series each time the new book comes out (yes, from the beginning). I'll often proofread, read for review, read for pleasure, reference, and beta. I'm also a foreign language and capture reader for translation of books. It was recommended therapy to help with linear retention after seizures and was always my main hobby. Jenny says: I use Goodreads but wish there was a better alternative. Tracy says: I just use Goodreads. Becca says: Since I started reading so much on Kindle, I've been letting it keep track of which books I've read. Me by myself, never kept track except in grade school when we had reading achievements. So it looks like the common options were either nothing or Goodreads, but one other person did what I did, which is I've kept a spreadsheet of every book I've read since 2010, since it felt like I was reading less than I used to, and I wanted to keep track of it quantifiably, since hard data is better than feelings. So I think in the last 14 years, the most books I've read in a single year is around 110 and the lowest would be a little over 40, though I think this year I will probably end up around somewhere around 75. My spreadsheets are not as detailed as Kim's. I just keep track of the day I started, the day I finished the title, the author's name, the genre, and whether or not it is an ebook or a paperback book. 00:05:12 Main Topic: Week 1 of November Writing Challenge So on to our main topic of the week: week one of our November Writing Challenge. What do I mean by that? I talked a little bit about it last week, but what I mean is that I do get lots of questions about how to start writing or questions about whether or not National Novel Writing Month or NaNoWriMo is worth doing. The difficulty of that is NaNoWriMo the organization is currently experiencing troubles. They've had some problems with some of their volunteers and this year they had a big blow up where they endorsed artificial intelligence in writing in a way that offended most of their user base and as I mentioned last week, I'm wondering whether that sort of shock therapy of writing 50,000 words in 30 days is the best approach for everybody. I mean, for some people it's a good thing. I usually write more than 50,000 words every month, but that's my job. But for someone else who's starting out, that kind of shock approach might be a bit like yo-yo dieting. We talked about that last week, how it's better to lose 1 pound a month and have it stay off than it is to lose 5 pounds a month only for you to change habits and then gain 10 pounds back. I wonder for some people National Novel Writing Month might be the equivalent of that sort of yo-yo crash diet where you make this massive effort and that burns you out and you give up on it again. If it feels like you're missing out when others are working on a bigger writing challenge this month and you want to start writing but feel overwhelmed, how about a smaller, more manageable writing challenge for the absolute beginner? That is what our November Writing Challenge will be-maybe 300 words a day or some other small number of your choosing, whether 300 or 500 or 1,000 or some other number. The key should be that the key is that it should be something small and something that you can realistically manage daily based on your current schedule and responsibilities and health and so forth. The inspiration for this idea was, as you may know, for the last year I've had a transcriptionist working on my podcast, which has been very helpful because that's something I would never have had the time to do myself. She too wants to write a novel and has started writing one and has experienced challenges trying to start one. She often says she has felt overwhelmed at the idea of starting one, and so let's follow along with her progress this month as well. So let's start. #1: What do you need to begin? Number one is a common question, technology/equipment. Someone once came to be concerned that they couldn't start writing because they didn't have software that “real” writers used only to be surprised that I used Microsoft Word and have been using Microsoft Word pretty consistently for the last 10 years. However, you don't even need to use Scrivener, Microsoft Word, or some other fancy software. I wrote Ghost in the Storm and Soul of Serpents and a couple of other books entirely using LibreOffice on Ubuntu Linux, which is of course free. That was back in like 2012/2013/2014 and back then I was more enamored of writing on, you know, small 10 inch screen laptops that I would install Ubuntu on and then enjoy the portability of them, that I could write anywhere using these very small laptops. That, however, was 10 years ago, and both the writer in question (me) and my eyes are 10 years older. These days I prefer to write on the biggest screen possible whenever possible, and my preferred laptop has a 17 inch screen which is less portable but definitely easier on the eyes. But the point is you don't need to spend a lot of money on software. You can write in Word on a cheap Windows 11 laptop. You can write on LibreOffice, which is and remains 100% free. You could write on a Chromebook using Google Docs. All you actually need is a word processor and some way to back up your work. Don't just store it locally. If you are writing Google Docs, you could save to the cloud automatically. Many other cloud services offer free tiers, and you can even email it to yourself every day to keep a backup because that way, if your computer and your backup flash drive are lost or damaged or stolen, you don't lose all your work. Why can't you write using paper? You can if you want to. However, keeping track of progress would be tricky, because then you might have to do, ok, I'm going to write like, you know, a page a day instead of 300 words and then if you ever want to publish it, you will have to transcribe it to electronic format. So if you want to write on paper, go ahead and just to be aware that you are creating more work for yourself in the long term, if you are fine with that. #2: The second thing we need to do is make a plan. I would suggest writing at least a simple outline and then make a plan for your word count goal for the month of November, whether it's 300 words a day or something else. You can write without an outline. I find that it's for myself, it's easier to write with an outline, and if you're an absolute beginner, outlining in advance might help you work through some plotting problems you would have otherwise run into later on in the book. I would recommend blocking out time on your calendar for writing, even if it's only 5 minutes a day. Treat it like an appointment that you have to keep. You could churn out a few paragraphs on your lunch break or write a few sentences while on the bus or train ride home. I know of documented cases where people have written entire books on a commuter train using their phones and they thumb typed the entire rough draft. That might be a little extreme, though I imagine the younger generations who grew up with cell phones would be more comfortable with that, but it's certainly possible. This may be the most important part. Make a plan for what you will do if something happens and you can't write as planned, whether it's a family emergency, something with your kids, something medical, house problems, or just any of the other random stuff that can come up in the course of day-to-day life. Plan for this possibility and write out what you'll do if it can't happen on that day. It's very easy to skip writing when many other things take up your day, and in fact, if you're just starting out, pretty much everything else that happens in your life tends to be higher priority than writing. But if you only write when your day is perfect, you're not going to be writing much because perfect days are few and very far between in life. If you can make a plan for what to do if you have something come up and try to keep to your writing appointment, that will probably be the best way of making progress. #3: The third thing we have to do is to prepare your mindset for writing and this is a big one, because people very often talk themselves out of doing things even before they start, and writers in particular seem to be very prone to this because they will talk themselves out of starting or psych themselves out halfway through the book or fall into the trap of endlessly repolishing the first chapter over and over until it is perfect. So what are the most common mental mindset pitfalls that writers can encounter? The first one, of course, is perfectionism/fear of starting. The ways to combat this are to realize that it is hard to be a beginner, but everyone was a beginner once upon a time. You will get better with practice. Cloak of Illusion is going to be my 157th book but a long time ago, I just had one book or zero books that I was struggling to finish. It's also a bad idea to edit as you go. Just keep going. A metaphor I've used that people have told me has found is helpful (from a quote from Shannon Hale) is that writing is like building a sandcastle in an empty sandbox. The first job of course, is to drag the bag of sand into the sandbox and fill up the sandbox, and the second step is to then actually build the sandcastle, which is editing. Creating the rough draft is filling up the sandbox and then the editing process is building the sandcastle but it's a bad idea to start building the sandcastle before you fill up the sandbox because you might psych yourself out and not finish filling up the sandbox, which is what you really need to do. It doesn't matter if it's good at first, it just needs to get done. Get the words down for the day. It's also a good idea to find a way to silence your inner critic and the best way to do that is to not edit as you go. If you don't go back and constantly revise and tinker, then you are less likely to start doubting yourself. There's a time and place for revising and tinkering and editing, but that is after your rough draft is done. It is important to do things in their proper order. Another metaphor I use to explain this is once upon a time, I moved into an apartment that was on the third floor of a building with no elevator, and I have a lot of books. Naturally I had to carry all those books up three flights of stairs and into the new apartment. By the time I was done, I was probably in the best shape of my life. I've found that is a useful metaphor for writing, because writing the first draft is carrying all those books up to the third floor of the apartment, and the editing process is once you have all the books in the apartment, the editing process, is arranging them properly on the shelf. Now you could start rearranging the books into proper order while they're still in the truck, but I think we'd all agree that was a waste of time because the books aren't getting out of the truck. They're not even going to stay in that order once you get them up the stairs. If you waste too much time rearranging the books in the truck, eventually the police are going to come by and complain that you're taking up the fire lane (not that this ever personally happened to me, of course). So it's good to finish the rough draft first and then focus on the editing. Another mindset challenge is telling yourself that you don't have time. We've already talked about a few ways to get around this. Start by making your goal small. Even if you write only 300 words a day, if you do it every day in November, you will have about 9,000 words by the end of the month, which could be a chapter, several chapters, or even a short story. For myself when I started writing, I was still working a full-time job. So what I would do in my lunch hour (my lunch hour was literally an hour) was I would scarf down my food in the first 10 minutes and then spend the remaining 50 minutes typing as fast as I could on my laptop before it was time to get back to work. I wrote several different books that way. You'll also find if you look honestly at your day, there are probably spots of wasted time where you could squeeze in a few 100 words on a phone or laptop if you brought it with you. For example, there are times in the day when I find myself just looking at memes on the Internet and if I was squeezed for time and could carve out some time there, that would be a few hundred words. If you find yourself waiting in a car to pick someone up, that is an excellent time to squeeze out a few hundred words. I've done that many times. Waiting rooms are good for that too, and any situation where you find yourself with dead time, like you're on hold, you're in a waiting room. You're waiting to pick someone up, you're on some form of public transit. If you have a cheap laptop or you can type on your phone, that is an excellent time to squeeze out a few words. Another possible mindset trap is just the intimidation factor of starting, and it might be helpful to remember back to when being creative didn't intimidate you, when creative work was a sort of play, and if you can recapture some of the playfulness of that, that may remove some of the intimidation factor. My transcriptionist found a quote from a writer named George Saunders on Dua Lipa's podcast, and he said, “so much of being an artist is trying to trick your habitual nature, which likes safety and security and repetition and being sure, trying to trick that person out and go back to the kid you were at 13 or 14 who was just overjoyed to be making something.” There is definitely something to be said for that, too, you know, as a way to get past the intimidation factor and some self-doubt. So those are some of the mindset trip traps we might fall into, and hopefully some techniques for getting past them. And finally, in future episodes, we will check in with my transcriptionist and see how she's doing with her writing progress, whether she has any questions. Since I'm recording this literally on the morning of November 1st, there's not any progress to report yet, but there is a question. Why do you think so many people want to write books but never start? And I think we talked about that pretty well in the episode. There's a lot of activation energy and you have to get over perfectionism and the fear of being laughed at and the time problem and just overall the fear of starting, but as other wiser people than me have said, 80%, maybe even 90% of life is just showing up and doing the work. Like for example, I never knew how to replace front porch steps, but when the front porch steps started rotting, the alternative was trying to find a carpenter, which is difficult and expensive, or figuring it out how to do it myself. So I watched some YouTube videos and bought some lumber and paint and figured out how to do it myself. Would a professional carpenter have done it better? Probably. However, last night was Trick or Treating and I had about 80 kids and their parents come up and down the porch steps to get candy. The porch steps held and not a single person fell in. So sometimes showing up really is just good enough. So anyone who is participating in some sort of writing challenge in November, whether NaNoWriMo or writing challenge month, if you want send any questions about the writing process and if time permits, I will include them in future episodes. You can send me an e-mail at jmcontact@jonathanmoeller.com or leave a comment on my blog or Facebook page. Please don't send me your story ideas or actual writing excerpts because I do not have time to read those and can't read them for legal reasons anyway. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes with transcripts on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.    

In this week's episode, we take a look at the best methods for finding ad graphics for book advertising. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 224 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October 25th, 2024 and today we are discussing the best methods for sourcing images for ad graphics. We'll also have an update on my current writing and audiobook projects. Let's go right to that. I am currently 61,000 words into Cloak of Illusion and am hoping to have that out before the end of November, since 61,000 words puts me about halfway through the rough draft, I think. I'm also 14,000 words into Orc Hoard, which will be the 4th Rivah book, and if all goes well, the final book I publish in 2024. In audiobook news, recording is underway for Shield of Conquest. That will be excellently narrated by Brad Wills, and it's also underway for Cloak of Spears and Ghost in the Tombs, which will be narrated by Hollis McCarthy. I think probably Cloak of Spears will come out first, but we will see how things play out for the rest of the month. So that's it. That is the update on my current writing project. Next month and next week, I want to do a new podcast series for the month of November that I'm going to call Moeller Writing Tips Month as sort of a gentler alternative to National Novel Writing Month (or NaNoWriMo) for a couple of reasons. The NaNoWriMo organization has had a number of problems over the years, especially recently, so I don't feel comfortable endorsing it anymore. I've also begun to wonder if NaNoWriMo is a bit like a shock diet. If you talk to doctors and other medical experts about weight loss, they say the best way is always to make small, sustainable changes that you can keep up with over time. It's better to lose like a pound a month and keep it off than it is to lose like, 5 or 10 pounds a month in a shock crash diet only to gain it all back once you go back to your own old habits because that kind of a weighty yoyoing is very hard on the body. I wonder if National Novel Writing Month, where you write 50,000 words in a month is like that for a lot of people; it's sort of a crash diet. For someone like me, Ghost in the Tombs was my 156th novel. I typically can write a rough draft or novel in a month if I don't have anything else come up. So for me, that's normal, but for most people who don't have that kind of experience, I wonder if National Novel Writing Month would be the sort of writing equivalent of those crash diets that might leave you worse off than you were to begin with. So with that in mind, next month I'll start a podcast series discussing gentler ways one can ease into the regular habit of writing. More discussion on that topic next week and next month.   00:02:45 Main Topic: Sourcing Ad Graphics Now onto our main topic for the week, sourcing ad graphics. Before we get into that, a disclaimer. I am not a lawyer and none of what I'm about to say is actual legal advice. You obtain actual legal advice by hiring a lawyer who is qualified to practice in your jurisdiction. It is very important (to continue the disclaimer) to be on firm footing with the copyright of your ad image. If you don't own the image or the right license to use it, you're infringing on someone's copyright and they can respond either legally or through the places where your book is sold. This is less of a problem with ad images than is with book covers, but it still can happen. With that in mind, some of the free stock images sites have restrictions on commercial use or modification of the images. It's a good idea to read the licenses carefully. Some of these sites have often not gotten the appropriate clearances from the models in the pictures, so be cautious of using images with identifiable faces from those types of sites. If you're not familiar with the legal term, a model release is when a model or someone in a stock photograph appears in the stock photograph. They sign a release that gives the rights for their likeness to be used for the commercial image and not all free stock image sites do that. Good stock image sites like Shutterstock or iStock Photo or Dreamstime will clearly state on the image page whether or not a model release has been included. If a model release has not been included, you can't use it for commercial purposes, and though it is not terribly likely, you can open yourself up to legal liability that way. In that vein, be also cautious about Creative Commons sites, since copyrighted work frequently ends up on those sites. This is also true of the free stock image sites, where sometimes people will pirate images and post them there. Also, many Creative Commons photos are restricted from commercial use, modification, and/or the artists require attribution. Tread carefully and make sure you understand the conditions of using images with any of the various Creative Commons licenses. And before we get into further details, it's also important to understand the difference between creating book covers and creating ad images. The number one thing to remember about ad images is that ads are ephemeral, and they should change often because you often get diminishing returns for using the same ad graphics. Ads can be tailored for different audiences. Ads can be tailored for different platforms. In fact, you kind of have to tailor ads for different platforms because, for example, Bookbub and Facebook, the two ad platforms where indie authors are most likely to use ad graphics, have very different requirements for images. People are more tolerant of AI images in ads than in book covers, but AI is very polarizing, and if you use an ad image that is easily and immediately identifiable as AI, you will probably get some pushback for that. So with all that in mind, let's first look at some free places to get images for ads and then some paid options. The number one free option is public domain images from the US government pages. It is the law of the land in the United States that images produced by the US government or federal employees in the course of their duties (with some exceptions) are in the public domain. Some of these are great as using as backgrounds or components of an ad. For example, are you a sci-fi author in need of a planet you can put behind a spaceship? You're in luck; NASA has plenty of those images and you can find them quite easily. However, sometimes U.S. government websites use stock images or government created images that have some types of restrictions. For example, NASA forbids use of images of current astronauts for commercial purposes for any reason and has some pretty strong feelings about people using their images to create NFTs. You do not want to go through life getting sued by the federal government, so you probably want to avoid that. Sources that are easiest to be confident in, images that are explicitly included in public domain collections on U.S. government websites such as the Library of Congress free to use and reuse sets website or NASA's Images Hub (this page also includes some guidance on NASA specific researchers) and the National Gallery of Art Open Access Images page. All of these have ample supplies of images that are in the public domain, and you can look over them for images you can use for ads or components of ads. Another free option is other public domain collections. Some libraries and some museums have created public domain image collections or let you filter for public domain images on their site. Very large institutions tend to be cautious about using this type of copyright language and their staff generally have training on what is or is not public domain. The Art Institute of Chicago has a public domain filter on their search page and The Met museum in New York has an Open Access filter in their search page where you can look for images in the public domain. The third free option and one that I have done myself a lot is take your own photos and use your own photographs for backgrounds components in an ad, etcetera. Since you're the creator, you hold the copyright. I have done this in a lot of the books I have published in 2024 and the ad images I created in 2024. A fair bit of them have my own photos because I took some trips to some fairly scenic parts of the country this year. I was fortunate enough to be able to do that, so while I was there, I took lots of pictures with an eye towards using them in ad images and book covers because as you get more practice with graphic design, your projects tend to have more layers to them. You often come across things and think well, this wouldn't be a good image by itself but would be a great background or great foreground and I can use pieces of it to assemble a better picture. So I've done that a fair bit and since I own the rights to all the photographs, I am one hundred percent in the clear. Now let's move on to a few free or low-cost options and one that might be a bit controversial. In fact, it is controversial: AI generated images. The pros of this are that the US government has consistently ruled so far (this might change after the election, but it might not) is that AI images cannot be copyrighted in any capacity. This means you can quickly make eye-catching art that matches your specifications instead of hunting for stock art. The con is that many people will assume that the book is AI generated if they see an AI generated ad image and many people strongly dislike AI art in general, or object to AI art on principle, viewing it as a form of theft. For myself, I've decided that my personal ethical line on this (barring changes in circumstances or laws) is that I will not sell anything that was created by AI. If I am selling anything or giving away a free ebook, it is 100% written by me and the cover was either made by me or someone I hired to do it. And in the audio books I sell, they are 100% narrated by an actual human being. That said, I have, I'd say, from time to time, used AI for ad images for the reasons we've discussed. Ads are ephemeral and phased out pretty quickly, but I have found that it's generally unwise to use an unmodified AI image, because it has such a very clear and obvious AI look to it. It's a good idea if you are going to use an AI image for an ad to run it through Photoshop a bit and change the look and maybe eliminate some of the more obvious AI tells such as extra fingers or misshapen eyes, that kind of thing. So if you are comfortable using AI, it can be a good source of ad images with some work, but otherwise, if you're not comfortable with it and you think your audience would be offended by it, it's probably best to avoid it. So those are the free/slightly free options, and now it's time to move on to the official paid options. The first paid option we're going to discuss is Shutterstock. You pay by image. It's simpler than the credit systems that Dreamstime uses, and the interface is easy to use. I have not generally used Shutterstock all that much because it tends to be a bit more expensive than the other options. However, you can find some very high-quality photos there if you are patient enough to look. The second paid option we're going to look at is Dreamstime. You can either pay images a la carte with credits you buy or by subscription. I have used Dreamstime quite a bit and quite a few of my covers have images I have licensed from Dreamtime. I'd say the pros of Dreamstime is that it has a very large and very strong library. The con (and this is true of stock photo sites in general) is that it's very easy to find an image that is like 95% perfect, but that 5% would be a lot of work to fix in Photoshop or just isn't right for some reason. Additionally, I don't agree with this decision on Dreamstime where they've begun including a lot of AI generated stuff on their page. It's clearly labeled as AI and you can use filters in the search engine to filter out the AI stuff, but if you're looking for stuff for covers because like I've said before, my personal ethical line (barring changes in law) is that I won't sell anything that was made by AI. If I'm looking for elements for a cover, it's really annoying to have to double check to make sure that the image was not AI generated, which is another good reason to use your own photos because you can then be certain it wasn't AI generated. The final paid option that many authors and many professional graphic designers use is Adobe Stock. Adobe Stock is probably the gold standard for stock photos. It has a large library with a range of image types and very clear license terms. The flip side is it's expensive. You can often include it with an Adobe subscription (which is in itself quite expensive) and then you get a limited number of image credits every month and that can be quickly expensive. If you have an Adobe subscription, you can also use Adobe's Firefly AI image generating service. It's not quite as powerful as Midjourney or some of the other ones available, but that said, it is trained only on stuff that Adobe technically has the legal rights to do. In my experiments with it, I found that Adobe Firefly's AI generator is not good at generating scenes. It is good at generating components of scenes, like you could tell it to generate a forest or a beach or a mountain, or a castle or something, and that'd be pretty good. Then you can modify it and add in other elements later, but it's not so good at generating a finished scenes the way that something like Midjourney would be. Now that we've looked at sources for stock images, let's look at a couple of paid sites that can help you use the ad images you have found. Obviously, you can work on them in Photoshop or GIMP or Affinity Photo editor, but those are fairly complicated programs that can take quite a bit of effort to learn. There are websites that now specialize in helping you to create specific ad graphics. I'd say the most valuable one for indie authors is Book Brush. It is a specialized image editing website designed for indie authors. It lets you make things like 3D covers of your books or audiobooks to include as part of an ad, and it also has a variety of ad templates, where you will have ad templates that are the right size and resolution for the various ad platforms, and then you can drop in the elements you need to make an appropriate ad graphic. So if you're an indie author who just wants to make ad graphics or maybe even some basic covers, Book Brush would be well worth your time to investigate, in my opinion. A second option would be Canva Pro. Amazon has explicitly said in their guidelines they don't like people using it for book covers, but ads are a different game and Canva is reliable for this purpose. It's good for beginners and those starting out. It's quick and easy to reuse. The downside is that since Canva is so popular, people have gotten used to the Canva look and you get bored with seeing those, especially if you've only minimally modified a template, but with some creativity, you can make an ad graphic that looks fairly nice. So that is it for this week. I hope you will find that helpful for finding sources for your ad graphics. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we consider how the Nintendo Switch does the simple things well, and examine how writers can likewise do the simple things well to write excellent books. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 223 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October the 18th, 2024 and today we are discussing five lessons for writers from the Nintendo Switch, of all things. Don't worry, the analogy will make sense later in the show. Before we get into that, let's have an update on my current writing projects. I am pleased to report that Ghost in the Tombs is completely done and is currently publishing on Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. The links are already live on some of those stores. This episode should go out on the same day as my newsletter, so by the time this episode goes out, the book should be available at all ebook stores. If you are subscribed to my newsletter, you will also get a free ebook copy of the short story Ghost Tablet. So that is one of the many excellent reasons it is a good idea to subscribe to my newsletter. You can find the details how to do that on my website right at the top. My next main project now that Ghost in the Tombs is out will be Cloak of Illusion, the 12th Cloak Mage book. I am 31,000 words into that. I'm hoping to have that out before the end of November, if all goes well. After that, I am 11,000 words into Orc Hoard and hopefully that will be out in December, if all goes well. As I mentioned earlier, the audiobook of Shield of Darkness is out, as excellently narrated by Brad Wills. You can get that at Audible, Apple, Google Play, and all the usual audiobook stores. We are also working on Shield of Conquest right now, and that is being recorded as we speak. Hollis McCarthy is also recording Cloak of Spears and that should hopefully be out before the end of the year, if all goes well. This week, we're not doing Question of the Week because all my time was going to finishing Ghost in the Tombs, but we will be doing another Question of the Week next week, so watch for that on my website and social media. 00:01:54 Main Topic: 5 Lessons Writers Can Learn from the Switch Now let's go to our main topic for the week, five lessons that writers can learn from the Nintendo Switch. So what can writers learn from the Nintendo Switch? A common complaint I sometimes see among newer writers is that all the stories have been told already, and that there are no truly original stories. Why try writing a mystery novel? Haven't they all been told? Why try writing a romance novel? How many different ways are there for a woman to meet a man and fall in love? Why attempt to write an epic fantasy when there's already Lord of the Rings and Mistborn and Shannara? Haven't all the stories already been told? That is a fair question, but it misunderstands the nature of stories. It's as profound a misunderstanding as saying that just because you've eaten one cheeseburger in your life, there is no need to ever have another or saying that since Pizza Hut makes pizzas, there is no need for anyone else to ever open a pizza restaurant or even to sell frozen pizzas. To dispel this misapprehension, let us turn to the Nintendo Switch. It is not unfair to say that the Switch is one of the most popular game consoles in the world and is likely Nintendo's second best-selling device of all time. The Switch is also significantly less powerful than its chief competitors, the various Xbox and PlayStation models offered by Microsoft and Sony. For that matter, the Switch has only received moderate updates in the seven years it has been on the market. Its internal components are basically those of a decent smartphone from 2017, yet despite that, the Switch has significantly outsold both the Xbox and the PlayStation over the last seven years. It was a remarkable reversal of fortune for Nintendo. The Switch's predecessor, the Wii U, did so badly that the CEO of Nintendo at the time took a 50% pay cut to help avoid layoffs. One thinks American CEOs could stand to learn from this example, but that's a different topic. So to go from that to the best-selling console of the last seven years is quite a swing of fate's pendulum. So let us then ask the obvious question: why did the Switch do better than its competitors, especially when it was so relatively underpowered compared to them in terms of hardware? The answer is simple. The Switch did the basics, but it did the basics exceptionally well and doing the basic simple things exceptionally well is often much harder than people imagine. The Switch doesn't have a lot of the more advanced features from the PC, Xbox, and PlayStation ecosystems, but it doesn't really need them. The Switch is easily portable. It has a strong library of first-party titles. The loading speed isn't great, but it's adequate. It has Switch Online for all the old Nintendo classics. You can play it handheld or docked. It's popular enough that developers want to bring their games to the console whenever possible, including some that some that were very technically difficult, like Skyrim or The Witcher 3. All that sounds simple, but it's much harder to do than it sounds, and the basics done well are always a good thing, regardless of the field. In fact, that is traditionally part of Nintendo's design philosophy. Nintendo has a thing they call “withered technology” (another translation from the Japanese would be “lateral thinking with seasoned technology”), which means rather than trying to use cutting edge technology, they use tried and true older technology and think about developing unique experiences with it. In other words, they used well established basic technology to build the Switch (which wasn't exactly cutting edge even in 2017) and then just tried to use that established technology well. So how does this apply to storytelling and writing? This is, after all, a writing podcast and not a video game podcast (even if I do talk about video games a fair bit). The same approach taken to writing can work out quite well. Don't try to be excessively fancy or flashy. Focus on the simple things and do them as well as you can, and that will probably work out better than trying to be flashy or creative in a way that only ends up being off putting to the reader. So when it comes to writing fiction, what are the simple things that you can do well? What is the “lateral thinking with seasoned technology” you can employ with writing a novel? I think there are five lessons we can take here. #1: Understand the genre you are writing in and try to hit the appropriate tropes for that genre. A lot of writers when they are first starting out try to do too much, like a fantasy author tries to write a 12 volume epic fantasy series as their first writing attempt, or someone tries to fuse a bunch of genres and write a book that is simultaneously romance, a magical realism coming of age story, and somehow also a memoir. If you can't clearly state the genre of your book, you're going to have a hard time selling it. You might also have a hard time even finishing it. What do I mean by the appropriate tropes for the genre? That's just a way of saying that the storytelling conventions that readers come to expect in specific genres. For example, in a happily ever after clean romance, the readers will expect no explicit scenes and that the heroine and the love interest will end up together by the end of the book. Romance tends to have a lot of very specific subgenres, but the rule holds for many other genres as well. Epic fantasy readers typically expect a quest, some journeying, and a band of arguing adventures. Mystery readers expect a mystery with an actual solution at the end. Thriller readers look forward to some well executed fight scenes in a secret government building. Some writers dislike the idea of writing to genre tropes but think of it this way: If you go to an Italian restaurant and order spaghetti carbonara, but the waiter instead brings out a steak burrito bowl with a side of French toast sticks and maple syrup, you're going to be disappointed. Are there people who would enjoy a lunch of a burrito bowl and French toast sticks? Almost certainly, but you ordered spaghetti carbonara. The vast majority of people who go to an Italian restaurant are going to expect Italian food. The same thing applies to genres. If you buy a mystery book, you will expect a mystery novel and not an experimental cross genre thing. If you dislike writing to genre tropes, remember that readers only dislike tropes written to genre conventions if it's done badly, but if you do it well, they appreciate it and that could be one of the simple things that you focus on doing well. #2: A protagonist with relatable problems. Another important basic in genre fiction is the protagonist with problems that the reader can find compelling. There's an endless tedious discussion about whether or not the protagonist should be likable or not, and frankly, it often degenerates into the standard Internet discussion about gender politics, whether or not a female protagonist has to be likable when a male one does not. But in my opinion, that discussion completely misses the point. What makes a character relatable, or more accurately sympathetic to the reader, is the character experiencing a conflict or some sort of emotional pain that allows the reader to sympathize with them. Whether their character is likable is less important than sympathy. Let's take two examples from recent television, specifically Disney properties. The characters of Syril Karn and Dedra Meero from the Star Wars show Andor are unlikable but sympathetic characters, while Jennifer Walters from She Hulk is both unlikable and unsympathetic. The difference between them is instructive for writers. Syril Karn and Dedra Meero are both essentially unlikable villains. Karn is a wannabe mall cop with puffed up delusions of his own importance and Meero is working for the Empire's sinister secret police as a mid-level officer. Yet Karn's circumstances make him emotionally sympathetic. He is stuck in a dead-end job and living with his cruel mother. Meero is trying to do the best job she can in the secret police and is fighting against her obstinate and clueless colleagues within a cumbersome bureaucracy, something many office workers can sympathize with. Indeed, it's clever how the show sets her up as a strong woman making headway in the male dominated secret police, only to yank away the sympathy when she brutally tortures one of the show's protagonists. By contrast, Jennifer Walters is both unlikable and unsympathetic. She's a rich lawyer who has rich lawyer problems, which is generally not sympathetic to most people. Indeed, she strongly establishes herself as unlikable in the first episode when she lectures Bruce Banner (who in past movies tried to kill himself in despair, was hunted by the US government, held as an enslaved gladiator for two years, brutally beaten by Thanos, and fried his right arm with the Infinity Gauntlet) about how much harder her life has been than his, which is objectively not true. As we mentioned with Karn and Meero, it's very possible for unlikable characters to be sympathetic, but Jennifer Walters is so unsympathetic that the best episodes of She Hulk were the ones where she becomes the unsympathetic comedy protagonist like David Brent from the UK Office or Basil Fawlty from Fawlty Towers and she suffers the comedic results of her own bad decisions. What's really compelling is when you have a likeable character who has a sympathetic problem. As an added bonus, it's usually easier to write a likeable character with a sympathetic problem. Striking the balance between an unlikable character with a sympathetic problem is often a challenge for even experienced writers. But if the reader likes your protagonist and the protagonist's problem inspires emotional sympathy in the reader, then that's half the battle. What is the other half of the battle lesson? #3: A strong conflict. I've said on the podcast many times before that conflict is central to storytelling. If you have a sympathetic protagonist who has a serious conflict, you've got yourself the potential for a strong book. Another way of saying conflict is “the problem the protagonist must solve, face, overcome.” If the protagonist doesn't have a problem, he or she might as well sit at home playing well, Nintendo Switch. Fortunately, it is easy to think of a suitable conflict for your story, because in Real Life, the potential causes of conflict are sadly infinite, and you can easily apply that to fiction. Like if you write epic fantasy, you could have the conflict be the quest to stop the Dark Lord, or if you write sci-fi, it could be defeating the invasion of the space bugs. Mysteries have a conflict built in for the genre. Solving the crime, finding a missing person, etc. Thrillers tend to be all about violent conflict, but conflicts don't have to be violent or even high stakes to be emotionally significant. It could be a conflict with a rival at work, or not even involve a person at all, like trying to survive the aftermath of a natural disaster. It boils down to that the protagonist must have a conflict and the protagonist must take some sort of action to resolve that conflict. Stories where this doesn't happen tend to become boring quite quickly. #4: A satisfactory ending. The ending is really, really important. You know how a joke isn't funny if it doesn't have a good punchline? A story with a bad ending, unfortunately, almost always turns out to be a bad story that leaves an unpleasant taste in a reader's mouth. What makes for a good ending? The story's central conflict has to be resolved in a satisfactory way, in a way that generates emotional catharsis. In fantasy, the quest needs to be achieved. In science fiction, the space bugs need to be defeated. In mystery, the killer has to be caught or the mystery resolved in a satisfactory way. In romance, the heroine needs to end up with her love interest. Bad endings are ones that don't resolve the conflict or resolve the conflict in a way that feels like cheating to the reader. This can include the protagonist solving the conflict through no effort or struggle or a Deus Ex Machina style ending where the conflict is solved simply because the author wants to hurry up and finish the book. Granted, this doesn't mean that a good ending is a happy one. The Lord of the Rings had a famously bittersweet ending. Sauron is defeated and the One Ring destroyed, but the Elves leave Middle Earth forever, and Frodo is too wounded to return to his homeland, instead choosing to accompany the Elves into the West. There are many other examples. The mystery could have the detective solving the crime, but at the cost of his career and his marriage. The protagonist of a military science fiction story could win the battle but be the only surviving member of his squad. The ending must resolve the conflict in an emotionally satisfying manner that doesn't leave the reader feeling cheated. #5: The fifth simple thing you can do: write clear prose. Writing clear prose that unambiguously conveys your meaning is one of the vital basics for storytelling, and this is harder than it seems. An anecdote from this topic about this topic: back in 2023, Wired magazine ran a hit piece on fantasy author Brandon Sanderson about his Kickstarter. One of the criticisms in the article was that Sanderson's books were written at a sixth-grade level, which is debatable, but that's not the point. The point is the writer of the article and many other people have the profound misapprehension that simple, clearly written prose is somehow easier to write than more dense or complex prose. It's really not, and this fact is easily proven. Think about how many people you know in real life who struggle to communicate through written communications such as emails or text messages. Think how many times you've gotten an e-mail from a manager or client only to have no idea what the person in question is trying to ask for, or even say. Or how much family drama can be created by a badly written text message or social media post that is easily misunderstood. In all of these examples, people failed to communicate effectively through written prose and would have benefited from the ability to write simple, clear, not easily misunderstood prose. Therefore, developing the ability to write clear, transparent prose that precisely conveys your meaning is a useful skill for anyone, not just fiction writers. It just happens to be especially useful for writers of fiction. When writing fiction, it is probably best to remain as clear and concise as possible. So in conclusion, these are the five simple things you can do well to have a good book: #1: Understand the genre #2: Have a protagonist with a sympathetic problem #3: A strong conflict #4: A satisfactory ending #5: As clear of prose as possible All relatively simple things, but if you do them well, I think you are well on the way to writing a good book. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes of the podcast on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look at four different types of story conflict, and explore three different ways to add them to your stories. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 222 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October the 11th, 2024 and today we are discussing four kinds of story conflict and three ways you can bring conflict into your books. Before we get into that, we will have an update on my current writing and audiobook projects and then do Question of the Week. The good news is that I am done with the first pass of editing on Ghost in the Tombs and I'm ready to start on the second. This is Episode 222 and if all goes well, I think Ghost in the Tombs will be out shortly around the time Episode 223 comes out. So second-half of October, we're on track for that. I am 28,000 words into Cloak of Illusion and that will be my main project once Ghost in the Tombs is published. I'm also 8,000 words into Orc Hoard, the fourth Rivah book, and that'll be the main project once the Cloak of Illusion is done. In audiobook news, Shield of Darkness is now out. You can get on Audible, Amazon, Apple, Google Play, Chirp, Kobo, Payhip, and all the other major audiobook stores. That is excellently narrated by Brad Wills. Recording is underway for Cloak of Spears and that should hopefully be out before the end of the year. So that's where I'm at with my current writing projects. 00:01:22 Question of the Week Let's move on to the Question of the Week. Question of the Week is designed to inspire interesting discussion of enjoyable topics. This week's question: if you listen to audiobooks, where do you listen to them? While cooking or driving, commuting, or perhaps walking? The inspiration for this question was that I was looking at some old sales spreadsheets from 2020 (that was a fun year, wasn't it?) and I was sure the start of COVID was going to wipe out the audiobook market because a lot of commuting was temporarily going away. Except this turned out not to be the case, and audiobook sales overall actually went up during COVID. So clearly I was wrong about how most audiobook listening took place while commuting. We had a few answers to this question. David said: Mostly while I'm home prepping and eating a meal, sometimes I'm in my vehicle enjoying a coffee while I drive somewhere. Sometimes when I go out to eat by myself, I'll listen on headphones. So it's when my hands are otherwise busy and it beats listening to music or TV. JLH says: I pretty much only listen to audiobooks while driving. While home, I prefer to read. I'll listen to music when I'm at the gym. Tom says: Anywhere and everywhere. Driving car and tractor, at work, when walking (single earpiece only), and when at the gym. MW says: Usually while driving. I prefer reading and drawing to listening, but those aren't an option when driving my car, so a podcast is usually it. For myself, these days I usually listen to audiobooks when making long road trips by myself where I don't need the GPS to navigate. That's because if I'm going someplace I've never been before and need the GPS to navigate, it is highly distracting to have the audiobook and the GPS cutting back and forth between each other while you're trying to figure out where you're going. That said, long drives to places where I know I'm going happen less than it did, so I generally listen to audiobooks less than I than I did before COVID. That said, in 2023 through 2024 I listened to the new audiobooks Andy Serkis recorded for the Lord of the Rings and was blown away by how good they were. Definitely recommended. So that is Question of the Week. 00:03:21 Main Topic of the Week: Story Conflicts So now on to this week's main topic: four types of story conflict and three ways you can add those conflicts to your story. So as we all know and as I've mentioned many times before on this podcast and on my blog, a story is nothing without conflict. Conflict is what drives the story. There's a story that when he was writing The Lord of the Rings, J.R.R. Tolkien probably would have wound up with a 1200 page description of a Hobbit dinner party if C.S. Lewis hadn't kind of gently urged him to add more conflict and have things happen to the story. I'm not entirely sure if that's true or not, but the point is quite valid that if you want to have an interesting story, you need a conflict. You need the characters to act and respond to that conflict, and that will help drive your story. Most stories also have more than one type of conflict. You can have internal conflict and external conflict and different kinds of internal versus external conflicts. For example, my novel Half-Elven Thief contains three of the four types of conflict we will discuss. I will mention those when I get to them. So let's look at four classic types of story conflict. #1: Person versus internal conflicts. What does that mean? That means the protagonist is facing challenges that test their core values and beliefs and must face their character flaws in order to move forward. There are numerous different types: midlife crisis, a character who has to overcome self-doubt, or a character who is confronted with a strong temptation or an otherwise moral test. There are numerous good examples from fiction. A relatively recent example would be the movie Inside Out, which shows a child trying to handle major changes in her life. She tries to face them by shutting out Sadness in favor of Joy, but finds that accepting all of her emotions is actually what's healthy and the internal conflict in that movie is the character in question learning to accept all of her emotions rather than trying to suppress sadness, and you know, live with sort of false joy. Another very classic example would be Lord of the Rings, where several different characters have internal conflicts. Perhaps the biggest one, of course, is Frodo trying to resist the power of the ring throughout the trilogy. Another big one that decides, of course, the book is at the end when Sam really, really wants to kill Gollum. As the narration in the text suggests, killing Gollum is probably the smartest thing he could do in that moment, but he can't within himself bring himself to strike Gollum. So he lets him go, which turns out of course to be very decisive to the plot. We mentioned before that Half-Elven Thief contains three of the four conflicts types below. Half-Elven Thief does have an internal conflict for Rivah where she has to balance her desire for financial stability and security with her conscience, because, though she's a thief, there are many more ruthless and immoral ways she can make money. She thinks about this throughout the book and the sequels, but never can quite bring herself to do that. The second major type of conflict is person versus others. And what it is a person's goals are being thwarted by another person. This is easily the most common kind of conflict, because in many ways it's the easiest to write. You can have anything ranging from a superhero fighting a super villain, you know, Iron Man versus Thanos. Most of us in our lives aren't going to hopefully experience conflict on that scale, but that is essentially person versus others in the form of Ironman versus Thanos. It could be not such a severe or violent conflict but a rivalry between, say, two sales reps or two City Council people where they will never come to blows, but they're both competing for the same goals or trying to promote harmony or trying to get someone to collaborate. Examples are numerous. Sherlock Holmes versus Professor Moriarty. Conan the Barbarian versus Thulsa Doom. Batman and The Joker and many other range of potential conflicts ranging from like we said before, super villains fighting each other to smaller and more intimate conflicts where two people are competing for the same goal in a way that won't result in, you know, violence or supervillainy, but is then nonetheless emotionally significant for both of them. And once again, we can use an example from Half-Elven Thief here and in Half-Elven Thief, Rivah's main adversary in the book is Marandis, who is the sort of official of the thieves' guild that she reports to who hates her and wants to find any excuse to sell her into slavery. She's managed to avoid that so far. So that is another example from Half-Elven Thief of person versus others. #3: The third common type of conflict is person versus environment. And what does that mean? It means the person is facing a conflict based on something that's happening in the environment. Types can include tornadoes, floods, hurricanes (which we are sadly seeing in real life right now), a pandemic, or getting stranded on desert island or a remote alien planet, that kind of thing. A famous example would be the 1995 movie Twister about surviving tornadoes. Twister is a little bit of a ridiculous movie, though I am looking forward to seeing the sequel Twisters, which I actually rented and will watch tonight. In my own books, I have not used conflict based on the environment too often, since I tend to prefer person versus others or person versus internal conflict. Probably the closest thing I have done would be some of the dungeon crawls, like in Frostborn: The Broken Mage where surviving a dungeon is a part of the plot, but in Ghost in the Tombs, there will be some person versus environment and what it will be we shall have to read and find out. #4: The fourth type of conflict is person versus supernatural and what that is, where the protagonist of the story must face a god or supernatural force of evil. Obviously, a fantasy book where someone fights an evil wizard is one of those. It also turns up in horror novels pretty frequently, where the protagonist is haunted by ghosts or haunted by vampires or werewolves, or Cthulhu or something like that. Examples are abundant. Maybe one of the oldest ones is The Odyssey, where Odysseus battles supernatural forces attempting to keep him from returning home. In Half-Elven Thief, once again we have a supernatural threat where Rivah is compelled to steal an item from a powerful wizard, and she has to face that wizard's powers and find a way to survive them. So with four types of conflict, let's see if we take a look at three different ways to add those types of conflict to your stories. #1: Put your characters in an unfamiliar or hostile environment. For example in my books, in Frostborn, Calliande in Frostborn: The Gray Knight wakes up in a world far different from the one she has known and must act to protect herself and her original quest. There are many different ways you can do that. If you are writing a mystery novel, for example, you could have your protagonist be transferred to another police precinct where no one likes him or her. If you're writing science fiction, the options for hostile environments are abundant, considering that most of space is lethal to humans. There are other genre suitable ways you could do that. #2: Force your characters into making decisions, and if you really want conflict, have them start off by making the wrong ones. This can be a good way to do that, so long as you don't make your character out to be an idiot. People make bad decisions all the time for what they think are good reasons, and if you can convincingly convey that, that is a good source of conflict. An example from my own books in the Dragonskull series, Gareth faces conflict with his parents over his rather ill-considered romantic relationship with Lady Iseult Toraemus. Then he has further conflict when that ends very badly. #3: Have your characters face an external conflict in different ways, which then creates an additional conflict. When two different people face an external conflict, they may undergo a different internal conflict over the problem and decide to react to it in different ways that create additional conflict. For example, in Stealth and Spells Online: Creation in the back story, the protagonist Noah Carver finds out that the game he was working on, Sevenfold Sword Online, was being used for illegal activities. He wanted to blow the whistle on it, but his wife didn't want to lose her job over it, so she immediately divorced him. That led to a new external conflict between the two of them, since they both wanted to deal with the problem in different ways and more internal conflicts for Noah since of course, he is our protagonist. So those are four different types of conflict and three ways you can apply them to the story and hopefully you will find that helpful as you think about writing your own stories and books. So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. I reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's special autumn episode, I share samples from four of my audiobooks. Each audiobook is the second book in its series! 1.) Dragonskull: Shield of the Knight, narrated by Brad Wills. 2.) Ghost in the Flames, narrated by Hollis McCarthy. 3.) Wizard-Thief, narrated by Leanne Woodward. 4.) Cloak of Wolves, narrated by Hollis McCarthy. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 221 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October, the 2nd 2024 and today we are sharing a second Audiobook Sampler Platter. Back in June in Episode 204, I did not have time to record an episode that week so what I did was I made a quick update and then assembled the samples together of four of my audiobooks, and then patched that together as an episode. People seemed to like that. Once again four months later, I find myself without time to record a full-length clip. So this week, what I'm going to do is put together a second Audiobook Sampler Platter. This time will be 4 samples from the second audiobooks in some of my series, so we will have that coming up later in the show after I offer an update on my current writing projects right now. I'm pleased to report that the rough draft of Ghost in the Tombs is done at about 93,000 words. I have also written a companion short story called Ghost Tablet and my newsletter subscribers will get a free ebook copy of Ghost Tablet when Ghost in the Tombs comes out. So now is a good time to sign up for my new release newsletter. If all goes well, Ghost in the Tombs should be out in the second half of October. I'm also 25,000 words into Cloak of Illusion, which will be the 12th Cloak Mage book and that should probably come out in November, if all goes well. I am 5,000 words into Orc Hoard, which will be the fourth Rivah book and I'm hoping to have that out in December In audiobook news, I'm pleased to report that after some processing delays, Stealth and Spells Online: Leveling is finally available at all audiobook stores. It's excellently narrated by C.J. McAllister. You can get it at Audible, Amazon, Google Play, Apple, Chirp, Spotify, and all the other usual audiobook stores. Recording just started yesterday for Shield of Conquests. That will be excellently narrated by Brad Wills. Shield of Darkness, the audiobook of that is done and is currently working its way through processing. So that is where I'm at with my current writing projects and now on to our audiobook samples. We shall have four audiobook samples this episode from the second book in four of my different series. The first sample will be Dragonskull: Shield of the Knight, the second book of the Dragonskull series (as narrated by Brad Wills). The second audiobook sample will be Ghost in the Flames, the second book in the Ghost series, as narrated by Hollis McCarthy. The third sample will be Wizard Thief, the second book in the Half-Elven Thief series as narrated by Leanne Woodward. The final sample will be Cloak of Wolves, the second book in the Cloak Mage series, again narrated by Hollis McCarthy. So those will be coming up very shortly. Before we get to that, I'd just like to say thanks for listening to The Pulp Writer Show. I hope you found the show useful and enjoyable. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review your podcasting platform of choice. Stay safe and stay healthy and see you all next week with hopefully a full-length episode. And until then, here are our four audiobook samples.

In this week's episode, we discuss eight tips for finishing your first rough draft.  You can also get 25% off any STEALTH & SPELLS audiobook at my Payhip store with this coupon code: LEVELING The coupon code will last until October 8th, 2024. You can get the audiobooks here: https://payhip.com/JonathanMoeller/collection/sevenfold-sword-online-audiobooks

In this week's episode, I take a look at why I don't set up preorders and I usually don't write prequels. I also share my thoughts about the video game STARFIELD. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 219 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September the 20th, 2024 and today we are discussing why I don't set up preorders for my books and why I prefer not to write prequels. Before we get to our main topic, we'll have an update on my current writing projects, Question of the Week, then we'll talk about a video game I recently enjoyed, and then we'll plunge on ahead to our main topic. First up, current writing and audiobook projects. I am pleased to report that Shield of Conquest is now completely finished and available. You can get it at all the usual ebook stores. It has been selling quite briskly and has been receiving good reviews. So thank you all for that. My next main project, which you can probably guess if you've been listening to the show for the last few months, is Ghost in the Tombs. As of this writing, I am 62,000 words into it, which I think puts me about 62% of the way through it, because I believe the rough draft will be around 100,000 words. I'm hoping to have that out towards the middle of October, if all goes well. I'm also 21,000 words into Cloak of Illusion. That should hopefully be out in November and I've just started what will be the fourth Rivah book, Orc-Hoard. It originally had been entitled Elven Sorcerer for the fourth Rivah book, but I decided to change the title to Orc-Hoard and that will be out in either December or January, if all goes well. In audiobook news, Stealth and Spells Online: Leveling is completely done and currently working its way through processing and the various audiobook platforms. You can get it at my Payhip store right now and it should be available at all the other stores in a couple of weeks. Stealth and Spells Online: Leveling was excellently narrated by CJ McAllister. Recording is almost done on Shield of Darkness, and hopefully we can approve the final version of that next week and then that'll work its way through processing and be available before too much longer. So that's where I am with my current writing and audiobook projects. 00:02:00 Question of the Week Now it's time for Question of the Week, designed to inspire interesting discussions of enjoyable topics. This week's question: what is the most annoying video game enemy? Obviously, there is no profound reason behind this question, since we're talking about video games. I happened to be reading an article about the upcoming Starfield expansion, and the comments devolved into a rambling discussion of game design and most annoying enemies, which inspired this question. We had a good range of responses. Reader AM wrote in to say that her greatest video game enemy is her own hand-eye coordination. We've all been there, AM; we've all been there. Justin says: The Legend of Zelda series is a great bunch of video games, but they do have their annoying bits. I nominate the Like Like worm. To get sucked in and spit back out (minus your shield) is incredibly aggravating. I cannot count the number of shields I've lost to this adversary. Later versions steal money or health, but for me, you know, the annoyance of having to go back to town to get a replacement shield (while trying to avoid encounters) ranks up there. Legend of Zelda also has annoying characters. Navi is the most so- her cry of “Hey! Listen!” quickly becomes painful. I too remember the Like Like worm from the Legend of Zelda days and that was indeed very annoying. JD says: Cliff racers from Morrowind. Do I need to say more? Juana says: the vampire guarding the sewers in Vampire: the Masquerade-Bloodlines. You have to be maxed out in at least two disciplines to take them out. It's really difficult to get maximum disciplines. Ross says: at least for me, it's Cliff racers in Morrowind. They're so far out ahead of anything else, I can't even think of what I'd put in second place. Morgan says: not sure of all time, but in terms of more recent games, the Zoanthropes in Space Marine 2 are an absolute nightmare, especially when they come in pairs so one is always shielding the other. Jesse says: Seymour in Final Fantasy 10. Only boss I remember that you have to beat five times. Jenny says: that drum boss in Ocarina of Time. William says: Zelda 2 has no shortage of troublesome enemies, like the Iron Knuckles. It's probably for the best I never had the chance to play it back in the day without save states. Brandy says: The first multiplayer run through Diablo, where you're through the Easter Egg levels and every other flick of the mouse you're screaming “run away, run away!” or “hold still, so I might smite thee!” For myself, my answer would be those stupid Medusa Heads from the Castlevania series. If you've played any Castlevania game, you know what I'm talking about. You'll be climbing the stairs and the Medusa Head will somehow come in at exactly the right angle to avoid all your weapons and to knock you off the stairs to your death at the same time. Honestly, a lot of the old school Castlevania Games are much more enjoyable with save states on modern systems. A very strong runner up would be Lakitu from Super Mario Brothers. He's the guy in the cloud who drops all those Spiny Shells on your head. So we had quite a good range of responses this week, thought it appears that the Morrowind Cliff Racer may take the championship. 00:04:49 Thoughts on Starfield Speaking of video games, I actually wanted to talk about Starfield a little bit because I beat the main quest in Starfield this month. By my standards, this is fast. I first started playing Skyrim in 2011, and I finally beat the main quest in autumn 2020 on the Switch version, since that was during the height of COVID and there wasn't much else to do. By contrast, Starfield came out in September 2023, so I beat the main quest in just a little bit over a year. So here are my thoughts on the game. Overall, I would say I really liked it. It does capture the feel of being a competent space adventurer wandering around the galaxy. You can do bounty hunting, pirate hunting, mining, exploring, and a variety of other stuff. Back in the ‘90s, I really liked Wing Commander: Privateer, which had infinite random missions and Starfield kind of feels like an enormously expanded version of Privateer, or like Privateer with a Halo game attached to it, given the wide variety of firearms you can obtain. In the grand tradition of Bethesda Games, you don't even have to do the main quest or any of the scripted side quests. You can just wander around visiting random planets and fighting space pirates forever. Honestly, I probably spent more time playing randomly generated side missions than any of the scripted quests. That said, I very much liked some of the scripted side missions. The Vanguard plotline was the best of them, in my opinion. You have to help the United Colonies find the origins of a super deadly alien predator called the Terrormorph, and at the end there's a genuinely hard moral question: does the greater good justify the means for people in positions of authority? The game also improved quite a bit since launch with new patches. The updates added a city map feature which is massively useful and a Space Car you can use for driving across planetary surfaces, which makes a lot of the game's missions quite a bit simpler and easy. Now, while I enjoyed Starfield, I concede that many of its critics had a point about its weaknesses. The game relies a lot on procedural generation. Every time you land on a planet, a bunch of nearby dungeons and features are randomly generated. This can get repetitive, though honestly I don't mind that very much. It makes it easier to play the game in bite sized chunks when it's late and I'm tired and I just want to mow down some Space Pirates or something. What is annoying is that sometimes the procedurally generated locations don't match with the procedurally generated quests, which locks you out of finishing some of the randomly generated quests. That was really irritating, though it only tends to happen at very high levels. The game's main plot revolved around multiverse stuff, and as I've mentioned frequently before, I am not a big fan of the multiverse as a storytelling concept. However, it works better in a video game than in a movie or a book, and Starfield's implementation of it is quite clever. Many games have the New Game Plus concept where you beat the game and then you start a new game, but things are slightly different. In Starfield, when you beat the game, you go to a new universe, you lose all your possessions, but you keep all your skills and knowledge, so you're starting the new game at level 65 or whatever. Additionally, a lot of the quests are subtly altered because your character knows in advance what is going to happen from the previous universe, so you can get a better outcome than you did the last time, which is honestly a kind of a clever game mechanic, which makes it a compelling journey to go from universe to universe and to put right what once went wrong. Anyway, I enjoyed Starfield and I will definitely play the Shattered Space expansion, which comes out at the end of September, but enough talk about video games. 00:08:14 Main Topic of the Week: Preorders and Prequels This is writing podcast, so let's move on to our main topic, preorders and prequels. I have to admit preorders and prequel sounds like a really lame tabletop RPG for indie authors. Like if you roll a 20, your book gets picked up as an Amazon Daily deal for the US, but if you roll 1, your book file gets corrupted and you can't figure out how to fix it. Anyway, the inspiration for this alliterative title was that someone asked me about preorders, and someone else asked me about prequels within 24 hours. So let's start with prequels. Reader Juan writes in to ask about preorders: something I noticed about your books. There's never a preorder option on Apple Books. Is this by design? I know you self-publish so I didn't know if that was a publisher feature or if there's a way to preorder there. If not, no worries, I just know Apple takes a little longer to load the book. Preorders are available to self-publishers, but the reason I don't do preorders is by design. I never do preorders for a couple different reasons, which we'll go through right now. #1: the consequences of missing a preorder date are moderately negative. If you miss a preorder date on Amazon, you get locked out of doing another one for the following 12 months. I'm not sure what happens if you miss a preorder on Apple Books, but I suspect it's about the same level of penalty and this ties directly into reason two. #2 is that life is chaotic and unpredictable, and I absolutely hate making promises I end up unable to keep. Like if I get sick or something in Real Life comes along that I have to deal with immediately, I could easily miss a week of writing time, which would make hitting the preorder date either very stressful or impossible. #3: If I wrote like only two books a year, I might do preorders. That would give me enough of a cushion of time to make sure that everything is ready to go well in advance of the launch date. But I usually write and publish like ten books a year, sometimes more. With books coming out so frequently, organizing that many pre-orders would be a serious headache and sometimes I don't actually decide what I'm going to write next until the day comes and I actually sit down to start writing. Like at the end of 2023, I pretty much decided on impulse to finish writing Half-Elven Thief and had that be my last book of the year in 2023. So with the amount I write and publish, managing the logistics of so many pre-orders would be a serious headache. #4: And finally, reason number four and the most important reason: the worst consequence of missing a preorder is a loss of reader confidence. Without going into details, let's say there's been enough of that in the fantasy genre already, so preorders have too many negatives and not enough positives, at least for my situation. I'd rather just make a good faith effort of having things come out when I can and announcing them via my newsletter. Speaking of which, if you sign up for my newsletter, you get regular free short stories. Now onto prequels. Concerning prequels, reader Danny writes in to ask: May I suggest writing a series of prequels to the Cloak Game series? Shield of Conquest made me hope that it would be a prequel book to the Cloak Game series, a book that speaks about the invasion of Earth by the elves and brings some backstory of the relationship between Kathran Morvilind and Tarlia- a teacher and a student, and the discovery and invasion of Earth, or other back stories that were not developed enough. For example, what about Aiden, brother of Riordan, or Riordan's experience as a Shadow Hunter? Generally speaking, I am not a big fan of writing prequels. I have written a couple of prequel novels out of the 155 books I've written (Frostborn: The First Quest comes to mind) and sometimes I'll do short stories as a flashback. Probably the most recent example of that is Prophecy of the High Queen, the short story that describes the first meeting between Nadia and the High Queen written from the High Queen's perspective. The High Queen uses magic to look into Nadia's past and her various potential futures, and so the short story bounces all over the place in time. I have also written novels that kind of jump around in time. In Cloak of Iron, the scenes from Lauren Casey's perspective go back to even before the Cloak Game series actually started to set up why Lauren was desperate enough to save her brother that that she was willing to deal with someone like Mr. Shang of the Deathless Society. Or in the very first Nadia book, Games: Thief Trap, where we blur through the first twenty years of Nadia's life in the first chapter. That said, I do write the short stories in mind as bonus materials like the extra scenes on a movie DVD. However, at this point I don't think I would write a prequel novel, and I certainly wouldn't write a prequel series. Why not? It feels like prequels are sort of like procrastinating before you continue on the main story, which is likely what most readers really want. I've noticed some writers (again, without going into details) have a bad habit of writing prequels instead of getting on with the main story. Making yourself continue the main story instead of getting sidetracked by prequels or side quests is difficult, but it must be done for the greater good of the story. Additionally, a big problem with prequels is it's extremely difficult to generate narrative tension because you know in advance that certain characters are going to survive or certain situations are going to play out in a way you've already read in subsequent books. If I did, for example, my Andomhaim series as a prequel series, it would be set in a region of the world we've never visited and with characters we never encountered before, so that way there is a dramatic tension that the reader doesn't know how things are going to end and that will make the book more enjoyable. Also, some things are really better left to the reader's imagination, and that can include back stories. Writing fiction is in some ways an exercise in creating a line drawing and letting the imagination of the reader provide color and shadow. Like, since we've been talking about Nadia, here's someone describing her from a first-person perspective:  "A woman in a dark coat and black jeans sat across from me. She had red-tinged brown hair tied in a loose ponytail and pale grey eyes the color of knives. I thought she looked like she could stand to eat more. That, combined with the eyes, gave her a look of feverish, almost unsettling intensity. I probably outweighed her by a good ninety pounds, but I felt the sudden urge to reach for the gun I wasn't carrying." Now that's just a line drawing, right? Yet every reader will fill in that line drawing with something from his or her own imagination. In the same way, I think it is sometimes (even frequently) best to let the reader's imagination fill in the details of the character's backstory. Like Riordan- we know he tried to save his brother Aidan and failed. We know that he became a Shadow Hunter and that his first wife joined the Rebels and tried to murder him to score points with her new friends. I could write out a prequel series describing those events, but I think at this point it wouldn't be as vivid as the one that readers have generated in their imaginations. Besides, writing a prequel story would be a distraction from the main story. So that is why I don't set up preorders and I don't usually write prequels. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, I review the movies and streaming shows I saw in the second half of summer 2024. The episode concludes with a preview of the audiobook of HALF-ORC PALADIN, as excellently narrated by Leanne Woodward. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 218 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September the 13th, 2024 and today we are discussing my Summer Movie Review Roundup, Part 2. Just to note to say that you may hear some odd background noises in this episode. My neighbor across the street is getting his roof replaced. I can't begrudge them that because no one likes a leaky roof, but it is slightly inconvenient because this is the only time today I have to record the podcast. So if you hear the occasional pop in the background, that is the sound of a nail gun driving shingles into a roof. Before we get to our main topics, let's have an update on my current writing projects and then we will do Question of the Week. First up, Shield of Conquest is very nearly done. I am about 2/3 of the way through the final round of editing and if all goes well, it should come out shortly after this episode is available, so be sure to check your favorite ebook retailer and see if it is out. Once that is done, I will be going full speed ahead on Ghost in the Tombs and I'm currently 48,000 words into that, so about halfway through the rough draft, give or take, depends on how long the rest of the book takes and how certain scenes in the final half of the book out. In audiobook news, Half-Orc Paladin is done, and it's now available on all the major audio stores: Audible, Amazon, Apple, Google Play, Chirp, Kobo, Payhip, Spotify, and a couple others, and you can get it there. We will close out this episode with a preview of Half-Orc Paladin (as excellently narrated by Leanne Woodward). 00:01:30 Question of the Week Now let's have a Question of the Week. Question of the Week is designed to inspire interesting discussions of enjoyable topics. This week's question: what is your favorite superhero movie? No wrong answers, of course (including “I don't like superhero movies”, but it turns out no one said that, so I guess superhero movies are quite popular). The inspiration for this question was that I was thinking about how superhero movies are such a major part of pop culture. Nowadays when people think of superhero movies, they usually think of Marvel and the Marvel Cinematic Universe, but there were major superhero movies before the whole Marvel Cinematic approach really got going in the 2000s/2010s and they've been obviously part of pop culture for a very long time, and as you could expect, we had a wide range of responses from this. Our first response was from JD, who says: If I had to pick just one, it would probably be Guardians of the Galaxy. The first film had a near perfect mix of action, drama, and comedy. For me, the best Batman film was the 1966 one starring Adam West. Joaquim says: In the last millennium, when I was a child, we had DC Comics and Marvel Comics. I did like Batman in DC, Spider-man and The Avengers in Marvel. In the movies, I did not particularly like Batman, but I like the early Marvel movies, Avengers 1 and Captain America 2 the most. Mary says: X-Men. Todd says: 1978 Superman. Visually at 15, I believed a man could fly. Juana says: My superhero is actually a couple - The Vision and Scarlet Witch (before they turned Vision into an emotionless thing a while back). What's interesting is that the guy who was in charge of Picard Season 3, which I quite liked, is apparently going to be running a Vision show for Marvel sometime in 2026 (assuming Disney doesn't run out of money first), so it should be interesting to see how it turns out. Stephen says: I know this is random- Shang Chi and the Legend of the 10 Rings. I know it was not completely an original storyline, but I liked it a lot. I agree with Stephen. I thought Shang Chi and the Legend of the 10 Rings was one of the stronger Marvel movies and it's too bad it hasn't had a sequel. Becca says: The Dark Knight trilogy. Those are the real Batman films for me. Ledger was certainly the best Joker. I do love the happier Batmans, too. I grew up on West's version of Batman. For me, V for Vendetta is my favorite superhero movie and one of my favorite movies ever. I usually watch it at least once a year. Michael says: Captain America: The First Avenger. Juliana says: Second Captain America. The spy aspect really married well with the superhero genre in this one. I agree with Juliana. I think Captain America: Winter Soldier is one of the better Marvel movies. Roger says: only because we're entering the season, The Christmas Chronicles with Kurt Russell. Andrew says: Deadpool and Wolverine, followed by The Dark Knight trilogy. James says: I know Fox's X-Men get a bad rap generally, but Days of Future Past was amazing. I'd have to go with that, with The Dark Knight, Thor: Ragnarok, and Wonder Woman as runner-ups. Cheryl says: don't really have favorites, but for eye candy, Thor. Catriona says: The original Christopher Reeve Superman. Jenny says: Mystery Men. Jeanne says: Megamind. Randy says: Christian Bale and Heath Ledger in The Dark Knight movies are definitely in the top three but Iron Man has always been my favorite. Good story, good pacing, and Robert Downey Junior just nailed playing Tony Stark, in my opinion. Not to mention it kicked off the longest, largest, story movie arc to this day. BV says: Superman 1978. Terry says: Fifth Element. Gary says: Hancock. For myself, I think my favorite superhero movies would be the Christopher Nolan/Christian Bale Dark Knight trilogy. Strong performances, great action, and they managed to do something very difficult, namely bring a satisfying end to a superhero story arc. It almost feels like The Dark Knight movies are the “real” events of Batman and all the other comics and cartoons and movies are legends and exaggerations after the fact, like how the whole glittering mythos of King Arthur and the Round Table developed around an obscure Roman British warlord in the 500s AD. Also, Heath Ledger's version of the Joker was amazing. That said, for Marvel movies, which have been kind of the dominant form of superhero movies for the last decade, I think the best one of those would be Captain America: Winter Soldier (in my opinion). 00:05:45 Main Topic: Summer 2024 Movie/TV Roundup, Part 2 And now on to our main topic of this episode, my Summer 2024 Movie Roundup, Part 2. And if this movie roundup has a theme, it's miscellaneous. The reason for that is I did not actually watch all that many movies in the second half of the summer. There was no nefarious reason for that. I was just busy with travel and busy with multiple instances of home repair and busy finishing Half-Orc Paladin and Shield of Conquest. So I mostly watched some older stuff that I found on streaming, especially on Tubi, which has the delightful attribute of being free with ads. As usual, the movies are listed from my least favorite to my most favorite and the grades are totally subjective and based upon my own thoughts and opinions and nothing more substantial than that. So with that in mind, let's start out. First up is The Burbs, which came out in 1989. It's a dark comedy/horror movie satire starring Tom Hanks as Ray, a suburban homeowner with a wife and a son. On vacation for the week, Ray becomes obsessed with the Klopeks, a new family that has moved on to his street. The Klopeks have no interest in maintaining their property and show signs of other odd activities: going out only at night, constant digging in the backyard, and strange noises and lights coming from their basement. Soon, Ray and his two neighbors become determined to find out just what the Klopeks are up to. It was darkly funny, though you could tell that the ending had been rewritten a few times. The movie couldn't decide if it wanted to be a satire of clannish homeowners or to totally validate their concerns, or both. I think it tried for both and couldn't quite get there. Though it does kind of show how much the United States has changed or possibly declined in the last 35 years. Ray and his friends are shown as kind of losers, but they live in enormous, well-maintained houses. It's like how Homer Simpson in the first couple seasons of The Simpsons was shown as a bumbling loser, but yet he could afford to live in a four bedroom house, his wife didn't work most of the time, they had two cars and three children, and all without Homer having a college degree. By the standards of 2024, Homer Simpson lived like a king. Amusing anecdote-one scene in The Burbs was clearly inspired by A Fistful of Dollars, which I talk about more below. Overall grade: C Next up is The Batman vs. Dracula, an animated movie which came out in 2005. In this movie, Batman goes up against Count Dracula. This was probably as dark and gory as something can be while still technically remaining targeted at children. When a robbery goes bad, the Penguin accidentally releases Count Dracula from his tomb and becomes the Vampire Lord's new chief servant. Dracula is fascinated by the modern world, but he's especially fascinated by Batman since for obvious reasons he admires Batman's bat-themed motif. Dracula offers Batman the chance to become his chief lieutenant, which Batman refuses and Dracula takes that personally. He'll get his revenge by turning Gotham City into a city of the undead and taking Bruce Wayne's girlfriend, Vicki Vale, as his new vampire bride. Unless, of course, Batman stops him. It was interesting how neatly Dracula slots into becoming a good enemy for Batman. After all, in the original Dracula novel, Dracula's nemesis Van Helsing was definitely a man of science who brought logic, reason, and scientific method to his fight against Dracula. Batman is also a man of science in the sense that he's a detective, so he does some detective work to unravel Dracula's weaknesses and to build weapons to use against him. Overall Grade: B Next up is Set It Up, which came out in 2018. This is a romantic comedy that reminded me a bit of the more cynical 1940s-era romcoms like The Shop Around the Corner. The female lead Harper works as a personal assistant for a workaholic female sports writer who terrorizes her employees. The male lead Charlie works for workaholic male venture capitalist who also terrorizes his employees. Both their bosses are miserable, demanding people who make everyone around them unhappy. One day, both Charlie and Harper are dispatched to get dinner for their bosses and end up fighting over the last available delivery man. However, in the wake of the encounter, Harper hatches a plan. Both she and Charlie know everything about their respective bosses, so why not manipulate their calendars and schedules so they fall in love? They might be more cheerful, or at the very least they'll be in the office less frequently. Charlie has his misgivings about this plan, but after one more unfortunate encounter with his boss, decides to embark upon Harper's plan. Of course, Charlie has a high maintenance girlfriend who wants him to make a lot more money, and Harper is trying to find a boyfriend, but as per the rules of romcoms, perhaps Charlie and Harper will have more in common than they might think. This had a bit more crude humor than I might prefer but was still enjoyable. It did remind me quite a bit of the more cynical ‘30s and ‘40s movies like My Man Godfrey or the Shop around the Corner. Overall Grade: B Next up is The Bank of Dave, which came out in 2023. This is basically the cynical British version of a Hallmark movie, but with better production values. It is very, very loosely based on the activities of Dave Fishwick, a successful van dealer in the north of England who decides to start a local bank for local people, feeling that the Big London banks have lost sight of that. To do that, he recruits a London lawyer named Hugh to help him navigate a labyrinth of regulation around financial institutions. Of course the big banks dislike this idea and come after Dave hard. Dave is definitely the local Big Man, and it's interesting that humanity's default mode of government seems to be Local Big Man. However, if one must have a Big Man, one could only hope he is as benevolent as Dave. The movie was pretty funny, though a lot of the humor comes from the UK's class and regional divides, which are rather more pronounced than in the United States. Here in the United States, you can drive for 300 miles and be in the same state the entire time, and the local culture won't change all that much. The cliche is that the US East Coast and the US West Coast look down upon flyover country, but you can drive something like 1,000 miles from New York before you even get to Flyover Country. If you drive 300 miles in the UK, you've probably gone through six or seven regional accents and local traditions. The Bank of Dave does kind of turn into a Hallmark movie since Hugh falls for David's doctor niece. So basically a romance with the backdrop of British class/regional struggle as comedy. Overall grade: B Next up is Cool Runnings, which came out in 1993. A sports comedy film very (and I mean very loosely) based on the debut of the Jamaican Olympic bobsled team in the 1988 Winter Olympics. When sprinter Derice Bannock is unable to qualify for the Jamaican Olympic team due to an accident, he decides to instead to start a bobsled team to represent Jamaica in the Games. To do this, he recruits washed up former bobsledder Blitzer (played by John Candy) to act as the team's coach. What follows is a pretty good example of a sports movie. The team must come together and perform while overcoming their own personal challenges and inner conflicts, especially Coach Blitzer, who has to dig deep and overcome his past to effectively coach the team. It's interesting that sports movies tend to follow one of two trajectories. Either the team rallies and wins the championship, or they don't win the championship and nonetheless achieve moral victory by overcoming their internal difficulties in learning to work together. I won't spoil which path Cool Runnings follows. Overall Grade: B Next up is Uncle Buck, which came out in 1989. This is a coming-of-age comedy film about a 40 year old man, oddly enough. I did think this was pretty funny. Bob and Cindy are a married couple with three children living in the suburbs of Chicago, and when Cindy's father has a heart attack, they need to rush to his side. Due to the unexpected nature of the news, they have to find someone to watch the kids while they're gone. In desperation, they turned to Bob's brother Buck, who alternates between working for his girlfriend at her tire company and making money on rigged horse races. While Buck is kind of a loser, he's basically a decent guy, just averse to responsibility and settling down. He quickly steps up to take care of the children, though he conflicts with the oldest daughter Tia, who is in the grips of a full-blown adolescent rebellion. Buck soon realizes that he's come to a crossroads in his life, which is reinforced when Tia runs away to a party for the weekend. Slightly dark in places, but definitely more family friendly than many ‘80s comedies. Overall Grade: B+ Next up is the Adjustment Bureau, which came out in 2011. It is a science fiction romantic thriller based on the Philip K. Dick story, which is a very odd sentence to say, but it's true. Matt Damon plays David Norris, a congressman from New York who just lost the Senate race. Preparing for his concession speech. He meets Elise (played by Emily Blunt) and is immediately smitten with her. A month later, he runs into her by accident on a bus and receives her phone number. However, soon mysterious suited men with unusual powers arrive and burn the paper with the phone number. The men explain to David that they are The Adjustment Bureau, charged with making sure history unfolds according to the mysterious Plan. The Plan says that David can never see Elise again. David of course is not the sort of guy to take that lying down, so he soon finds himself trying to outwit the Time Cops and find Elise. It was interesting that The Adjustment Bureau was very similar to the Time Variance Authority from the Marvel Loki show, so I wonder if they drew on some of the same sources of inspiration. An interesting movie and worth watching. It actually wrestled with the oldest philosophical question in Western civilization: are all things predestined or do we have free will? Or is it somehow both? I have to admit that the scene where Elise dunked David's BlackBerry in coffee was very satisfying to me personally, since I had a lot of support headaches with Blackberries back in the 2000s. Overall Grade: B+ Now, finally the favorite thing I saw in the second half of the summer 2024: A Fistful of Dollars, which came out in 1964. This was the first Spaghetti Western I've seen, which means it's Italian director Sergio Leone's sort of stylized version of what the Old West was like. Of course, the movie actually ripped off the Akira Kurosawa samurai movie Yojimbo. In fact, it was so heavily ripped off Yojimbo that Kurosawa sued, settled out of court, and received 15% of A Fistful of Dollars' revenue. Apparently Kurosawa made more from the settlement than he did from Yojimbo. Legal troubles aside, it was quite good and I could see how it heavily influenced many subsequent movies. For example, the Star Wars character of Boba Fett was inspired by A Fistful of Dollars and Boba Fett in turn inspired the Mandalorian. Stephen King's rather disappointing Dark Tower series was inspired by Dollars as well. And there are many other examples, such as the scene in The Burbs I had mentioned above earlier. Anyway, Clint Eastwood plays The Stranger, a mercenary gunslinger who seems to be drifting from town to town without a purpose. He arrives at San Miguel, a US-Mexican border town that is dominated by two crime families at each other's throats, the Rojos and the Baxters. Both clans seek to hire The Stranger for their organizations and the gunslinger begins playing them off each other for personal profit. As mercenary and as ruthless as he is, The Stranger seems to have a core of honor to him. A couple of times he goes out of his way to help people because he can, which sometimes gets him into trouble. Definitely worth watching as a classic film. Overall Grade: A So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com, often with transcripts (note: transcripts are available from Episodes 140 onward). If you enjoy the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, I discuss the origins of my HALF-ELVEN THIEF series, and describe some of the ideas that inspired it. I also talk a little about some of the common scams in self-publishing.

In this week's episode, I take a look at 7 things you should not put on a book cover, and also discuss how I used to write tech nonfiction. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 216 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 30th, 2024, and today we're considering seven things that you should not put on your book cover. We'll also talk a little bit about how I used to write tech books and have Question of the Week. Last week we also had a bit of a problem with the microphone levels. Hopefully that should now be adjusted and the sound should not be bouncing around randomly throughout the episode. So first up, updates on my writing progress. I am currently done with the rough draft of Shield of Conquest, 97,500 words written in 21 days. Right now, I'm writing a companion short story, The First Command. That will be a short story that my newsletter subscribers will get for free in ebook form when Shield of Conquest comes out, hopefully sometime in September. I'm also 40,000 words into Ghosts in the Tombs, which will be the next main project after Shield of Conquest is out. I'm 10,000 words into Cloak of Titans, which hopefully will be around November. In audiobook news, the recording for Half-Orc Paladin is done. That will be excellently narrated by Leanne Woodward. And if all goes well, that should wend its way through the various audiobook stores and be available soon. 00:01:19 Question of the Week Now let's do Question of the Week, which is designed to inspire enjoyable discussion of interesting topics. This week's question: what is your favorite movie in the fantasy genre? No wrong answers obviously, but I think it's an interesting question because I suspect fantasy is a lot harder as a genre to bring to film than police procedurals or romantic comedies. Quite a few responses for this one. Mary says: The Princess Bride. Justin says: The Lord of the Rings trilogy is in a category by itself. A faithful (given the constraints) adaptation of the greatest fantasy story of all time. Conan is very good, but The Princess Bride is what I watch over and over again. Barbara says: Ralph Bakshi's Wizards. I know it's animated, but I watch it every chance I get. Even hunted down the soundtrack. It was our go to entertainment when my husband and I were dating and right after we were married. William says: Watching Terry Gilliam's Time Bandits as a child was an impactful experience for me. Personally, I don't really see the need to adapt perfectly good books into movies where you can make a perfectly good original movie instead like Star Wars. Martin says: Lord of the Rings has an epic quality about it and has everything. One of my favorite fantasy films is Stardust. It's a great journey for the characters involved and has a wonderful mix of magic and action. Jenny says: Legend and Labyrinth are iconic to me and Dark Crystal. Lord of the Rings is epic though, I agree. A different Barbara says: Got to be Labyrinth. Bowie was spectacular. Not a fan of Lord of the Rings. Gary says: Lord of the Rings is pretty obvious, but I've always liked Time Bandits. BV says: Hand down, Lord of the Rings and the upcoming movie Shield Knight (which is not terribly likely). Bonnie says: Willow is number one, then the original Dune. Yeah, I know-quite the spectrum. Juana says: Lord of the Rings and Fantastic Voyage. David says: Don't forget Krull. Tom says: Lord of the Rings, then Stardust. Rewatched those so many times. AL says: Willow also had a terrible plot. I think my second choice would be Bright, lol. And then the last Dungeons and Dragons movie. Jeanne says: Without question, Lord of the Rings. Darla says: Geez people, every movie you mentioned makes me want to see them again. There are so many good and not so good fantasy movies. I would say Lord of the Rings plus Rings of Power on Amazon. A really old movie from my brain is Scanners. Although the acting was totally terrible, the concept was intriguing. And finally, Pippa says: Lord of the Rings, then Willow. So yeah, we can see from those answers that Lord of the Rings is definitely the category winner, which agrees with my own assessment. For myself, I think the overwhelming answer would have to be Peter Jackson's Lord of the Rings trilogy. In my opinion, and your opinion may vary, The Lord of the Rings movie set the bar very high, so the trilogy is kind of in its own category. You can watch them 20 years later and they hold up well in a way a lot of stuff from 20 years ago does not. But with that said, I think my second favorite fantasy film would be the Arnold Schwarzenegger Conan the Barbarian, since it does a pretty good job of capturing the spirit of the original stories and the soundtrack by Basil Poledouris is superb. The Anvil of Crom track is excellent. Also, James Earl Jones plays an evil sorcerer/cult leader named Thulsa Doom, which is of course excellent, although after reading all the comments and thinking about it, I think Dungeons and Dragons: Honor Among Thieves from 2023 would be tied with Conan the Barbarian in my second place fantasy film. 00:04:38 Reflections on Writing Tech Books Now onto a slightly different topic, how I used to write tech books. I can always tell when the school year starts because suddenly I have numerous orders for the paperback copies of the Linux Command Line Beginner's Guide and the Windows Command Line Beginner's Guide. This happens because some professors have recommended them for their classes because the books are one- low cost and two- a good introduction to the topic. If you've only discovered my writing recently, and by recently I mean within the last six years or so, you might not know this, but I used to do a lot of tech writing. That was in fact my first successful attempt at writing from the Internet, tech blogging back in the second half of the 2000s. When I started self-publishing in 2011, I also wrote a bunch of tech books and Linux Command Line Beginner's Guide and Windows Command Line Beginner's Guide are definitely the most successful of them. Around 2018/early 2019 I stopped tech writing due to lack of time and the fact that fiction turned out to be much more lucrative. That said, I occasionally get snide remarks and people saying well, why paid $0.99 for an ebook? All this information is available for free on the Internet or YouTube. That is true. However, it overlooks the fact that people learn information in different ways. For some people, having the information laid out step by step in a book is the best introduction to the topic. And the books are intended for absolute beginners. Part of the experience of being an absolute beginner is that you don't even know the proper questions to ask, which means it's hard to find research. It's hard to research and find relevant information on the Internet. It's said that experts know what they don't know. If you're a beginner, you don't even know what you don't know yet. That means you don't know what to Google or look for on YouTube. Linux Command Line Beginner's Guide and Windows Command Line Beginner's Guide were intended to give people a good beginning foundation on the topic. And since the books have been out for 12 years, I think I've achieved that achieved that goal. I've gotten many emails from people who found themselves suddenly forced to use Linux. My favorite was from a teacher who unexpectedly found himself teaching a high school computer science class one week before it actually began. They said that the book helped them come to grips with the Linux Command Line. I'm glad that was helpful. I'm glad that the book has helped people, which is why I've kept them at $0.99 for over a decade now. And if you are learning command line for the first time and you're one of the people who bought the book recently, I hope it is helpful. 00:07:00 Main Topic: 7 Things You Shouldn't Put on Your Book Cover Our main topic this week is seven things you shouldn't put on your book cover. We have talked a lot about book cover design and related topics on this podcast so I thought would be a good idea to take a look at seven things you shouldn't put on your book cover. It is a delicate balance to get a cover that is eye-catching and represents what you want people to know about your book without being either offensive or boring. Studying other covers in your genre is a great start for learning how to make successful covers and to match what people expect to see on a cover. Amazon has a broad “material we deem inappropriate or offensive” sentence in its guidance about inappropriate covers. So how do you know what makes for an inappropriate cover? As a general rule, over my book covers I've avoided any sort of nudity and no weapons pointed at the reader. If you have weapons on your cover, such as swords or guns or whatever, they should not be pointed at the reader. More specific questions you can ask yourself about whether something is inappropriate for book cover are: would someone be embarrassed or nervous to be seen with this book cover on the subway? Thanks to ereaders and phones, you can read whatever you want on the subway or the bus without people knowing what you're reading but if you have a paper book, would you be embarrassed to be seen with this cover in public? Would you have to hide this cover from a grandparent, a former teacher, or a teenager? Is this the kind of cover you would not want them to see? Would a newspaper be uncomfortable printing this cover as part of a story and would a local bookstore not be excited to have this cover in their window for the entire community to see? If the answer to any of those questions is yes, you may want to rethink your book cover. And now on to our actual list of seven things you should not put on your book cover. #1: Awards that no one has heard of or bestseller lists besides the New York Times. If your book has won an award that isn't super well known like the Hugo or the National Book Award or the Edgar, etcetera, it shouldn't take up real estate on your cover. It's definitely not worth chasing some of those random tiny book awards that focus on Indies, some of which are more sketchy than others, just to have a shiny gold metal on your cover. If people don't know the award, it's at best confusing and at worst makes it look like the book couldn't win a real award. New York Times is the only bestseller list the average reader would care about, maybe USA Today if you were on it before it ended. And similarly, advertising your Amazon ranking on your cover is cringey and looks desperate, so unless you've won a prestigious award that people who are outside the book world would have heard of, it's probably a good idea to not put any awards on your book cover. #2: Low resolution images and text and font that can't be read in thumbnail. Both too small and too stylized are problems. Test out your thumbnail on both color and an E Ink screens because you want it to be comprehensible and legible in both formats in thumbnail. Low resolution or pixelated images make your book look cheap and low effort, which will be especially noticeable and regrettable in print versions. Never zoom into a JPEG unless the JPEG is high enough resolution to support it. In any kind of photo editing or cover design, you want to work with the highest resolution photos possible because there naturally are more pixels to work with, and then you can do more things with it or zoom in a bit without it becoming appearing pixelated, which is not possible with low resolution images. So you'll want to avoid those for your book cover. #3 of things you should not put on your book cover are images you don't own or AI generated images. Copyright matters. If you don't own the image or a license to use it, you're infringing on someone's copyright and they can respond legally or send take down notices to the places where your book is sold. Be careful about using Creative Commons sites, since copyrighted work frequently ends up on those sites. Also, many Creative Common photos are restricted from commercial use and/or the artists require attribution. Tread carefully and make sure you understand the conditions for using images with Creative Common licenses. For myself, I source my images either from reputable stack photo sites like Dreamstime.com or I use pictures I've taken myself, or I use images generated by Daz 3D. Because of the way DAS 3D licensing works, you can use any 2D images you generate from their 3D assets. If you generate a 2D image from those assets, you have the right to use it. As for AI generated images, read Amazon's and the other site's instructions on the use of the AI carefully before making something with the assistance of AI or wholly by AI. It's possible Amazon and the other bookstores in the future may somehow penalize work created with AI, so it's not worth risking future problems by not disclosing AI use properly. Also, many people feel very strongly negative feelings about AI Art and associate it with books created using ChatGPT. As of right now on Amazon, if you publish a book, there is a check box you have to check saying that no elements of the book or its cover were created using AI. If you don't check that then your book has a little notice once published saying created with the assistance of AI, which can of course turn people off. And I suspect that Amazon added that so that if some point the legal environment turns against AI, they have a quick and easy way to say they're in compliance and getting rid of most of the AI generated content on their site. So for now, I would strongly recommend that you avoid using AI generated images on your cover. #4: The fourth thing you shouldn't put on your book cover is ineffective review quotes. One or two word reviews on covers like “magical” or “thrilling book” saying nothing about the book and make it look like there wasn't much that was positive to say in the reviews. Conversely, long reviews take up too much space on the cover and end up being hard to read. Someone who isn't well known or a celebrity public figure outside of your genre will look odd or someone who uses a random five star review from Goodreads, like for example Beth from Milwaukee says “I couldn't put it down.” Since the reader likely doesn't know Beth from Milwaukee, it's hard to be excited about her opinion or use Beth from Milwaukee's taste to compare with their own. Many people (often correctly) assume that the reviewer is paid or incentivized to write the review, and that it isn't sincere. For a public figure/celebrity/author, their review on your cover could be a liability later on if they end up associated with some type of scandal or crime. There is a major scandal going down right now with a major fantasy writer who, it turns out may have been involved in many inappropriate relationships (some of them may have been criminal, though none of this had been confirmed yet), and I bet a lot of people who have this major fantasy author's blurb quotes on their book cover are kind of wishing they could take it off right now. Another potential pitfall is copyright, because technically anyone who writes reviews owns the copyright to that review. So if you quote, for example, from a random Amazon review, you technically don't have permission to do that unless you actually go out and get permission. So that is something to be aware of with quoting reviews on your cover. It's generally not worth the hassle in my opinion. #5: So the fifth thing you should not put on your book cover is scantily clad, shirtless, or nude people. Amazon does penalize authors for this, but the enforcement has always been rather inconsistent. The idea is that on Amazon there is what is something that's called “The Erotica Dungeon” where works that feature erotica or erotica style elements on their cover end up and they're not found by general search and you can only get to them through direct links. There's always problems with this, where people who actually do write erotica try to game the system so their books are visible outside of “The Erotica Dungeon” and people who don't write erotica but are mistakenly classified as it end up in “The Erotica Dungeon.” One of the surefire ways to end up in “The Erotica Dungeon” is to have scantily clad, shirtless, or nude people on your book cover. Amazon says book covers are not supposed to contain pornography, which is an intentionally vague warning from Amazon, which means they can interpret it however they want and they need to. Some people find any amount of scantily clad people on a book cover to be gross, awkward, offensive, or embarrassing, even without having to carry the physical book cover around in public or at home. Some people think it makes the book looks like it's from the 1980s or the Fabio era of romance novels, and some people think it means the book is low quality or just erotica. Overall, I found that this tends to get enforced on Amazon when people complain about it, so overall it's best to avoid having scantily clad people in your book cover because it can become a problem for you later on. And in my opinion, in general, it's just in poor taste. #6: The sixth thing you shouldn't have on your book cover is explicit violence/gore. Some people find this a little tricky to define because if you have, for example, on your book cover you have a man holding a sword and he's like making a dramatic pose, is that violence? Not really, no. But if you have the man, you know, driving the sword into someone's, you know, mouth and blood is exploding on the back of the guy's head, then that is definitely violence and will lead to your book being flagged. It's very hard to incorporate violence and gore well on your cover and could lead to your book getting flagged. You'll notice that most with thriller or horror stories, which are often very violent. You know, the typical thriller story has, you know, the hero mowing down a bunch of bad guys and horror stories, often are quite violent, especially ones with, you know, serial killers or slashers. But they often don't have scenes from the books on the covers. It's a common convention for thriller novel to have a man with his back to the camera walking towards like the US Capitol, or something under a moody dramatic sky and a horror novel will have, like, you know, an abandoned looking house or a spooky looking forest on the cover or something of that nature. You notice that's not explicit violence. And it's a case where definitely less is more, and being understated is a better idea than being explicit. Anything that shows violence or abuse against children is very likely to be flagged, so avoid that. And then finally, guns on book covers used to be forbidden, but this seems less of a problem now, provided the gun isn't pointed at a person. I've had a couple of book covers where a person is holding a gun, some Nadia ones. Avenging Fire and the Silent Order covers used to have people holding like future guns on them, but so long as the gun isn't pointed at a person or at the reader, then generally you're probably going to be okay. So just keep in mind that sometimes with violence on book covers, less is definitely more. #7: The seventh and final thing that you should not have on your book cover is hate speech. Now hate speech is one of those things that is notoriously difficult to define, especially in the United States with the 1st Amendment and people constantly argue about what it is or what it isn't or whether something is hate speech or isn't. And of course there's a spectrum to it where someone says something that's very obviously hate speech and can't be construed in any other way to a whole range of other statements that could be interpreted in different ways. But when it comes to book covers, Amazon specifically defines hate speech as “what we determine to be hate speech” and does not give specifics. So that said, it's pretty easy to practically define it as anything that Amazon thinks makes it look bad or could harm their sales across the platform. So if you bear that in mind, it's probably pretty easy to avoid hate speech on your book cover, especially if you're writing about sensitive political topics. And again, that could be an example where once again you don't want to go too explicit, and it's probably fairly easy to avoid putting something that could be construed as hate speech on your book cover. So those are seven things you definitely do not want to put on your book cover. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your view on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look at the pros and cons of KDP Print and Ingram Spark, and see which one works best for helping indie authors make excellent print books. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 215 of the Pulp Writer Show. My name is Jonathan Moeller. Today is August 23rd, 2024 and today we are looking at KDP Print and Ingram Spark and seeing which is the better choice for indie authors seeking to make print books. Before we get to our main topic, we will have an update on my current writing projects and the Question of the Week. My current main project is Shield of Conquest and I pleased to report I am 74,000 words into it, which puts me on Chapter 16 of 23. It helps that I had a 10,000 word day for it this week and another 10,000 word day for last week, which of course really moves the needle forward. I am also 37,000 words into Ghosts in the Tombs, which will be my next book after Shield of Conquest. Then after Shield of Conquest will come Cloak of Illusion and I am 7,000 words into that. So good progress all around. In audiobook news, recording for Half-Orc Paladin is almost done. Hopefully that should be wrapped up next week and then that will be available in audiobook before too much longer. So that's where I'm at with my current writing projects. 00:01:10 Question of the Week Now let's take a look at Question of the Week. I haven't had time to do Question of the Week since July, so let's do one now: If you enjoy reading about history, what is your favorite historical period to read about? No wrong answers, obviously. We had a range of responses to this one. Our first responses from Justin who says: My favorite historical periods are Roman (both Republic and The Empire) and American French and Indian War through The Civil War. The US was blessed to have the leaders that founded it. They were not perfect, but they were very good indeed. What's interesting about that is if you read any biographies about George Washington, you'll find out what he probably wanted more than anything in life was prestige and recognition and I think deep down, he very much would have liked to have been, you know, King George The First of The United States, but at the moment of crisis, he was able to refuse the crown and be only president, be only Mr. President, instead of a king. So that is probably one of the reasons the United States has lasted as long as it has. Our next response comes from AM who says: The 1964-965 World's Fair in New York is a moment when the American corporate optimism of the ‘50s came crashing into the aftermath of Kennedy's assassination and growing civil unrest (some of which was caused by the fair organizer's policies and decisions as an urban planner in New York City). It introduced both video calls and Belgian waffles to the General American public. It also had a massive impact on pop culture and several of the attractions Disney created for it still exist today: The Carousel of Progress, It's a Small World, Great Moments with Mr. Lincoln, and the pieces of Ford's Magic Skyway that are still viewable via Disneyland's railroad. Our next comment is from Sue, who says: for me, definitely Medieval/Tudor history, although I love all history. I was one of the few of my year at school who chose to study history rather than geography. Maybe that's why I get easily lost in a new place, lol. William says: I have had the feeling that I should read more on the Holy Roman Empire, but all those princedoms and rulers with complex family names makes it a bit daunting. He is entirely right about that. The history of the Holy Roman Empire is indeed quite complicated. Catriona says: I have two. The English Civil War and Medieval British history pre-Norman invasion. Although truth be told, I love history in all respects. I left the UK 20 years ago and have been in Asia ever since, and am in awe of Angkor Wat, the Great Wall of China, and the history here. Andrew says: The US Civil War. My dad bought a war game in the early ‘80s and got me hooked, followed by Napoleonic Wars. Jeanne says: I've been recently reading a lot on early British history, from the Roman period to the early Medieval period. The history of the British Isles is fascinating because it is made of so many different peoples, languages, and cultures that have all had an influence on modern Great Britain. Barbara says: early English history for me. Anything from William the Conqueror to Richard the Lionheart and Prince John. Richard was popular at the time because of the chivalry, but John was a much better ruler even though he was hated. And John says: Europe 1500 through 1700, also known as “Knights with Guns.” For myself, it's hard to pin down since it will be whatever catches my interest at any given time. Like when I visited the battlefield of Chickamauga in 2022, I went on a long reading spiral about the US Civil War. When I watched Season Four of The Crown, I wound up reading about Thatcher-era Britain to see all the many details that the show got wrong. When I recently read Ghost on the Throne about the Diadochi, the heirs of Alexander the Great, I did a lot of supplemental reading about Alexander the Great and the Wars of the Diadochi as well. Back in 2010, I beat Medieval 2: Total War as the Byzantine Empire faction, so after that I did kind of a deep dive on Byzantine history. All that said, I think two historical periods I read about the most are the second half of the Roman Republic, specifically from the 2nd Punic War to the victory of Augustus and the high Medieval period of Western Europe from about the Norman conquest to the Black Death. I had to laugh when the “how often does your boyfriend think about the Roman Empire?” meme was popular last year because I do actually think about the Roman Republic/Empire a lot, but mostly to mine it for inspiration for fantasy novels. Obviously, the High Medieval period also provides a lot of potential ideas for fantasy books. That said, those two historical periods offer a lot of examples of a fascinating riddle that has no answer: can a good person also be an effective leader who acts in the best interests of his people? Like, Caesar Augustus and King Henry I of England were in questionably very bad men who did a lot of very bad things, yet they're rated among the more effective Roman emperors and English kings because they brought peace and order to their respective realms, whether their realms wanted it or not. Monastic chroniclers at the time said that in King Henry's day, a virgin girl carrying a bag of gold could travel unharmed across England, and while this is obviously a political exaggeration, Henry did in fact impose peace and order on England during his reign. Of course, a bad man can often be a bad leader as well, but I'm afraid one of the unfortunate realities of the human condition is that effective leadership does require a good deal of ruthlessness, and you see a lot of that in both the Roman and in the Medieval periods- bad men who were good leaders and bad men who were also bad leaders. 00:06:33 Main Topic: KDP Print vs. Ingram Spark But this is not a history podcast. This is a podcast about writing and indie publishing, so let's move on over to our main topic, whether KDP Print or Ingram Spark would be better for indies to use to produce their print books. There's an obvious question to ask first: why have print books? There's a couple of different reasons. Some people prefer print books (not as many as they used to), but some people still read print books over ebooks whenever possible. Some people enjoy books both as physical objects and collectibles, and some people enjoy giving books as a gift. Giving a physical book to someone is generally a more satisfying experience than emailing them a code to download the book off their favorite ereader. It is also easier to share print books between people. That way you can read the book and give it to a family member or friend who wants to read it as well without having to purchase an additional copy. It is also an additional source of revenue for indie authors, not a huge source (with certain exceptions). Most indie authors will make more from their ebooks than they will from their print books, but there is potential revenue in print books as well. I checked right before I started recording this podcast and of the money I made from Amazon in 2024 so far this year, about 1.8% of it came from print books. You might say 1.8%, that's not that much. But in this economic climate, I don't think anyone who wants to stay in business should turn away an additional 1.8 percent of revenue. Both KDP Print and Ingram Spark use what's called on demand printing, and we should explain what that is before we go any further. Printing books for self-published writers used to be kind of a nightmarish experience. You might, if you're familiar with the publishing industry at all, might have heard the old joke about how that if you self-publish, you're going to end up with a garage full of books and that did in fact happen to many people. They decided in the 2000s and before that they wanted to self-publish their own books. So they had a contract with the printer and the printer would probably have like a minimum order of like 5,000 copies or something. So you'd have to buy that, and then you'd have your garage full of boxes of books and you'd have to hand sell or find a way to sell all those books one at a time. It was a very unpleasant experience and I'm glad I never tried it, and that I'm fortunate enough to live at a time when the technology has improved quite a bit. Print on demand works that basically it's like one copy is printed whenever you get one order; there's no inventory kept on hand. If you've bought indie books off Amazon, you might notice there's a bit of delay because the book first has to be printed and bound and then it gets shipped to you. This is by contrast to a traditional published book where if say, for example, Stephen King publishes a new novel, there will probably be an initial print round of like 100,000 copies or some equally large number, and then they'll only print more if those initial 100,000 copies sell out. This is a very inefficient and cumbersome system, so you can see why ebooks and print on demand are much more economical and environmentally friendly, if you are worried about that. That said, it doesn't actually have to be a choice of KDP Print versus Ingram Spark. They in some ways do different things, and as of today, August 23rd, 2024, you can use both essentially. They're not exclusive and you can do different kinds of print books through both. But we'll get to that in a little bit. Another important thing to be aware of as you're going to do print books is to have realistic expectations and mindset about it. I've noticed many new or younger authors have the dream they're going to get their book on a physical shelf in a physical store or library, but realistically that does not make a lot of financial sense for most people. Most authors (myself among them), will sell much more in ebooks than in the time it would take to chase down individual bookstores and individual libraries and try to sell print books to them. Bookstores and libraries are frequently overwhelmed with requests from indie authors, especially local indie authors, wanting to put their books in their stores. They may have created specific policies in response to that demand, and you may want to check their website before trying to get a local bookstore or a library to carry your book. If you do want to get your book into a physical store, it is an uphill battle, and frankly, it's probably not worth the time it would take you to sell to fight that battle. Shelf space in bookstores is both limited and shrinking, especially as bookstores sell more things like toys or stationery/lifestyle items which have a bigger profit margin than books, and you don't have the resources as an indie author to compete against the Big 5 for space on those shelves. Bookstores usually expect a discount of around 35 to 45% off retail as well, which means the higher cost of printing on demand makes this very difficult and gives indies the big disadvantage of getting a book into a bookstore. Now I know it sounds like I just was talking down print books quite a bit, but like I said, 1.8% extra revenue. So most of your print book sales will probably be online and probably from people who order directly, like your readers who most enjoy your book and want a physical copy for their collection or readers who will buy the physical book and give it as a gift to someone they want to give it as a present to. I should note that I've been talking about applies to fiction, but the rules are slightly different when it comes to nonfiction. I should note that my nonfiction book, the Linux Command Line Beginner's Guide across its entire lifetime, fully 25% of its sales have been in paperback. Because that is if people need specific nonfiction in print, especially if it's a technical nonfiction where they can refer back to it like my Linux book, then they will be more likely to order it in print. So that is something else to bear in mind as we now dive into the next section of the show, the difference between KDP Print and Ingram Spark. We will look at the pros and cons for both. For KDP Print (that is Amazon's program for selling print books on their site), the pros are it's obviously the best option for selling print books on Amazon, and it's not uncommon for people to use KDP Print for selling paper books on Amazon and then some other service for selling paper books at other online stores. There are no setup fees and there is a window where you can make changes without a fee. The reporting is either real time or real close to real time and you can see print sales next to ebook sales stats. Like when I was referencing various sales figures throughout the recording of the show, I just paused quickly to check on my KDP dashboard and was able to pull up the figures with a couple of clicks. Pricing is an advantage. Amazon offers the most favorable rate for selling directly on Amazon. In return, Amazon controls the minimum price for the book, kind of like they do for audiobooks, which is usually pretty similar to the cost of printing and shipping. When you set up a print book on KDP Print, Amazon will say based on its size, this is the minimum price. You have to sell at this price and you can't go any lower and then you can set the price however high you want. Usually it's best to set the price so that you get about $3 or so per copy or if you go into expand distribution, that you get dollar per copy of it sold. Expanded distribution, we're going to talk about right now in the con section of KDP Print. There are frequently issues with third party sellers. The problem is that KDP Print offers something called expanded distribution, where if you check that box, your book will be sold through Amazon on a variety of different sites like Barnes and Noble and other physical bookstores that have the online store for a reduced rate. So for example, if you sell a copy of your KDP Print book, you get $3 on Amazon, through expanded distribution you'd get like $1.00. The problem with that is it doesn't always work right. Many of the stores don't always integrate properly with Amazon, so the book will show up, but the cover will be missing or the book just won't show up at all, or some of the stores only update like every month or even quarterly sometimes. So that can be a problem as well. KDP Print, like many print on demand services, does not offer the ability to make books returnable, which is something bookstores expect and want, and most physical bookstores will not take a book that is not returnable. There's a cultural component there as well. Most physical bookstores, especially most independent physical bookstores, do not want to order books from their biggest enemy, Amazon, and will flatly refuse if you ask. Some and even a significant number of libraries are unable to order print books from Amazon or it requires more paperwork or effort for them to do so, and therefore they don't really want to bother. Now let's take a look at KDP Print's main rival Ingram Spark, which is another print on demand service. The premise for this is that Ingram Spark is much better at Amazon at selling books at non-Amazon bookstores, which of course makes a lot of sense. It's also easier to sell to libraries from Ingram Spark than it is from KDP Print. You do have more freedom in pricing the book, which you have to be careful for because it is possible to set things up so that you lose money with every book sale, which Amazon KDP Print does not let you do for obvious reasons. Opinions may differ, but some people do think the covers and interiors look nicer from Ingram Spark for than they do from KDP, and you can order bulk copies at wholesale prices, which you can't really do on KDP Print. You sort of can- you can order things at the author rates, but Ingram Spark has a bigger discount for that. You can also produce a bigger variety of books through Ingram Spark in different paperback sizes and different hardback sizes. So all that sounds good, but there is a pretty significant list of cons as well. There are set up fees for each title, which there are not for Amazon KDP Print. Additionally, if you make any change to the book whatsoever after it is published, any change at all, whether it's a new cover, fixing a typo in the text, whatever, you have to pay a fee for any change you make in the book after it is published. Unsurprisingly, it is harder to sell an Ingram Spark book on Amazon than it is anywhere else. Some people say (and I have no way of confirming this) that Amazon artificially increases the delivery times for these titles, but it's probably more likely is that Ingram Spark would have to print the book, ship it to Amazon, and then Amazon would have to ship it to the customer, which would add quite a bit of roundabout travel to the book, which is why some indie authors who are very into print sales tend to use KDB Print for any books that sell on Amazon, and they restrict those books to Amazon and sell their wide books at other bookstores using Ingram Spark. So what conclusion can we draw from this? If you only have time to pursue one, go with KDP Print since Amazon is the majority of print sales, especially in the US right now. That's what I do. If I wanted to do more elaborate paperback books, I would probably go through Ingram Spark, but KDP Print is pretty good at meeting my needs. Unless something changes drastically, I will probably keep doing that for the foreseeable future. However, if you have the time and the ability to do both, it is advantageous to do both. You will need separate ISBNs. You get an ISBN from Amazon and an ISBN from Ingram for the edition of the book you do through there. You could do books through KDP Print and have them just on Amazon and then have the books for the other stores, have those go through just Ingram Spark. This is a bit more work, but if you are an author who is very interested in print books or does a lot of business in print books, that may be advantageous for you to pursue. So to sum up, KDP Print is the simpler, easier option and is probably good enough for most indie authors, whereas Ingram Spark offers a lot more options but is more expensive to use and probably requires greater knowledge to use effectively. But remember, if you are an indie author, you probably will still be making most of your money on ebooks so don't stress out too much about the paper books. And as I mentioned before, my Linux Command Line Beginner's Guide, I got 25% of its revenue from its lifetime from the print book, but that means 75% of the revenue still came from the ebook. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we consider whether or not writers should substantially rewrite previously published novels. We also take a brief look at imposter syndrome in writers. 

In this week's episode, we take a look back at one of our more popular episodes, which discusses three different methods for starting your novel and introducing the central conflict. The episode ends with a preview of the audiobook of WIZARD-THIEF, as excellently narrated by Leanne Woodward. TRANSCRIPT 00:00:00 Introduction and Writing Updates (August 2024) Hello, everyone. Welcome to Episode 213 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 9th, 2024 and today we are looking back at one of our older episodes, specifically Episode 110: Three Techniques for Starting Your Novel and Introducing the Conflict (from way back in February of 2022). It was one of the more popular episodes, so it seems like a good one to replay. Next week, we will go back to recording new episodes, but I've had a lot to do in real life these past couple weeks, so it seems like a good time to rerun some old episodes. If you have 213 episodes of your podcast, what's the point unless you can dig into the archives and rerun an old episode every once in a while? We will return to new episodes next week. We'll also close out this episode with a short preview of the audiobook of Wizard-Thief (as excellently narrated by Leanne Woodward). So listen for that at the end of the show. Before we get back to our old episode, let's have an update on my current writing projects. Half-Orc Paladin is done and it is available. You can get it at Amazon and Kindle Unlimited. People have asked when it's going to come to the other stores and it will once the series is done and all six books are out, which should be sometime in 2025. Now that Half-Orc Paladin is done, I am working on Shield of Conquest as my main project. I am on Chapter 3 of 22, which puts me 11,000 words into it. After that, I shall write Ghost in the Tombs and I'm 31,000 words into that. And after Ghost in the Tombs is done, I will then start on Cloak of Illusion, and I am 1,000 words into that. So if all goes well, hopefully we will have Shield of Conquest in September, Ghost in the Tombs of October, and Cloak of Illusion in November, which pretty much takes us almost to the end of 2024. So that's where I'm at with my current writing projects and now we will flash back to February 2022 and talk about 3 techniques to start your novel/introducing the conflict, and then we'll close out the show with a preview of the audiobook of Wizard-Thief, as excellently narrated by Leanne Woodward.   00:02:06 Re-airing of Episode 110 Begins. Introduction and Writing Updates from February 2022   Hello. Welcome to Episode 110 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 25th, 2022 and today we're going to talk about how to start your book and introduce your conflict. Before we get into that, let's have some updates on my current writing projects. Editing is underway for Dragonskull: Blade of the Elves, and I also wrote a tie-in short story to go with it called The First Warlock, which is an origin story for one the new villains introduced in Blade of the Elves. This week I finished Dragonskull: Blade of the Elves, started editing, and also finished The First Warlock, and so if editing goes well and all goes well, that should be out sometime in March. I also finished writing Chapter One of Cloak of Shards. That will be my next main project after Dragonskull: Blade of the Elves is published in March. In audiobook news, I am beginning to proof-listen to chapters for Frostborn: The Dragon Knight (as excellently narrated by Brad Wills). So if all goes well, we should be able to listen to Frostborn: The Dragon Knight on audiobook platforms before too much longer. 00:03:22 Reader Question on Services for Physical Book Publishing Before we get into our main topic, we have one question from a reader this week. Steve asks: who do you typically do your physical publishing through, if I may ask? I almost always use Kindle Direct Publishing Print. It's generally the easiest and the simplest to use and offers both paperback and hardback now. Other providers like Ingram Spark offer a lot more options and customization options, but Ingram Spark is definitely harder and more complicated to use than Kindle Direct Publishing Print. And it's also easier to lose money doing that, since you can accidentally set yourself up with a negative return rate, which Amazon doesn't let you do. Draft to Digital has a print service. I've heard good things about it, but I've never actually used it, so I can't attest to it one way or the other. So if you're just starting out with your first book like I believe Steve is, then probably Kindle Direct Publishing Print is your quickest and easiest option for getting your book in paperback and hardback. 00:04:23 Main Topic of the Week: How to Start Your Book and Introduce Conflict So our main topic this week will be how to start your book and how to introduce your conflict. And of course, there's only one sentence that can start out that topic: “It was a dark and stormy night.” That sentence is perhaps the most cliched opening line in English literature. Of course, the opposite of that is writers who try to make the opening line of their book as shocking and memorable as possible, like for example, something along the lines of “today was the day I died for the seventh time.” If you read websites and Internet groups where writers frequent, you will often see writers agonizing at length about the opening line of their novel. Generally, the agonizing is all unnecessary. The introduction to your story has three purposes, and if you keep those three functions in mind, it will be much easier to both write the opening mind and the rest of the introduction. First, the introduction should catch the reader's attention. Second, the introduction should introduce the protagonist and the leading characters. Third, it should set the stage for the story's conflict. Let's go through each of these purposes and then share three methods for getting your story off the ground. First, catch the reader's attention. As we mentioned above, the necessity of seizing the reader's attention and of crafting an interesting opening sentence is a source of much angst in various Internet writers' forums. That said, it's best not to overthink things. The key is to provide just a little mystery, enough to inspire your curiosity and encourage the reader to continue further into the book. The easiest way to be interesting is not to be boring. That's, you know, easy to say, but difficult to do. There are, alas, numerous boring ways to start a book, and you should avoid them. It is best to avoid descriptions of the weather, like the famous dark and stormy night. Likewise, it is a good idea to avoid starting your book with lengthy descriptions of the scenery or the setting. Writers who are good at writing lovely prose might pull that off. But I'm not one of those writers, and in my opinion, lovely prose is only useful as a vehicle to advance the plot. Like most advice, “don't be boring” is easy to say and harder to do. How do you provide a little mystery in your novel's introduction? You want to set up a situation where you've inspired just enough curiosity in your reader that they keep reading. The first sentence doesn't have to carry the entire load, but it does help. “After dropping my children off at daycare, I drove to the gas station, loaded my pistol, and walked inside.” This example of an opening sentence might be a bit overdramatic, but it serves to illustrate the point. The narrator is seemingly a responsible parent, dropping his or her children off at daycare before heading to work. Why, then, is the narrator walking into a gas station with a weapon? For many readers, this will inspire enough curiosity to keep reading. Here is the opening sentence from my urban fantasy novel, Cloak Games: Thief Trap (which as of this recording is available for free on all book all ebook platforms). “One of the earliest things I remember is watching the entire United States Congress commit suicide on national television.” Readers have emailed to tell me that this is one of the more effective opening sentences that I have written. It is both a bit of a shock and a mystery hook. Why is a small child watching in the government commit suicide on national TV? If the reader wants to find out why, they will have to read on. Second, introduce the characters. The introduction of the story must also present the main characters to the reader. Obviously, you don't need to introduce all the characters in the book to the reader right away, nor all the details about them. This, in fact, would be a bad idea. The easiest way to introduce any characters in the introduction is to have them engaged in something that reflects their personality and potential conflicts. For example, consider the novel Dracula by Bram Stoker. The book opens with letters written by Jonathan Harker to his fiancée, Mina Murray. In the letters, we learn that Harker is a new solicitor on his way to Transylvania to conduct a real estate transaction with an eccentric rural nobleman named Count Dracula. This handily introduces the characters of Harker, Mina, and Dracula, and sets up the stakes. Harker wants to establish himself in his profession so he can marry Mina, and he just needs to conclude his business with Dracula. Unfortunately for Harker, Dracula turns out to be far more dangerous than he initially appears. Soon, both Harker and the reader realize that Dracula is in fact an ancient vampire and the book's conflict begins. Introducing the characters is a good way to segue into setting the stage for the story's conflict, which we will discuss next. Third, introducing the conflict. The third and final purpose of the introduction is to introduce the reader to the story's conflict or antagonist. There are lots of fun and exciting ways to introduce the conflict. And I say fun and exciting because this is often where the story starts getting quite energetic. In a fantasy novel, it might be when the hero's village is attacked by orcs. In a mystery story, it's when someone stumbles across a dead body. In a thriller novel, perhaps the hero finds a sinister terror plot that is already well underway. The conflict can also be introduced more sedately. In an action themed book, it is easy to introduce the conflict via sudden violence, the attack of orcs, or sudden murder. Other kinds of stories may not involve so much physical danger. The central conflict of most romance novels, for example, is whether or not the heroine and the love interest will get together and whether or not they can overcome the assorted obstacles preventing them from having a relationship. A romance novel might introduce the conflict by having the love interest antagonize the heroine in some way. Perhaps the love interest is a lawyer who represents the heroine's business rival or the heroine is a local law enforcement official and the love interest is an FBI agent who threatens to take over her case. Regardless of how the conflict is introduced, the most important part of the conflict is that it must compel the protagonist to take action. If the conflict or the antagonist isn't serious enough to force the protagonist to act, then nothing happens and you don't have a story. It is possible to have the protagonist refuse to engage with the conflict, only to be forced into it later. For example, take a detective story where the main character, a retired cop, refuses to look into an old case. The retired cop's former partner is murdered and the grief over his death drives the protagonist into investigating. Now that you're familiar with the three roles an introduction needs to fill, let's take a look at three different methods of writing an introduction: a prologue, Bildungsroman/a slow build, or in media res/in the middle of things. First, a prologue. A prologue is a short preamble before the main story where you introduce the situation and certain facts about the setting to the reader, facts that your protagonist may not discover until later in the novel. The disadvantage of the prologue is that you will probably need to continue the introduction within the main body of the story, since the prologue is usually not enough to introduce the reader to the protagonist and the main conflict in an interesting way. The advantage of a prologue is that you can show the reader vital facts about the story and obtaining those facts might be a central plot point for the main characters. One of the better examples of a good prologue I've read comes from the mystery novel Field of Prey by John Sanford. The novel revolves around Detective Lucas Davenport's efforts to find a pair of serial killers operating in rural Minnesota. The prologue introduces the two serial killers and shows how they stumble across their preferred method of capturing their victims. In terms of story structure, that means the reader immediately knows who the killers are, even though Davenport and the other detectives do not. The actual plot does not kick off until the first chapter, when a pair of teenagers accidentally discover where the serial killers have been hiding the bodies of their victims. But throughout the book, the reader's advance knowledge from the prologue adds an additional layer of tension to the story, especially when one of the investigators stumbles across the killers without realizing his mortal peril. Field of Prey had an effective prologue, but I have to admit, a prologue is my least favorite technique for an introduction. In the hands of a capable writer, a prologue works, but I've seen a lot of prologues used to dump information on the reader that the writer couldn't figure out how to reveal in the story or to introduce a character who doesn't turn up until 2/3 of the way through the book. If you do use a prologue, you will likely have to combine it with one of the other two introductory techniques we'll discuss during this podcast. That leads us to the second technique, Bildungsroman, which I think I pronounced correctly, but if I didn't, my apologies. The term Bildungsroman is a German word that means education novel and refers to a genre of fiction that revolves around the education and development of a young protagonist. Nowadays, in English, we tend to call these kind of books coming of age novels. As you might expect, books like this tend to be quite leisurely, following the protagonist from childhood to adulthood. I found that Bildungsroman is also a useful shorthand to describe a kind of introduction where the story slowly builds to the conflict. The Lord of the Rings is a good example of a story with a leisurely introduction to the conflict. Frodo doesn't learn that his uncle Bilbo's magic ring is in fact The One Ring until well into the story, and even more time passes before he leaves with the ring to keep it safe. For that matter, the central conflict isn't fully expressed, that the ring must be destroyed and Frodo is the one to do it, until well into the book. It can be tricky to hold the reader's interest during a long and leisurely introduction. A good way to keep the reader's interest is to introduce an element of mystery to a long introduction. In a fantasy novel, the protagonist might have a secret he has to keep from everyone. Perhaps he has magical abilities and is hiding them for fear of persecution, or he's secretly the heir to a deposed king and the current regime will kill him if they find him. A Study in Scarlet, the first Sherlock Holmes story, is a good example of a slow introduction, even though the entire book is relatively short. Doctor Watson needs a roommate to help cover his rent, so he moves in with the mysterious Sherlock Holmes. Holmes has many eccentricities, lending an air of mystery to him, and finally Watson learns that Holmes is consulting detective. The actual central conflict of the book (Holmes is brought in to solve a mysterious murder) does not take place until well into the story, but the mystery around Holmes himself helps hold the reader's interest. That leads to our third potential technique for starting a story, in media res. Now in media res is a Latin phrase that translates to “into the middle of things” in English and refers to the kind of introduction where you immediately thrust the reader into the plot without much in the way of build up. There are many different methods to do this, and in some ways, it is much easier to write than a slower introduction. In a fantasy novel, for example, the protagonist might wake up to find his village under attack by orcs. In a military science fiction novel, the book could start with the protagonist leading his platoon or squadron into battle against the space bugs. I have to admit, this story trope does seem quite common in military science fiction. A contemporary mystery novel could open with the detective standing over the murder victim and starting the investigation that will be the central conflict of the plot. A legal thriller might open in the middle of a high stakes trial, with the judge issuing a ruling that sets back the protagonist case and forces her to pursue a different strategy. The strength of starting the plot in media res is that you can immediately hook the reader with an action scene or some other kind of problem. It's easier to draw the reader's attention with a battle scene or some sort of dramatic sequence than it is with a slower introduction. You can then shift to the next phase of story structure and the conflict once you've gotten through the initial introduction. The weakness of starting in media res is that you're probably going to skip a lot of important information for the plot that you'll need to address later. To return to our previous examples, why are the orcs attacking the protagonist's village? Or why is the protagonist leading his platoon into battle against the space bugs? The danger is that you might be tempted to engage in massive info dumps later in the book, where characters state obvious things to each other that they already know, like for example, “as you know, Bob, we're both detectives engaged in a murder investigation.” Now people in real life generally do not talk that way, and using infodumps in dialogue or regular prose runs the risk of breaking the story's air of verisimilitude. The way to avoid info dumps is to use the release of new information as part of driving the plot. As always, the best way to do that is to keep an element of mystery in the story, allowing you to reveal information for maximum dramatic effect. To return to the example of the mystery novel that opens with the detective standing over the dead body, let's say that after the first few chapters, the detective's superior threatens to pull him off the case. There could be any number of reasons. Perhaps the detective botched a similar case, or the detective's partner was killed investigating the similar case, and the failure haunts our protagonist to this day or the murder has political implications and the detective superior is feeling pressure from his bosses to bury the case. Revealing this information as a complication in the plot rather than an infodump will improve the story. In our example of a fantasy novel where the protagonist's village is attacked by orcs and the villagers are taken captive, perhaps the human kingdom and the orcs have been at war for centuries. Perhaps the orcs were responding to a human attack, or maybe there is a traitor in the human kingdom who is working with the orcs. Either way, it is better for the protagonist to discover this during the plot rather than explaining it all in the introduction. Starting the story in media res is a great way to kick off the book, but it can be a challenge to not let things slacken after that. Retaining an element of mystery and, of course, complications for a protagonist to face, will keep things moving and interesting for the reader. As a final point, it is possible to open your book with a combination of prologue, Bildungsroman, and in media res, though you might want to wait until you have more experience writing novels before trying something complicated. The harsh advice of “keep it simple, stupid” applies to many areas of life and keeping things as simple as possible is often useful for writing novels as well. So, I hope you have found that helpful and that those techniques will be of use to you as you seek to start writing your own novels and short stories. So that is it for this week. Thank you all for listening to The Pulp Writer Show. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this week's episode, we take a look back at one of 2022's most popular episodes and discuss how to use dialogue to create distinctive characters. TRANSCRIPT 00:00:00 Introduction and Writing Updates (August 2024) Hello, everyone. Welcome to Episode 212 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August 1st, 2024 and today we're looking back at one of our old episodes, specifically Episode 120: Using Dialogue to Create Distinct Characters, which I first aired back in May 2022. I am afraid I don't have time to record a new episode this week, so it seemed like a good idea to look back at one of the more popular past episodes and run it again, so that's what we're going to do this week. Before we get to that, let's have an update on my current writing projects. The final draft of Half-Orc Paladin is just about done. There's only a couple more tweaks to do and this episode, if all goes well, goes live on August 5th. I'm hoping to publish Half-Orc Paladin on August 6th, if everything goes well. So hopefully we'll all have that book before much longer. Like the first two in the Rivah series, it will be in Kindle Unlimited, and then once all six books are done in the series (probably next year sometime), then I will take it wide to all the other platforms. In audiobook news, the audiobook of Wizard-Thief is finished. That would be the second Rivah book, as excellently narrated by Leanne Woodward. That is some very good timing because as I mentioned before, Half-Orc Paladin is going to come out shortly and Wizard-Thief is available at all the usual audiobook stores. Once Half-Orc Paladin is done, my main project is going to be Shield of Conquest. I am currently 5,500 words into it. Hopefully, that should come out in September, if all goes well. The two books I write after that will be Ghost in the Tombs and then Cloak of Illusion. So that is where I'm at with my current writing projects. And now let's have a flashback to May 2022 when we talked about different tips for creating distinct dialogue for your characters. 00:01:57 Episode 120's Introduction and Writing Updates (May 2022) Hello, welcome to Episode 120 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 6th, 2022 and today we're going to discuss how to use dialogue to help with characterization. I'm also going to talk about something I didn't think I would ever do: buy an Xbox. Before we get into all that, let's have some updates on my current writing projects. I am exactly 59,000 words into Dragonskull: Blade of the Elves, and I am definitely going to get to 60,000 before I have to call it a day. I'm also about 3,700 words into Cloak of Spears and that will be the book that hopefully comes out after Dragonskull: Blade of the Elves. I'm hoping to have Blade of the Elves out in June and Cloak of Spears out in July. I am also proof listening to Frostborn: The Shadow Prison the audiobook. I've listened to the first six chapters of it and I'm very excited to have that series complete in audiobook and available for you to listen to, and that should be probably June or July when that's finally done, hopefully sooner. 00:03:03 Thoughts and Reader Comments on the Xbox Now for our first of our topics: the Xbox. I recently joked that it was old enough for a midlife crisis now. I thought about it and I bought an Xbox. Other than the Nintendo Switch, which I got in 2019 to celebrate my 100th book, which was Dragontiarna: Knights (the audiobook book version of which is now free to Audible members). It's the first traditional game console I've used since 1998, and I didn't play any console games at all from 1998 to 2019. The technology has changed just a little bit since 1998. The reason I got an Xbox is because back in the old days, one of my jobs was doing tech support for college dormitories. I used to get very annoyed when students complained about connectivity problems with their Xboxes and PlayStations- college is expensive, and I thought at the time was you should be doing homework and networking career opportunities, not playing games. But I'm older now, maybe marginally wiser. Traditionally, a midlife crisis is when you reflect back on your life and try to relive your youth or experience things that you missed out on the first time around. That said, I'm pretty happy with how my life turned out, and I think I'm blessed to be able to say that. If Doc Brown pulled up in his DeLorean and offered me a chance to go back and change something, I'd tell him nah, I'm good. Also, I've seen enough time travel stories to know that if I tried to change something, one of the people who complained to me that Xbox Live was running slow would wind up becoming the tyrannical supreme leader of the dystopian imperium of global harmony or something, so no going around messing with the past. That said, I did wonder if I missed out on something in terms of console gaming. Perhaps I denied myself what would otherwise have been an enjoyable and enriching experience, so I got an Xbox Series X brand new game console. What's the first game I play? Skyrim, obviously. I have to admit playing Skyrim this way is very comfortable and I'm going to finish a quest I never played on PC or Switch, the Imperial Storm Cloak Civil War. I flipped a coin and it landed on Empire, so I sided with the Empire. Once I win the Empire's war for them, it will be on to the Dawnguard expansion. I have to admit the Xbox ecosystem is very impressive. Granted, I still remember playing PC games by swapping out a stack of five and 1/4 inch floppies and very carefully configuring emm386.exe, so maybe I'm easily impressed, but still. When I talked about this on Facebook, a couple of people had opinions. William said: the original Halo is the only Xbox game I've ever really played, but the pace is very good and goes well with the sci-fi story. I have tried Halo since it came with Game Pass. So far I've managed to figure out how to run in circles while shooting at the wall and how to accidentally roll the car down the hillside into the stream. Hopefully if I have time to play it more, I will get better at it. Scott says: Elden Ring is currently popular. You may enjoy if you like Skyrim. I play Elder Scrolls Online on PC, however, so I can't vouch for the console experience. I've heard good things about Elden Ring from many different people, and I was considering giving Elder Scrolls Online a try next month after I'm a little less busy. I don't really like multiplayer games because to be perfectly frank, computer games are where I go when I get tired of people and I want to unwind a bit, but I've heard there's a ton of excellent solo content in Elder Scrolls Online, and if you want to, you don't ever have to interact with another human while you're playing the game. I may have to give that a try. Jesse says: Dawnguard was excellent. Dawnguard is one of the expansions for Skyrim, and unfortunately it turns out I won't be able to play it on the Xbox because I finished the Civil War plot line and then I tried to start the Dawnguard plot line. However, there's a bug in the Xbox version of the game where if you find the location of the vampire lord's castle before you come there for the quest, the quest line breaks and doesn't continue, so I don't think I'll be able to play Dawnguard on Xbox. If I want to play it, I'll probably play the Switch because of my Switch save state for Skyrim. I haven't visited the vampire lord's castle yet, so I think I'm going to play Dragonborn instead once I have a little more money in game saved up. 00:07:12 Main Topic: Dialogue and Characters Now on to the main topic of this week's show, which comes from a question that Scott asked. It was a very interesting question that got me thinking, which is why it's now the topic of this week's podcast. Scott's question is: “a question on making dialogue for individual characters unique to them. It's very common for all characters to sound so homogeneous that attribution is the only way to know one speaker from another's. Awkward accents aside, what are some techniques that help separate social classes and regions in speech?” I think Scott's absolutely right- accents aren't a great way to differentiate characters in books. That's different in audiobooks, of course, but that's a whole different kettle of fish. There's this example in HP Lovecraft's short story of The Color Out of Space of a farmer talking a phonetic accent, and it's so bad in what's otherwise a very interesting horror story. And everyone should read that story just to read that farmer's dialogue as an example of how not to write phonetically accented dialogue. That said, I've found in my own writing, in my own experience, that varying sentence structure and length and vocabulary are better as a method of distinguishing characters' dialogues from one another. Like a teenage girl might talk in long, rambling sentences that usually reference the opinions of her friends, while an elderly farmer might speak in laconic sentence fragments. A college professor might have more complex sentence structure with a greater vocabulary, while a human resources professional might talk entirely in business jargon like this: “I'm reaching out today to touch base on performance evaluations.” An actor or a standup comic or performer might talk entirely in motive based language, such as when offering opinion, they'll say “I feel that” or “my feeling is that.” They'll have very emotion-based language. A doctor or accountant might be more clinical in their speech, such as, you know, “the prescription is”, or “the evidence suggests”, or “the numbers say.” Police officers and members of the military will often have their own jargon with a lot of acronyms that can be impenetrable to outsiders or people unfamiliar with that specific kind of culture. So if you're writing characters who are in the military or are police officers, it might be worthwhile to learn the common terms they use and work that into your dialogue. Profanity is a tricky one. It's very easy to distinguish speech patterns among characters using profanity. But profanity often grabs readers, though in one way. I recently had someone complain that Nadia in the Cloak Mage book says “goddamn” a lot. And the truth is I kind of dialed down her profanity. I think that if Nadia existed in real life and was a real person, every third word would be a profanity once she got ticked off and when she got really mad, she'd swear a lot more than she really does in the books, where I do dial it back a bit. When reading dialogue, it's also important to remember that people rarely give direct answers in conversation and frequently go off in tangents, like I just did when I was talking about Nadia and profanity. For that matter, the subtext of a conversation is often more important than the actual words that are actually being said. You can frequently see that at major life events or traumatic life events like a funeral or a mass layoff, where people will spend a lot of time discussing trivialities about the weather or how the drive was or minor matters, rather than the enormous glaring fact in front of them of the funeral or the mass layoff or the other unpleasant event they're at. Now on to examples. Let's imagine a detective is investigating a murder in a bank lobby and asks five witnesses where they found the body. The way that the five witnesses talk can differentiate them from each other and provide insight into their character. In this example are Tanya (a teenage girl), Braden (a teenage boy), Rick (an imperious bank executive), Janet (a candidate for state senator), and Robert (an elderly farmer). So here is what Tanya, the teenage girl said to the detective:  “like, I came inside because I need to withdraw some cash in the stupid ATM wasn't working like again, and oh my God, this dead guy was just on the floor in the middle of the bank. So I texted Zoe and Zoe was like, we need to get this on Facebook Live like, right now. But then Zoe's mom heard what was happening. She told me to call the police, so I called 911 and the guy was like, “what's your emergency?” I'm like, dude, there's a dead guy on the floor.” And as you can imagine, she'd go on in this vein for quite some time. By comparison, this is what Braden the teenage boy would say while mumbling and looking at the floor. “People started screaming. I saw this guy on the floor. He was like, dead. Can I go now? This is what Rick the bank executive would say: “I heard a commotion in the lobby and I got up to see what was happening and the dead body was on the floor. I want to assure you that Mutual Fidelity Credit Banking takes all criminal matters very seriously and cooperates with the authorities to the fullest extent of the law. However, any further questions will need to be referred to our corporate counsel, and I'm afraid I have several other meetings scheduled this afternoon. Good day, officer.” So you can see this is a very distinctive and precise way of speech for Rick the banking executive, while providing insight into his character. Our next response is from Janet, the state senate candidate: “The thoughts and prayers of my family and I are with the victim's family in this terrible time. This tragedy only further proves that the policies of my opponents are actively harmful for the most marginalized communities in our state. When I'm your state senator, I will proudly stand for all communities.” She pauses. “Wait, is that the victim's parents? I need to get a picture with them for my Twitter.” So you can see, Janet talks very much like a politician. I think her dialogue period pretty much has been copied and pasted from Twitter. And it also provides insight into her character. Our final example is Robert, the elderly farmer, who says to the detective: “Came in. Fellow was on the floor. Poor bastard looked like he'd been shot in the head. Checked his pulse anyway, and then called the cops.” That's all he has to say. So these five characters, as you can see, all talk in very different ways. I didn't use any fancy accents or slang, only a little bit of profanity, but not all that much. But those were five distinct speech patterns, and the dialogue actually provides further insight into their characters. We can see that Tanya likes to talk. Brayden doesn't like to talk. Rick has a high opinion of himself if he thinks he can brush off police officers conducting a murder investigation. Janet, the state senate candidate, is pretty ruthless and willing to exploit someone's personal tragedy for her advancement. Of the five, Robert, the elderly farmer, was the only one who actually tried to help the guy who was dead on the floor. So I hope that is a good example of how to differentiate characters using different vocabulary and speech patterns. When I talked about this on my blog, Grace said, “this is where stereotypes in writing come in handy. Even if you had only given the list of characters at the beginning and attributed each paragraph, I would have been able to guess who was speaking, because in this case each one is a basic stereotype. Obviously, not all characters fall exactly into a stereotype (see Tythrilandria from Cloak Mage), but it probably helps for one appearance characters.” That is true. A longer-term technique, I think, is to subvert the expectations produced by the first impression of characters. Maybe the banker is secretly obsessed with graffiti or the teenage boy shovels the driveways and mows the lawns of his elderly neighbors without payment. Or the teenage girl is massively into Bitcoin mining. That makes for more realistic characters because in real life people often possess many different contradictory qualities, though for characters who have just one scene, you can probably get away with just the initial impression. William asked about this (going off on a tangent like we did earlier): Where did Nadia pick up the habit of swearing a lot? I know Morvilind assigned some rather rough ex-military types to train her. So I guess it might have started there and grown worse issues left on her own and started mingling with criminals in general. It's one of those things no one seems to have pointed out to her and she hasn't self-reflected on it. William is exactly right. That is where Nadia picked up her habit of swearing, because most of her teachers when she was a child were very rough people. And then when she got older and started out going out and doing missions for Morvilind and she met even more rough people. That said, Nadia isn't particularly self-reflective but she does have enough self-control to dial back profanity in appropriate situations, whereas you know, sometimes you meet people in real life who have gotten so much in the habit of using profanity to pepper their speech that they can't shut it off even when it's like grossly inappropriate, like at a job interview or a situation like that. Nadia doesn't have that problem. She is able to switch off profanity on her off as necessary, but if she is really angry then that's when it will come out. So that's it for this week, and I should mention as a final one for this episode, the podcast will be going on hiatus until the middle of June or so. The reason for that is I need to finish Dragonskull: Blade of the Elves. I also need to proof the audiobooks of Frostborn: The Shadow Prison and Cloak of Shards. I also have a ton of real-life stuff I gotta do in May, so I need to prioritize, which means we'll have a break from podcasting until mid-June when things calm down. So thanks for listening to The Pulp Writer Show this week. I hope you found the show useful. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next time.

In this week's episode, we offer six tips for working with cover designers to create a great cover for your book.

In this week's episode, I rank the movies and streaming shows I saw in the first half of summer 2024. TRANSCRIPT 00:00:00 Introduction, Writing Updates, and Reader Question Hello, everyone. Welcome to Episode 210 of the Pulp Writer Show. My name is Jonathan Moeller. Today is July 19th, 2024, and today we are discussing the movies and streaming shows I watched for the first half of summer 2024. Before that, we'll have an update on my current writing projects and then we will go into Question of the Week. So, my current writing projects. I'm pleased to report that the rough draft of Half Orc Paladin is finished at about 81,500 words. Next up, I'm writing a short story called Paladin's Hunt that newsletter subscribers will get for free in ebook form when Half Orc Paladin is out, hopefully in early August. I'm also 23,000 words into Ghosts in the Tombs. I'm not 100% decided what I'm going to write next once Half Orc Paladin is out. I have to make a decision soon obviously, but it's probably going to be either Shield of Conquest or Cloak of Illusion. In audiobook news, the audiobook Wizard-Thief, as narrated by Leanne Woodward, is almost done. It's just got to get through the various approvals at the audiobook sites, so hopefully that should be out in early August. Recording is going to start very soon on Shield of Darkness. So that's where I'm at with my current writing projects. We have a question about the Shield War series from reader EM, who writes in to ask: I was rereading Shield of Darkness and occurred to me that Connmar Pendragon would have had a much easier time finding his way to Owyllain if he had a Corsair Lord or whatever they called themselves back then, who had the Hidden Eye navigating for him. Am I right and this will be revealed in the Shield Wars series? No, Connmar did not have a Corsair or anyone with the Hidden Eye ability navigating for him, and he basically found his way to Owyllain by accident. At that time, there were people living on the Isle of Kordain, but they hadn't really coalesced around the Corsairs of the Isle of Kordain as their national identity yet. I mean the process was underway but hadn't reached the form it would by the time of the Frostborn series. And while some of them had the Hidden Eye ability, they hadn't quite fully understood what it meant yet, and they hadn't lived on the isle long enough for the mutilations from the dwarven engines to fully take hold. We'll reveal more details about that in Shield of Conquest when I write that as my next book or the book after my next book. 00:02:26 Question of the Week Now on to Question of the Week. Question of the Week is designed to inspire enjoyable discussion of interesting topics. This week's question: subscription services such as Kindle Unlimited, Spotify, Netflix, Thrive Market and Xbox Game Pass are an inevitable part of modern life. If you have a subscription service, which one is your favorite? No wrong answers and bear in mind that “subscription services all cost too much and I hit them all with the fiery consuming heat of 1,000 cores of 1,000 suns” is a perfectly acceptable answer as well. Surabhi said: Disney Plus, because Marvel movies are my therapy. Ray says: I only use Bookbub and Google Play. Justin says: I do not use subscription services. I prefer to purchase the books, games, and programs I buy outright rather than rent them. Connectivity can be a problem where I am so being able to read, work, or play without being tethered to the Internet is a good thing. That is something to keep in mind when considering a subscription service. If you have questionable Internet connectivity in your area, that may not be the best choice to sign up for a subscription service that relies on the Internet. Our next comment is from Venus, who says: I can't afford any subscriptions services, although if Barnes and Noble did one for ebooks, I'd consider working something out. I refuse to support Amazon and don't like the fact that apparently books on Kindle Unlimited can't be anywhere else. That is indeed one of the annoying features of the Kindle Unlimited program, which is why only four of my 153 novels are currently on Kindle Unlimited. Barbara says: my husband and daughter subscribe to some streaming services, but I'm not sure which ones. I don't subscribe to any. I don't watch television. I already own the games I play and I purchased my digital books so I don't have to give them back. John says: I think I get by far the most bang for the buck from Amazon Prime, but my favorite subscription service is probably my local weekly seafood delivery service, Sea Forager. Bonnie says: I gave up the ones I had because I don't watch TV anymore and can't afford it. I have Prime, but only really use it for ebooks. If I need background noise, I use local radio. Local radio remains free, so I suppose that is the most cost effective of all the subscription services. Juana says: Kindle seems to have the most content and good price. I looked at the other platforms, too. Becca says: I have Prime and agree it has a ton of benefits. I canceled Netflix because it doesn't work on my TV. Hulu has some great shows (I recommend Crazy Fun Park, an Australian teen show about ghosts and friendships and changes. Surprisingly mature and well-acted). William says: given the sheer quantity of great Star Wars series that Disney produces, theirs is hard to beat. Gary says: Spotify. David says: for value, you can't beat Prime: movies, free shipping, and music. Netflix is very good for original content and Hulu for old stuff. And Joseph says: I also have Prime mostly for the free shipping. Everything else there is just a bonus. I also have Kindle Unlimited. Totally worth it for me as I read daily and read two or three hundred books a year. That is down from 400 to 500 the first couple years of retirement. It is diverse enough that I can always find a good read. For myself, the one I enjoy most is Nintendo Switch Online. I'll pay for a month of Netflix when they have something I want to see and then we'll cancel again after I've seen it.  I used to have Xbox Game Pass, but all I ever actually play on the Xbox is Skyrim, Starfield, and the first three Halo games, so there is no point in keeping it. But Nintendo Switch Online lets you get the classic Mario and Zelda games from the NES and Super Nintendo era. Given that Nintendo's attitude towards the legacy properties tends to veer between complete indifference and wrathful litigation depending upon the month, it's good that Nintendo offers a relatively affordable way to get them legally because at my age, sometimes the best way to relax at the end of the night is to just play a few levels of the original Super Mario Brothers. So that's it for Question of the Week this week. 00:06:26 Main Topic: Summer 2024 Movie/TV Show Review And now let's move on to our main topic: 2024 Summer Movie Roundup, Part 1. Summer always has a lot of movies, so I usually split the Summer Movie Roundup post in two halves and this would be Part 1. I was surprised at the number of sports movies I watched this time, since, as I've mentioned before, I don't usually follow professional sports all that closely. That said, while the NFL and the NBA might not have quite the cultural hegemony they had at their peak in the 1990s and early 2000s, they're still hugely central to American culture. I don't think you can really understand the United States without grasping the central role of professional sports in mainstream culture. I expect there's a similar phenomenon with association football clubs in the UK and many European countries. Besides, one of the abilities of good storytelling is to make you interested in a story about a topic you might not otherwise care about, like athletic shoes. So here are the movies and shows I watched in the first half of summer 2024, ranked from worst to best. As always, the rankings are totally subjective and based on nothing but my own opinions and observations. So first up is Madam Webb, which came out in 2024. Oofffff. This wasn't quite the crime against cinema that the Internet thought it was, but it still wasn't great. Sony has the rights to a bunch of Spider-man adjacent characters, and the company is holding those in a death grip and has been trying to make a Spider-man Cinematic Universe happen for some time, with mixed results. The Tom Hardy Venom movies had been pretty good, the others, not so much. The plot of Madam Webb: cynical and jaded EMT Cassandra Webb works with her partner Ben Parker (later in the Uncle Ben of Spider-man fame) and is almost drowned in an accident. While drowned, Cassandra starts developing precognition and clairvoyant powers. She starts seeing visions of three young women who will be murdered by a powerful real estate developer named Ezekiel. Turns out that Ezekiel has Spider-man powers that also include precognition, and he wants to kill the girls before they someday kill him. The scenes where Cassandra wonders if she is going mad, but gradually starts to realize that she can see the future were actually quite good and cleverly laid out since they did in sort of a time loop where she experiences the event before it happens. That said, this movie could have been an interesting concept, but it didn't really work. For one thing, the dialogue was just clunky. Dialogue is a hard, hard art to master, both in movies and writing novels (as I know first-hand). But Madame Webb didn't get there. Many of the dialogue scenes were just wooden. Additionally, the movie felt padded and drawn out, which is interesting because the runtime was under two hours. Ultimately, I think Madam Webb succumbed to the illness of a shared cinematic universe. It felt like the incomplete prologue to a more interesting movie, and not every side character in the Spider-man mythos needs an origin story. The trick to making a shared cinematic universe is that each movie must stand alone on its own, especially in the beginning, and the stories have to be interesting. Madam Webb, alas, couldn't quite manage either. Overall grade: D- Next up is The Acolyte, a streaming series which came out in 2024. There is quite a furor about this show on social media, but you can't believe most of what you see on social media. To be blunt about it, I've come to believe that social media is designed to induce mental illness in as many of its users as possible in order to increase their time spent on the site, which in turn raises ad revenue. Very cynical. But I suspect that's the basic business model of Facebook and YouTube, which is why you see so much rage-filled clickbait on both sites, since that's what drives engagement and increases revenue, but that's a problem beyond the scope of a movie review podcast episode. Back to The Acolyte. I would say that The Acolyte wasn't the crime against cinema that YouTube thought it was but instead an uneven mixture of some strong points and some weaknesses. The plot: former Jedi Osha has left the Order and is working as a mechanic on a trade federation starship. Meanwhile, a woman who looks exactly like her has started murdering Jedi Masters. Osha is arrested for the murders, but her former teacher, Jedi master Sol, quickly figures out that the murderer is in fact Osha's twin sister Mae, who has been presumed dead for the last sixteen years. Osha reluctantly tagged along with Sol to help track down Mae, which means she needs to delve into the dark secrets of her past and discover who trained Mae to be a Jedi killing assassin. The Jedi assume a renegade member of the Order must have trained Mae because the Sith had been extinct for a long, long time. Or have they? This show did have its strong points. The lightsaber fights looked good and were fun to watch. Lee Junge-jae as Sol, Manny Jacinto as Qimir, Charlie Bennett as Yord, and Dafne Keen as Jecki all gave good performances. In particular, they stole episode 5, which was overall the strongest episode of the series. The design of the Sith Lord's helmet (dubbed Darth Teeth or Smilo Ren by the Internet) was good. The nods to the old Expanded Universe, like cortosis ore, were nice. There was enough of a compelling mystery -who is the Sith Lord and what actually happened in the twin's past- that can hook the viewer through to the end of the series. The show also did a good job of showing how complacent and political the Jedi had become, to the point where 100 years later the Jedi High Council would meet with Supreme Chancellor Palpatine every day for thirteen years and completely failed to realize that he was in fact the Sith Master who had been pulling the strings all along. That said, I think the show did have four significant problems. 1: the whole good twin/evil twin thing was kind of lame. Playing identical twins is hard for any actor, and sometimes I had a hard time keeping track of whether Osha or Mae was in a particular scene. I kind of wish the characters had been brother and sister, or at least not identical twins so they had been easier to tell apart. 2: As much as I appreciated the nods to the Expanded Universe, I think it relied too heavily on them and assumed the audience had a high level of Star Wars knowledge, like the weird Force cult where Osha and Mae grew up. In the Expanded Universe, there are all kinds of weird half-baked cults with an incomplete knowledge of the Force that run into serious problems when they encounter an actual Jedi or an actual Sith. One advantage of visual media over novels is that it's much easier to show instead of tell, but I don't think Acolyte explained its premises well. The Mandalorian explained its premises better, gradually exposing the viewer to the Mandalorian's culture as he dealt with the Monster of the Week. Mando gradually learned about the Force and the Jedi, a race of enemy sorcerers, as he tried to save The Child from the Imperial Remnant. By contrast, The Acolyte kind of dropped viewers into the middle of things, didn't bother to explain any ambiguities, and simply assumed they would all understand the references. 3: The problem with the Jedi Order is that its philosophy is essentially stupid. The reason for that is that Jedi philosophy is basically a highly watered-down version of 1970s style Hollywood Buddhism, which is itself a tremendously watered down version of actual Buddhism. The Jedi are basically left with “don't feel fear or anger” and “don't get attached to people” but lack the religious and philosophical underpinnings which would allow those concepts to make sense in actual Buddhism. In real life, eventually we learn that both suppressing anger and fear or allowing it to dominate us is unhealthy. Both anger and fear serve useful functions. Fear warns of danger and anger is a good response when one is forced into circumstances where you have no choice but to fight. Anger and fear make for good servants, but awful masters, but Jedi philosophy completely misses that point. 4th and finally: the show was the wrong genre for the kind of moral relativism it had. Moral relativism worked well in Andor, which was a spy thriller about criminals gradually realizing that they had to fight the Empire and do terrible things while doing it. That worked because Andor was a spy thriller. By contrast, The Acolyte was about Kung Fu space wizards using space magic that literally comes in good and evil flavors. Moral relativism works less well in that kind of setting where there is literally good or evil space magic. So I would say Acolyte was a mixed bag. I admit, if there's a second season, I'll watch it just because I want to see what happens, but given Disney's significant financial woes, that seems unlikely. Overall grade: C- Next up is Unfrosted, which came out in 2024. It is an absurdist comedic retelling of the creation of the Pop Tart breakfast food, told as sort of a parody of corporate biopics like Ford versus Ferrari and Air (which we will talk about later this episode). This movie was silly and kind of dumb, but it knew it was silly and kind of dumb and so leaned into it and therefore worked. Jerry Seinfeld plays Bob Cabana, a high-ranking employee of the Kellogg cereal company, which is locked in a bitter rivalry with the Post cereal company for the breakfast market. One day Cabana uncovers everyone at Post is working on something that will upend the breakfast market, a fruit filled breakfast pastry that can be toasted. Alarmed with this information, the CEO of Kellogg, Edsel Kellogg III (played by Jim Gaffigan as a sort of parody of ‘60s era U.S. business executives), launches a crash effort to match Post's effort. Cabana must recruit a heist style team to build Kellogg's breakfast pastry, including numerous obscure figures from 1960s pop culture. The race is on to build the Pop Tart. Anyway, this was an entertaining movie, but it has no connection to factual accuracy. Also, Bill Burr was hilarious as President Kennedy. Overall grade: B- Next up is The Hit Man, which came out in 2023. It is an amusing cross between a dark comedy and a sort of Hitchcockian thriller. Glenn Powell plays Gary Johnson, a mild mannered and somewhat ineffective philosophy professor. Due to his skill with electronics and microphones, he frequently helps out the police with sting operations. One day, the officer who usually goes in for sting operations gets suspended for beating up some teenagers and having it go viral on viral on YouTube. Gary is drafted at the last minute to go undercover as a hit man and get a suspect to contract his services. Gary does it so well that the Police Department uses him more and more and Gary starts disappearing into his roles as various hit men in a sequence which is quite funny. This works well until Gary meets Madison, a woman who wants him to kill her abusive husband. Gary talks her out of it and starts seeing her, a situation which quickly escalates out of control. It was interesting that the movie went through a sudden genre shift about 1/3 of the way through, from dark comedy to love story, a bit darker than I usually prefer, to be honest, but enjoyable nonetheless if you don't mind the strong language. That said, I watched this right after Madam Webb and the contrast between Webb's clunky and wooden dialogue and the much better written Hitman was night and day. What was interesting was that the movie only cost $8.8 million to make. Given the economic climate, I expect we will see more of this: movies that have to be disciplined about keeping the cost down, as opposed to the enormous 295 million budgets of something like Indiana Jones and the Dial of Destiny. Overall grade: B- Next up is Boss Level, which came out in 2021. This movie is best described as Groundhog's Day but as an action movie. Former Special Forces soldier Roy Pulver, played by Frank Grillo, is caught in a time loop that repeats the same day over and over again, which always ends with him getting killed by assassins that have been hired to hunt him down. This happened after he tried to reconnect with his former girlfriend, a scientist working on a secret project overseen by the sinister Colonel Ventor, played by Mel Gibson. For a variety of reasons, let's just say at this point in his career, Gibson is very believable in a villain role. At first, Roy succumbs to despair in the time loop, but then decides to spend the endless day trying to reconnect with his estranged son. Eventually, this causes him to rally and fight back against the loop and he realizes that his ex-girlfriend deliberately put him into the time loop because he was the only person she knew who could stop Colonel Ventor's evil plans for his project, which turns out to be a time machine. I'd say the biggest weakness of the movie is the opening, which is a sort of record scratch “you're probably wondering how I got here” opening I complained about in Episode 203 of this podcast. Also, I think it maybe should have been five to 10 minutes longer. The ending is sort of implied but it would have been far more satisfying to have actually been shown what would happen. But overall, I like this movie. Solid B-level thriller/science fiction stuff. It's interesting to compare this to Groundhog's Day because Groundhog Day had to spend so much time establishing the premise because the plot idea of a time loop wasn't as widely known back then as it is now, whereas nowadays you just say “Groundhog Day loop” and most people will immediately know what you're talking about. Overall Grade: B Next up is Ghostbusters: Frozen Empire, which came out in 2024. This wasn't quite as good as Ghostbusters: Afterlife, but I still enjoyed it. In this one, Ian Spengler's daughter, her good-natured boyfriend, and her teenage children have returned to New York City to restart the Ghostbusters business. They were bankrolled by original Ghostbuster Winston Zeddmore, who is now a wealthy businessman funding a variety of ghostbusting projects. When one of Zeddmore's employees stumbles across a dangerous artifact holding a powerful ice ghost, both the new and original Ghostbusters must team up to save the day. I really like how the new Ghostbusters films handle the original characters. The original characters are no longer the main focus but they're now mentoring the new characters and providing advice and support. I like this a lot better than the Disney/Lucasfilm approach of the original character as being sad old losers that the new characters must rebel against and then surpass. It was also great that actor William Atherton returned as government apparatchik Walter Peck. Back in the first movie, Peck was an officious EPA inspector who accidentally released a ghost horde upon New York. In the grand American political tradition of tradition of failing upward, he is now the mayor of New York City and still hopes to disband the Ghostbusters. I think the movie's biggest weakness was that it was too complicated and there were a lot of different characters and moving parts to keep track of. Overall grade: B Next up is Inside Out 2, which came out in 2024. It is a terrifying descent into the nightmarish hellscape that has the mind of the average teenage girl. I am, of course joking (though, if you have teenagers, you know that I'm only mostly joking) but Inside Out 2 is a strong follow up to the first movie. In the first movie, the anthropomorphized representations of emotions (Joy, Sadness, Anger, Fear and Disgust) tried to control themselves inside the mind of young girl Riley. At the start of the second movie, Riley is now 13 and doing pretty well, but then puberty kicks in. Suddenly new emotions arrive in her head: Ennui, Envy, Embarrassment, and Anxiety. Anxiety in particular runs amuck and seizes control of Riley's mind. As Anxiety starts to send Riley spiraling out of control, the other emotions have to rally behind Joy and find a way to save Riley's mind and sense of self. It is both quite funny and poignant. I can see why this movie cleared a billion dollars. As of early July 2024, is the biggest box office movie of the year so far. Overall grade: A Next up is Ford versus Ferrari, which came out in 2019. This is a biopic of the rivalry between Ford Motor Company and Ferrari in the 1960s, which is an interesting bit of history. In the ‘60s, Ford Motor Company, under the leadership of Henry Ford II (founder Henry Ford's grandson), decided it needed a cooler image, much like how Microsoft bought a bunch of indie gaming studios in the 2010s so Xbox would seem cooler. So Ford Motor Company spent years negotiating with Enzo Ferrari to buy Ferrari's company. At the last minute, negotiations collapsed and Ferrari famously went on a rant insulting Ford as an ugly company that made ugly cars and also called Ford II a lesser man compared to his famous grandfather. This was a major public failure and humiliation for Ford Motor Company, and needless to say Ford II took this very, very personally. He threw a ton of resources behind Ford's racing car project with one goal: beat Ferrari at the famous Le Mans 24 hour race. To pull this off, Ford recruited Carroll Shelby (played by Matt Damon), a former racing driver who turned to race car designing because a heart condition no longer let him race. Shelby needed a driver, so he recruited Ken Miles (played by Christian Bale), a talented driver and mechanic with a combative streak and knack for making enemies. Shelby, Miles, and their team set out to build the GT40, Ford's first proper racing car. Since this is all in the historical record, it's not a spoiler to say that they succeeded in the 1966 Le Mans race. Ford Cars finished in first, second, and third positions, locking out Ferrari entirely from the podium. This was a very enjoyable biopic. All the actors disappear into their roles and give strong performances. The racing scenes all look cool. It is also interesting from a historical perspective to see how the Ford executives had a very bad habit of acting like feudal lords who would dictate their will to the consumer rather than what they actually were, which is merchants who needed to give the customer what they wanted. This attitude was one of several reasons the US auto industry hit very hard times in the 1970s. I'd say the only thing wrong with the movie is that it feels too long, though for the life of me I'm not sure what they could have cut. Overall grade: A Next up is The Last Dance, which originally came out in 2020. I originally watched this back during peak COVID, but after watching Air (which I will discuss shortly), I decided to watch this again to refresh my memory. The Last Dance is a documentary about the Chicago Bulls NBA team and the renowned three-peat champion streak back in the 1990s. I have to admit it is an amusing feeling to have lived long enough that things I lived through are now considered history and have prestige Netflix documentaries made about them. The documentary mostly revolves around the career of Michael Jordan, though it includes interviews with many other people involved in the experience of the Bulls championship run, including brief interviews with two ex U.S. Presidents. The documentary got a lot of criticism for focusing too heavily on Jordan and portraying him in a positive light, especially from the other members of the 1990s Bulls team. Interestingly, I thought Jordan did not really come across all that great on the show. He seemed somewhat vindictive and petty and prone to holding on to grudges for decades. He was presented as the sort of man who is afflicted with an all-consuming competitive streak, who is irresistibly compelled to win at everything he does, even if it's a casual golf game between friendly acquaintances. For that matter, professional basketball players in general all tend to be highly competitive type A personalities who like to win and hate to lose. Getting them all to agree on an account of events beyond the objectively observable facts is probably impossible. Despite that, I suspect the simple fact is that the Bulls would not have won their championships without Jordan. There's no denying that Jordan was probably one of the most famous people on Earth in the 1990s. Honestly, no one can stand up to that kind of scrutiny well, especially after a personal tragedy like when Jordan's father was murdered in the mid-1990s. When Jordan talks about how winning requires complete focus and absolute dedication, I'm afraid that he's right. Winning in the competition at a level like the NBA does require 110% focus, even to the detriment of every other aspect of one's life. I've heard athletes say that champions have no balance and Jordan himself seems to be a living example of both the benefits and the extremely high personal costs of that. Amusing anecdote: when I originally watched this documentary in late 2020, I texted my brother that he should check it out because I thought he would enjoy it. His response was something along the line said he had seen when it first came out on ESPN and I really ought to engage with the culture more. Overall grade: A Now for the best movie I saw in the first half of summer 2024 and that would be Air, which came out in 2023 and is related to our sports documentary topics. This is a movie about Michael Jordan and his family negotiating deal with Nike about the Air Jordan shoe. I didn't expect to like this movie very much, but it turns out it is quite excellent. As I mentioned earlier, in full disclosure, I have minimal interest in the NBA and while I could tell you the NBA team of the US state in which I currently reside, I think if pressed, off the top of my head, I could probably tell you the name of maybe five other NBA teams. Additionally, I lived through the 1990s and had no money for all of it, and so at the time I really resented the peer pressure around Air Jordan shoes and other sports apparel, because that stuff was always so expensive. As I mentioned, I had no money. All that aside, that shows Air was a good movie because it made me care about a story involving a topic in which I have no interest and perhaps mildly dislike. Anyway, the movie's plot is set in 1984. Matt Damon (back again) plays Sonny Vaccaro, who was working with Nike's struggling basketball shoe division. At the time, Nike was the biggest maker of running shoes in the US that had only a minimal presence in the basketball shoe market. Vaccaro has the idea of building a shoe brand entirely around an upcoming young NBA rookie named Michael Jordan. At the time, this was an enormous gamble and had never been done before, but needless to say, it paid off for the company in a big, big way. All the actors gave good performances and the dialogue was sharply written, simultaneously conveying the character of the speaker and moving the plot forward. If you want to learn how to write good dialogue, you could do much worse than to watch Air. I recommend this movie, even if like me, you have zero interest in sports apparel. Perhaps that is one of the functions of art, to give you glimpses of worlds into which you would otherwise never visit. Overall grade: A+ So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you find the show enjoyable and useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.