Podcasts about book marketing

Do you know why some authors struggle to market their books even when they have a powerful message?This week's guest expert is April Adams Pertuis, award-winning journalist, producer, and founder of Light Beamers. After conducting more than 10,000 interviews over a 30-year career, April has learned one truth most authors miss: storytelling is not separate from marketing. It is the marketing.In this eye-opening conversation, you'll discover how to use your personal stories to build trust, spark curiosity, and create stronger connections with readers. April also shares how AI can help uncover and organize your stories without replacing your authentic voice.If marketing your book feels forced, awkward, or exhausting, this episode may completely change the way you think about promoting your work.Key Takeaways: Storytelling makes marketing feel human. When you stop “selling” and start sharing meaningful stories, people pay attention.  Your “why” matters more than your pitch. Readers connect with the reason behind your book before they connect with the book itself.  AI can help uncover your stories. Used the right way, AI becomes a creative partner that helps you organize ideas and discover stories you may have forgotten.  Create a story bank. The best authors collect stories from their life, work, and experiences so they always have meaningful content to share.  Authenticity builds trust. Real stories, challenges, and lessons create deeper audience connection than polished marketing language ever will. Don't miss this episode if you want your marketing to feel more natural, more engaging, and far more effective. Tune in now!Here's how to connect with April:WebsiteFree gifts for listeners:Your Story Formula: www.lightbeamers.com/formulaYour Story Formula Quiz: www.lightbeamers.com/quizLinkedIn: www.linkedin.com/in/lightbeamersInstagram: www.instagram.com/lightbeamersFaceBook: www.facebook.com/apriladamstv*************************************************************************When Book Marketing Feels Overwhelming, Clarity Changes EverythingIf you know your book deserves more visibility, but marketing feels confusing or inconsistent, the Author Influencer Circle helps nonfiction authors build authority, attract opportunities, and market with confidence.Learn more about the Author Influencer Circle and turn your book into money making opportunities!*************************************************************************

318 / How do you craft a pitch that gets Hollywood's attention and translates your book to the screen—or just want to network and pitch yourself more effectively as an author? Story coach Lindsay Hughes shares insider strategies from the entertainment industry and lessons from Hollywood.Lindsey's "cocktail pitch" formula that grabs attentionHow to talk about your story in a way that intrigues (good for pitching or writing blurbs)Why authors should balance craft development with marketingUnderstanding how Hollywood evaluates books and storiesThe real-world impact (and limits) of social media on book salesTrends in AI, indie publishing, and what's next for authors and adaptations

Do readers judge a book by its cover? Absolutely. And if your book looks self-published, readers notice before they read a single word.This week on the podcast, book designer extraordinaire Victoria Wolf pulls back the curtain on what makes a book look polished, credible, and impossible to ignore.With more than 30 years in the industry and 500+ books designed, Victoria shares the design choices that separate books people buy from books people scroll past.We talk covers that instantly signal quality, interiors that keep readers engaged, and the subtle design mistakes that quietly kill credibility. You'll also hear why many nonfiction authors sabotage their authority with amateur visuals without even realizing it.If your book is supposed to open doors, your design can't afford to whisper.Key takeways from this week's episode; Why interior design matters far more than most authors think  The typography and layout choices that make books easier to read and harder to put down  The real job of a book cover and why most self-published covers miss the mark  When your author photo helps your brand and when it hurts it  The tiny design tweaks that instantly make a book feel professionally published  How strong design builds trust, authority, and sales before readers even open the book If you want your book to compete with traditionally published titles instead of looking like an afterthought, don't miss this conversation. Tune in now!Here's how to connect with Victoria:Website:  Wolf Design and Marketing,LinkedIn Personal: https://www.linkedin.com/in/victoriawolf/LinkedIn Business: https://www.linkedin.com/company/wolf-design-marketingFacebook: https://www.facebook.com/wolfdesignandmarketingYouTube: https://www.youtube.com/@WolfsOnBooks*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

 What if the most powerful business strategy available to you isn't a funnel, a framework, or a new platform — but the story you've been sitting on, the book you haven't written, and the message you haven't yet been brave enough to say out loud? In this episode of That Will Nevr Work, host Maurice sits down with Aurora Winter, MBA — multi-award-winning author of 10 books, former television executive and producer, serial entrepreneur, media strategist, and founder of Same Page Publishing — for one of the most sweeping and deeply personal conversations about authority, storytelling, and legacy-building we have ever featured on this show. Aurora left a lucrative TV career, survived the sudden death of her husband at 33 while raising their young son alone, and transformed that entire journey into a body of work that has helped CEOs, founders, attorneys, and thought leaders achieve #1 Amazon bestseller status, build seven-figure brands, and create the kind of authority that makes premium clients come to them. In this episode, you'll discover:What a Million-Dollar Message is — and why clarity outearns genius every timeWhy your book is the single most powerful marketing and authority tool available to you — and how to write it even if you don't have time to writeThe Spoken Author™ method — how busy leaders and founders create polished, powerful books through strategic conversationThe Strategic Showrunner™ framework — how thinking like a TV producer transforms the way you build your brandHow Aurora turned personal grief and career reinvention into a mission that has helped thousands build legacy-level brandsIf you have expertise, a story, or a message — and you haven't yet built the authority platform to match it — this episode is the call to action you've been waiting for. 

This episode is for the author who is already showing up, already trying, and still not seeing her marketing move the needle. Because the problem isn't the effort. It's where the effort is going. Jenn breaks down why most authors aren't losing time to marketing. They're losing it to the chaos around marketing. And what actually changes when you have a clear system underneath everything you create. If you've been telling yourself you'll get serious about this when things slow down, this one is worth your time right now.LinksBook Marketing Blueprint FREE downloadThe 90-Day Book Sales System

This week on Craft&Connect we continue our chat about Ideal Readers, this time focusing on where to find themIf you missed the worksheet from last marketing episode, you can find that here: https://docs.google.com/document/d/1kBQ9FpRY0EztvNELzTCqFb0q7N3AuMIf/copyThe worksheet for this week is here: https://docs.google.com/document/d/1pDpNfIl08-IZUyKXakWhBq6zCM6jWq9f/copyCheck out Bookfunnel.com, Storyoriginapp.com and bookclicker.com as places to look for collaboration with authors. If you haven't started your author newsletter, I have a mini-course on how to do that and how to use it to discover other authors and readers. You can find that here for just $17. https://www.curios.com/c/V148YLSign up for the next Craft&Connect LIVE on June 12, 3pm EST here: https://tidycal.com/writeyourlife/craft-and-connect-live-q2Find out more about Becky at https://www.beckythebookcoach.com/Sign up for my writers' newsletter to learn more about the craft of writing, know when my workshops are and be the first to get exclusive information on my writing retreats. https://katcaldwell.com/writers-newsletterWant more information on my books, author swaps, short stories and what I'm reading? Sign up for my readers' newsletter. https://storylectory.katcaldwell.com/signup You can always ask me writing questions on instagram @author_katcaldwell

317 /  Debut author Michelle Park Lazette shares how she's building a brand along with the lessons she's learned about writing, marketing, and connecting with readers as a debut author.Building buzz for your bookStarting a newsletter list and finding ARC readersHead hopping and point of view issuesChallenges with interiority and emotionUsing analytics for book promotion✨ May Pod-Pal Shout-Out: Two Authors' Podcast - Psychology of a Psychological Thriller with Robyn Harding*Don't miss our recent supporter episodes:What Asian Dramas Teach Writers About Conflict And Emotion More Truth about Book Marketing: 5 More Publishing MythsBecome a supporter to get all 20+ supporter episodes: https://wishidknownforwriters.com/support or https://wishidknownthenpodcast.substack.com/subscribe

In this episode, Matt & Lauren examine the ways book marketing has changed in an AI and algorithm-driven world. We identify a few of the biggest shifts we've seen, like prioritizing trust signals over keywords, and share our insights into:

If you write in a niche genre and you've been told (or have started to believe) that your book is just too specific to market effectively, this episode is for you. Jenn breaks down why niche isn't the obstacle it feels like, why generic book marketing advice fails specific authors, and what a marketing strategy actually looks like when you write for a very particular reader. Whether you write in a niche genre, across multiple genres, or for a deeply specific audience, this one will change how you think about finding your readers.LinksThe 90-Day Book Sales System includes the New Author Marketing Playbook, built specifically for pre-published authors who want a real plan before their book comes out.Social Growth Sessions

Scam emails used to be obvious. Bad grammar, generic messaging, easy to ignore. That version is gone.Today's scams sound like a real professional—someone who's “read your book,” understands your audience, and has a polished, confident plan to grow your sales, land media, or build your platform. It feels legitimate because it's designed to. AI has fundamentally changed the scam landscape, and authors are now a prime target.We see these pitches every day—forwarded by authors who aren't quite sure what feels off, but know something isn't right. Fake PR firms. Fake podcast booking services. Fake reader communities. Even impersonators posing as established marketers and recognizable industry names. The volume is up, the quality is higher, and the financial risk is real.In this episode, we break down exactly how these scams are built so you can recognize them before you engage. You'll hear how flattery is engineered to disarm you, why vague “big picture” strategies are a deliberate tactic, and how scammers create just enough surface credibility to pass a quick Google search. We also walk through the critical moment every scam converges on: pushing you to pay quickly, before you've had time to verify anything.More importantly, we give you a clear, practical framework to protect yourself. What unsolicited outreach actually signals. Why free email domains should immediately slow you down. How artificial urgency (“only two spots left”) is used to bypass your judgment. And why “guaranteed results” without defined deliverables is one of the biggest red flags in book marketing.We also cover payment risk—where things like wire transfers and crypto remove your ability to recover funds—and the proactive steps you should be taking now to protect your author identity, including locking down your domain and social handles before someone else does.If you've ever received a pitch that felt a little too polished, a little too perfect, this episode will recalibrate how you evaluate every offer that lands in your inbox.Listen now, then share this with an author who needs it.Subscribe, leave a review wherever you listen, and text PODCAST to 888-402-8940 with the strangest (or most convincing) scam message you've received.Send us your feedback!Help shape our 2026 content by taking our 30-second listener poll!

Do you actually need a big personality online for your book to succeed? The answer might surprise you. In this episode, Tara sits down with Naiyya Singh, Assistant General Manager of Marketing at HarperCollins India, to pull back the curtain on what it actually takes to get a book into the right hands. They get into what a book marketing campaign really looks like and why fiction and nonfiction get treated completely differently. Naiyya tells us how plans have to adapt to news cycles and trends, and why an intimate launch of 20 people can be as significant as a packed auditorium. Naiyya also breaks down the question of virality every author asks, as well as the other elements that go into marketing a book.From escape-room campaigns to intimate roundtable launches, they explore the creativity, unpredictability and occasional frustration of book marketing. They also dig into the resurgence of book clubs and why the best metric for a successful book has nothing to do with first-week sales. If you are an aspiring book marketer or an author nervous for their launch, you don't want to skip this chapter! Press play to get the scoop on what really sells a book and why even the best ones take time. Books mentioned in this episode: The complex by Karan MahajanPolitics, Policy and Predictions: Views from the Front Row of Parliament by Derek O'BrienDream Count - Chimamanda Ngozi AdichieAssociation of Small Bombs by Karan MahajanThe Only City: Bombay in Eighteen Stories by Anindita GhoseLightning in a Shot Glass by Deepanjana PalDakini by K. Hari KumarThe Enclave by Rohit ManchandaAugust 17 by S. Hareesh, translated by Jayasree Kalathil The Complex by Karan MahajanGhost Eye by Amitav GhoshGone with the Wind by Margaret MitchellThe Thorn Birds by Colleen McCullough ‘Books and Beyond with Bound' is the podcast where Tara Khandelwal and Michelle D'costa uncover how their books reflect the realities of our lives and society today. Find out what drives India's finest authors: from personal experiences to jugaad research methods, insecurities to publishing journeys. Created by Bound, a storytelling company that helps you grow through stories. Follow us @boundindia on all social media platforms. 

Breaking into the education market can transform your publishing business—but many independent publishers and author-publishers don't know where to start. On today's episode of “Inside Independent Publishing (with IBPA),” Teacher Created Materials Publisher, Trade Division Kyra Ostendorf pulls back the curtain on how books actually get into schools and classrooms, revealing the strategies, positioning, and industry know-how to turn your titles into trusted classroom resources. If you're ready to unlock a powerful new revenue stream and get your books directly into the hands of students, this episode shows you how. PARTICIPANTS  Kyra Ostendorf is Publisher, Trade Division at Teacher Created Materials, where she leads Free Spirit Publishing, Shell Education, and Curiosity Unlocked Books. With leadership experience spanning educational publishing, curriculum development, and early childhood education, she previously served as Vice President of Education at Kaplan Early Learning Company and as Acquiring Editor at Redleaf Press, where she helped grow the publishing portfolio by more than 200 titles. Kyra holds an M.Ed. in Early Childhood Education from the University of Minnesota and a B.A. from Macalester College. Independent Book Publishers Association is the largest trade association for independent publishers in the United States. As the IBPA Director of Membership & Member Services, Christopher Locke assists the 4,000 members as they travel along their publishing journeys. Major projects include managing the member benefits to curate the most advantageous services for independent publishers and author publishers; managing the Innovative Voices Program that supports publishers from marginalized communities; and hosting the IBPA podcast, “Inside Independent Publishing (with IBPA).” He's also passionate about indie publishing, because he's an author publisher himself, having published two novels so far in his YA trilogy, The Enlightenment Adventures.LINKS Learn more about the many benefits of becoming a member of Independent Book Publishers Association (IBPA) here: https://www.ibpa-online.org/ Follow IBPA on: Facebook – https://www.facebook.com/IBPAonline X – https://twitter.com/ibpa Instagram - https://www.instagram.com/ibpalovesindies/ Learn more about Teacher Created Materials at https://www.teachercreatedmaterials.com/ Follow Teacher Created Materials on: Facebook - https://www.facebook.com/tcmpub LinkedIn - https://www.linkedin.com/company/tcmpub/ Instagram - https://www.instagram.com/tcmpub/ X - https://x.com/tcmpub This episode is presented by Marquis. Learn more at https://www.ibpa-online.org/page/marquis

Why do some nonfiction books get read… and others get put down halfway through?If your book isn't connecting the way you expected, it's probably not a marketing issue. It's how the message is landing on the page.This week's guest expert, Corey Radman—editor and ghostwriter for memoir, self-help, and business authors—breaks down what actually makes a book resonate.Because readers don't stay for information. They stay for how it makes them think, feel, and see themselves.If you want your book to do more than inform—if you want it to stick—this conversation will show you what's missing.There's a Real Person on the Other Side of the Screen: The one mindset shift that makes readers feel like you're writing just for them.The Boring Topic Is a Myth: Why the driest subject in the room is secretly the most powerful story waiting to be told.A Vignette Is a Knife, Not a Blanket: The overlooked rule about story length that separates forgettable writing from writing that sticks.Some Stories Aren't Only Yours to Tell: The question every writer should ask before hitting publish — but almost nobody does.AI Is a Brilliant Brainstorming Buddy With a Lying Problem: How to use AI in your writing without letting it quietly sabotage your credibility.If your book isn't landing the way you hoped, it might not be a marketing issue.It might be how the message is being experienced on the page. Tune in now to find out more.Here's how to connect with Corey:WebsiteLinkedIn*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

In this episode, Heather interviews Marlena Hollis of Young Lions VA's about how Christian authors can use virtual assistants to scale their book sales, strengthen their backend support, and stop carrying every task alone. Marlena explains how faith-based VA support can help authors and entrepreneurs delegate with clarity, protect their time, and create more space for the message they are called to steward. Together, Heather and Marlena discuss practical tasks authors can hand off, how to know when you are ready for support, and why delegation is often a necessary step in building a sustainable author business. Listeners can also download Marlena's Young Lions VA Placement Readiness Kit, which includes a readiness quiz, task audit worksheet, and control and fear audit to help them decide what support they need next. Guest Links and Resources Download the assessment to see when it is best for you to hire your first VA Young Lions VA Placement Readiness Kit Young Lions VA Website: https://younglionsva.net/ Young Lions VA Facebook: https://www.facebook.com/profile.php?id=61577708446608 Book a Young Lions VA Interest Meeting: https://links.younglionsva.com/widget/bookings/ylvan-interest-meeting Marlena Hollis Ministries: https://marlenahollisministries.com Marlena Hollis Facebook: https://www.facebook.com/MarlenaHollis.teachJesus Marlena Hollis YouTube: https://www.youtube.com/@Marlena_Hollis Marlena Hollis Instagram: https://www.instagram.com/marlenahollis.teachjesus Chapters 00:00 Introduction to the Conversation 02:57 The Overwhelm of Book Marketing 06:13 The Role of Virtual Assistants for Authors 08:54 The Fear of Delegation 12:09 Building Relationships with Virtual Assistants 15:02 The Founding of Young Lions Virtual Assistant Network 17:48 The Impact of Virtual Assistance on Lives 21:05 The Importance of Human Connection vs AI 23:58 Investing in Kingdom Relationships 27:14 The Accountability Factor 30:14 The Benefits of Hiring a VA 32:56 Networking and Community Building 36:12 Tax Benefits of Hiring a VA 39:22 Building Kingdom Businesses 40:28 The Role of AI in Business 46:07 The Power of Virtual Assistants 49:07 Common Tasks to Delegate 51:00 The Importance of Teamwork 54:02 Investing in Support for Growth 57:33 The Symbiotic Relationship of Ministry and Business 01:01:54 Effective Onboarding Processes              

If your content is getting engagement but your book isn't selling, this episode is going to name exactly what's happening - and it's not what most authors expect. Jenn breaks down why showing up consistently isn't enough on its own, what the missing piece in most authors' content actually is, and what it looks like to create content that moves readers from I love following you to I'm buying your book. Simple, practical, and the kind of shift that changes how you think about every post you create going forward.LinksFree Resource: Download the Book Marketing Blueprint - a free 15-minute diagnostic that shows you exactly which pieces of your marketing foundation are missing.The 90-Day Book Sales System includes the New Author Marketing Playbook, built specifically for pre-published authors who want a real plan before their book comes out.

At the Exit Planning Institute CEPA Summit in Nashville, 1,200 credentialed advisors gathered in one room. The first night, they held an awards ceremony. Every single person who walked on stage had one thing in common. It wasn't their credentials, their AUM, or their years in practice. It was a book.Episode SummaryPaul and Gabe McManus just returned from four days in Nashville at the EPI CEPA Summit, where they presented the Authority Operating System to one of the most credentialed audiences in financial services. In this episode, they break down all five pillars of the AOS: writing the right book, activating clients and COIs, building a guest podcast tour, optimizing for search everywhere (not just Google), and leveraging AI without the slop. Real client stories throughout. Real results.About Paul & Gabe McManusPaul G. McManus is the CEO and founder of The Short Book Formula, a publishing company that has helped 500+ financial professionals write, publish, and leverage books over the past decade. He is the author of The Short Book Formula and Book Marketing for Financial Advisors, and was featured on Michael Kitces' Financial Advisor Success Podcast (Episode 417). Gabe McManus is Director of Elite Advisor Programs and author of Sharpen Your Message: Guest Podcasting for Financial Advisors.What We CoverWhy every award recipient at the Nashville CEPA Summit had a book, and what that pattern means for your practiceThe three objections every advisor raises before writing a book: "I'm not a writer," "I don't know what to write about," and "I don't have time" — answered directly and practicallyHow Joe Falbo spent 30 years trying to get CPA referrals, published one book, and ended his next lunch with that CPA ordering 500 copies to mail to his entire client list on his own letterheadHow Jason Wendt turned a book launch party on a yacht into a recurring financial commentary slot on NBC ChicagoWhy Google now accounts for only about 20% of search, and where the other 80% of your prospects are asking questionsThe difference between AI slop and using AI to genuinely extend your reach once the book existsWhy the book is the foundation: guest podcasting, media, COI referrals, and AI discoverability all start thereResources MentionedBook Marketing for Financial Advisors by Paul G. McManusSharpen Your Message: Guest Podcasting for Financial Advisors by Gabe McManusExit Planning Institute (EPI) — exit-planning-institute.orgThe Short Book FormulaConnect with Paul & GabeWebsite: influentialadvisor.comPaul on LinkedIn: linkedin.com/in/paulgmcmanusGabe on LinkedIn: linkedin.com/in/gabemcmanusSupport the show

In this illuminating and refreshingly honest conversation, Anna sits down with Richelle Fredson, Book Proposal Coach, publishing aficionado, and former Director of Publicity & Book Marketing at Hay House. With 20+ years of industry experience — including roles in acquisitions, author development, and major launches — Richelle has helped thousands of authors turn their ideas into compelling proposals and land publishing deals.Richelle has worked with powerhouse authors like Farnoosh Torabi, Chrissy King, Jennifer Racioppi, Terri Cole, Jen Winston, and more. But what makes her so unique is her commitment to transparency. She lifts the veil on an industry that often feels opaque, intimidating, and gatekept — and replaces fear with clarity and empowerment.This conversation goes far beyond book deals. It's about visibility, identity, confidence, and what happens inside someone when they decide to put their voice into the world in print.In this episode, we explore:• Why Richelle believes we need more books — especially from mission-driven leaders, creatives, and underrepresented voices• Why the idea that “there are already enough books” is a myth that keeps people silent• The most common fears aspiring authors face (imposter syndrome, pressure to have a perfect platform, fear of rejection) and how she helps them move through it• How the publishing industry actually works — and what most people misunderstand about it• Why a strong book proposal is not just a business document, but a clarity document• The deeper emotional and identity transformation authors experience during the proposal and writing process• How visibility wounds show up when someone starts writing a book — and what it takes to move through them with compassion• Why writing a book is as much about personal evolution as it is about craft, platform, or salesWhether you're already writing, secretly dreaming, or just curious about the world of publishing, this episode gives you both the strategy and the soul of what it takes to bring a book to life. Connect with Richelle Fredson• Website: https://richellefredson.com/• The Book Proposal Assembly: https://richellefredson.com/assembly/• Podcast: Bound and Determined• Instagram: https://www.instagram.com/richellefredson/ Connect with Anna• Instagram: https://www.instagram.com/anna_holtzman/• Website: https://www.annaholtzman.com/• Free workshop — Let Yourself Be Seen: https://www.annaholtzman.com/beseen

Send us Fan MailAI is one of the most talked-about—and misunderstood—tools in publishing right now.In this episode of Talking Book Publishing, we sit down with Julie Trelstad to explore how authors can use AI as a creative partner, not a replacement. From writing workflows to marketing strategy and author rights, this conversation breaks down what's actually useful—and what to avoid.Julie shares how she uses AI in her own process, why strategy matters more than tools, and what's coming next as AI reshapes the publishing landscape.In this episode, we cover:How to use AI as a writing assistant without losing your voiceWhy most authors struggle with discovery—not writingThe difference between ethical and unethical AI useHow AI can streamline book marketing (if you know what you're doing)Why authors need a strategy before toolsA new system that could allow authors to protect and monetize their work in AIIf you're writing, publishing, or marketing a book right now, this episode will help you understand where AI actually fits—and how to use it to your advantage.Connect With UsHave a topic or guest suggestion?Email us at podcast@talkingbookpublishing.todayJoin the conversation on Instagram: @writerspubsnet

Are you building your authority… or quietly eroding it without realizing it?In a world where AI can write, mimic, and scale content in seconds, trust has become fragile.And for nonfiction authors, that changes everything.This week's guest, Gal Borenstein—global branding and PR expert and author of Don't Believe the Hype—breaks down what's really happening beneath the surface.Because this isn't about whether you use AI.It's about what it signals to your audience when you do.What you'll start to question:Is AI helping your message… or diluting it? It's not always obvious where that line is.Can people tell when something feels off—even if they can't explain why? There are patterns. And once you see them, you can't unsee them.How much transparency actually builds trust… and when does it backfire?What happens when credibility slips—even slightly? And how do you recover when it does?Are you actively shaping your digital presence… or leaving it to chance?If trust is the foundation of your work, this conversation will shift how you think about every piece of content you put out.Because in this environment, it's not just what you say.It's how real it feels when you say it.Here's how to connect with Gal:Free E-Book copy to exclusive listeners of the show. Email Gal directly at Gal@BorensteinGroup.comBuy Galls book Don't Believe the HypeWebsiteLinkedIn*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

If you've been avoiding book marketing because every example you've seen requires putting your personal life online - your face, your story, your daily life as content - this episode is going to change how you see what's actually required. Jenn breaks down the difference between personal branding and book marketing, why you don't need to share anything personal to sell your book effectively, and what reader-focused content looks like for both fiction and nonfiction authors. Whether you're a healthcare professional keeping worlds separate, writing under a pen name, or simply someone who refuses to perform a personal brand, this one's for you.

In this insider episode of Quick Book Reviews, Philippa is joined by returning guest Alison Barrow, PR Director at Transworld (Penguin Random House), to answer a brilliant listener question about book marketing, ARCs, and social media influence.If you've ever wondered:Why do some books dominate Instagram and BookTok?How do publishers decide which books get major promotion?Are ARC reviews always honest?Do great books get overlooked?…this episode pulls back the curtain on the real publishing ecosystem.WHAT YOU'LL DISCOVERHow publishers choose their “lead titles”The truth about ARCs (Advance Reader Copies) and influencer marketingWhy you keep seeing the same books on InstagramHow word-of-mouth, bookshops, and libraries still shape successThe balance between authentic reviews and publisher relationshipsWhy some incredible books quietly build audiences over timeBOOKS MENTIONEDWhatever Happened to Madeline Stone – Louise O'NeillMars One – Charlotte RobinsonThe Ending Writes Itself – Evelyn ClarkeIt's Not What You Think – Claire MackintoshElizabeth & Marilyn – Julie Owen MoylanThe Wreck – Lizzie StewartSlings & Arrows – Nick McLachlanLISTENER QUESTION OF THE WEEKA thoughtful question from Johanne sparks an honest discussion about:Social media book promotionAuthenticity vs visibilityWhether “hyped” books can still be trustedABOUT OUR GUESTAlison Barrow is PR Director at Transworld (part of Penguin Random House UK), working with global bestselling authors and shaping major publishing campaigns.Article mentioned in The Bookseller: https://www.thebookseller.com/comment/events-not-a-campaign-solutionJOIN THE CONVERSATIONGot a question for Alison?Email: quickbookreviews@outlook.comLOVE THE SHOW?If you enjoy Quick Book Reviews, don't forget to:Follow / SubscribeLeave a reviewShare with a fellow book loverCOMING NEXTMore author interviews, book reviews (no spoilers!), and insider publishing chat every week. Hosted on Acast. See acast.com/privacy for more information.

IP PART 2 ... The recent pirating of over 500,000 books and lawsuit settlement from Anthropic for 1.5 BILLION dollars opens with Judith Briles and the AuthorU-Your Guide to Book Marketing podcast. Joining her is Colin O'Brien, intellectual property expert and partner in the Illinois based law firm of Latimer, LeVay Fyock LLC. This is Part 2 in one of Judith's favorite podcasts, so much is covered that focuses on your Author Success. So much, that a second podcast was created to cover “the rest” of what authors need to know. Get ready to take lots of notes. His website is www.LLFLegal.com and email Colin@LLFLegal.com. Your take-aways include: -Understanding the “lifetime” of a copyright. -Why the authors must use their imagination and “reimagination”. -How to register a trademark federally = ® . -When to start using your intentionality with a TM = ™ -Unconfusing fair use. -Exposing Parodies … and how to avoid getting into trouble. -Revisiting the use of lyrics. -Knowing the four main rules of fair use. -Where to verify quickly if an image or words are trademarked. -Public domains And of course, much more. It's a jammed-packed hour with host Judith Briles, The Book Shepherd for author success. You'll come away with tips for expanding your “author smarts” chops. Join in ... you will learn a lot! Tune in for lots of ideas and how-to tactics via the AuthorU-Your Guide to Book Publishing podcast. It's ranked in the Top Ten of bookmarketing campaigns. Since its inception seven years ago, the AuthorU-Your Guide to Book Publishing podcast with over 22 million listeners downloading various shows for practical publishing and book marketing guidance. Join me and become a regular subscriber.

Most authors can tell you their royalties but not their net profit per book. They spend money on ads, see sales come in, and assume things are fine. But are they? Sales and profit are not the same thing.How can you find out if you're making money or just making sales?In this week's episode, you'll hear from Eiri Theodorou, founder of Publisher Champ, an analytics platform used by over 25,000 authors.You'll learnHow one of Amazon's metrics is somewhat misleading (and how to find the truth)How you can track real-world marketing (like speaking and interviews) in a dashboardHow to find out if your best-selling book is masking problems with your other books.If you want to stop guessing about your profitability, listen in or read the blog version. You'll be able to invest in marketing with more certainty and become truly profitable.Support the show

You wrote the book. You got it published. You've been putting yourself out there.So why is it still not bringing in real income?This week's guest, Robin Ayoub—founder and CEO of N49 Networks, fractional CRO, and podcast host—shares what most authors miss when they expect their book to do the heavy lifting.We get into what actually drives revenue… and where authors tend to get stuck without realizing it.Because the gap isn't effort.It's how that effort is aimed.What you'll start to question:Is your book really the thing that's supposed to make you money? Or is it playing a different role altogether?Are you doing things that feel productive… but don't lead anywhere? There's a difference. And it's not always obvious.Does visibility actually translate into sales? Or is something missing in between?Are you clear on who you're trying to reach… and where they already are? Because guessing looks a lot like “trying everything.”Is AI helping you move faster… or just creating more noise?If your book isn't doing what you expected, this conversation will help you see what's really going on.And more importantly… what to shift.Here's how to connect with Robin:30-minute complimentary sessionWebsiteLinkedInEmail*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

Are you tired of the hustle-harder approach to book marketing? What if a quieter, more creative strategy could work just as well — and feel a whole lot better? How can special editions, physical letters, and library outreach bring readers to your books without the daily grind of ads and social media? Sara Rosett shares her low-key approach to marketing, direct sales, and the creative business of being an indie author. In the intro, dealing with uncertainty, and Becca Syme's Quit books; The Successful Author Mindset; Building resilience and the creative lies that writers tell themselves [Wish I'd Known Then]; On Writing – Stephen King; Big Magic – Elizabeth Gilbert; This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Sara Rosett is the USA Today bestselling author of over 30 books across 1920s mysteries, cosy mysteries, and travel mysteries, as well as nonfiction for authors. She's also the co-host of the fantastic Wish I'd Known Then podcast. In this episode: Why low-key, personality-driven marketing can be more sustainable than aggressive advertising How to pitch your books to libraries using a simple email strategy The pros and cons of special editions, physical letters, and Kickstarter campaigns Shifting from retailer-first releases to direct sales through a Shopify store Co-writing nonfiction and the power of series bundles for reader discovery Drawing creative inspiration from other industries and international storytelling trends You can find Sara at SaraRosett.com and at WishIdKnownForWriters.com Transcript of the interview Jo: Sara Rosett is the USA Today bestselling author of over 30 books across 1920s mysteries, cosy mysteries, and travel mysteries, as well as nonfiction for authors. She's also the co-host of the fantastic Wish I'd Known Then podcast. Welcome back to the show, Sara. Sara: Hi, Jo. Thanks for having me. It's great to be back. Jo: It is great to have you back. You were last on the show five years ago, around February 2021, and we talked about writing a series — and you have a great book on that. But first up, give us an update. What does your author business look like right now, and what are you up to with your writing? How Sara's author business has evolved Sara: Well, it's changed a lot. I sat down to think about this and I thought, yes, I have got into direct sales. I've done Kickstarters. I have a Shopify store now. I've really shifted from releasing first on the retailers. I don't really do that anymore. I've done some special editions, some physical things — I'm sure we'll talk about those later. Still doing the podcast with Jamie, the Wish I'd Known Then podcast, we're still doing that. I also have a Mystery Books podcast, which is an episodic podcast that comes out in seasons. I do a short season, about one a year, so I keep doing that. Writing some nonfiction. I did the trope book with Jennifer Hilt for mystery and thriller. And writing-wise, I've created a spinoff, a short spinoff in the 1920s series. I'm still loving the 1920s timeline. But I've slowed down a little bit on the releases. Busy, but good. Jo: Busy, but good. All right, we're going to get into all of those things. Although I must say I had forgotten about your Mystery Books podcast and going to seasonal. I also had my second podcast, Books and Travel, which is now on a kind of hiatus, but going to a seasonal approach is actually really interesting. Do you find that listeners come back to that podcast? The power of a seasonal podcast Sara: Yes, and it surprises me because I've always thought you have to be weekly with a podcast to gain any traction at all, which I think is the best way to do it. You can build an audience quickly then, but I just knew I couldn't sustain that. So when I set out, I started with maybe seven to ten episodes and I did them each year — each year has had a season — and I do five to ten episodes. Readers find it, and I have highlighted specific books. I think maybe they're searching for a podcast about the Thursday Murder Club or something like that. They find it that way, and I get downloads, just steady downloads throughout the year, and I don't do much. I do some Pinterest pins for that, and that's about all I do. This is one of those things — it's the kind of low-key marketing that's low threshold, but it does work. I think if your readers are looking for stuff to listen to about the topic you write about, it could be a good way to do some low-cost, long-tail marketing. I love it. I keep doing it because I love it. Jo: That's great. Low-key marketing that fits your personality Jo: As you mentioned, I really wanted to talk to you about this low-key, non-hype marketing. We've met in person a number of times, and I think we're quite similar — we're quiet, reserved. We are quite low key. I just put content out, and yes, I do some paid ads or whatever, but I just don't find the hype marketing something I want to do. I like the attraction marketing, and I feel like I do intuitive marketing. So how does your low-key marketing fit with your personality? Sara: Well, I did try some of the more promotional marketing. I tried to have a street team back when I heard authors talking about that. I thought, oh, I'll do a Street Team, and that doesn't really match with my readers. My genre — that's just not a thing that happens a lot there. So I backed off of that, and I've tried ads. Not really interested in those. I'm not really good at them, and I don't really want to get good at them. So I've searched for ways that I can find readers that don't rely on ads. I've really focused on my newsletter, and I have two of those. I have a main one that goes out to my readers who sign up in the back of the book. And then I have a New Release in Historical Mysteries newsletter that goes out about twice a month most of the time. That's just curation. I'm saying, hey, these are the new books that are out. I feel like those are easy to do. They fit with my personality, which is like, here, let me give you some information about what's going on in this genre. I do newsletters, the promo sites, the smaller promotional paid ads — I do those occasionally. I have a rotation that I go through, and I try to get a BookBub. If I can, that's great. I've just done things that are leaning into what I feel comfortable doing. Pitching books to libraries Sara: A lot of it is finding small sites where I haven't run an ad. Let me see if there's anybody who wants to sign up or get a free book through me here. I've done some BookFunnel marketing, where you can join the group promos. I like those. And I've reached out to libraries because I feel like my books appeal to libraries. They like the 1920s historicals. It's an easy way to reach people — it's attractive to libraries. So I had a list of libraries in my state, and I have an assistant who helps me out. She emailed down the list. She picked a few every week and messaged them and said, hey, this is a local author. She lives in this state. Here are some books you might enjoy from her. And I have, because of you, large print — I got into that when you started talking about large print a couple of years ago. So I have large print case laminate books that libraries like. I just do things like that, things that are not the norm. Hardly anybody is talking about marketing to libraries. But I try to do that. Sometimes I'll just think of something. I was at the library and I thought, wow, look at all these hardcover case laminate books they have in this large print section. Maybe I should try that. And then I search out and try to figure out if I can do it. Jo: And just for people who don't know, case laminate is a hardback. Sara: Yes. Jo: That's really interesting. You mentioned the libraries and the list. Was that a list you were able to buy? I remember years ago I had someone on the show who was doing that kind of thing. Or was it that your assistant had to go through and find all the libraries, find an email address, that kind of thing? Sara: I think I found it through Sisters in Crime, which is a mystery writers' organisation, and I think they had a contact list — you could get libraries and bookstores in your area. I think I started with that and then just research. And I'm sure now with AI, you could put in where you are and say, in a radius of 250 miles, what is near me? And you could probably get a great list. Jo: Absolutely. And when the assistant is emailing, is it just information about you and then saying, would you like to buy? Because you have a big backlist, and we don't want to be sending loads of expensive hardbacks to libraries unless they're actually going to buy. What's the process to actually sell to them? The library email approach Sara: I wrote up an email and introduced myself. I leaned into the “I'm local — I live in the same city or state that you're in.” Then I described my most popular series and said the first book is this. I put a link to a PDF that they can go look at. I think it's on my website, and they can go see the books. They can print that out, of course, and it has the ISBNs. I make sure they know they can order them from Ingram, and that's all I do. Then when I had a new release, we switched it up and put that at the top. But I have all the books in the series so they know it's a series. Jo: That's fantastic. I love that. Set-and-forget promotional marketing Jo: A lot of what you were talking about was newsletter, email marketing, some ads, but nothing aggressive — as in you're not monitoring it every single day. The email pushes, like a BookBub or free books, bargain books — you can book it and then it's almost set and forget, isn't it? You don't have to log in every day to check the results. Is that what you mean? Sara: Yes. And I like those because they are set and forget. You just have to remember to drop the price and then reset it on Amazon, and then they send it out to their list and hopefully you get some traffic from that. I like that much better than Facebook ads, because with ads I feel like you have to go in and monitor the comments and check on how they're doing. It's a more full-time type job. If you're doing a lot of ads, it's a couple of hours — for me anyway, because I'm not very savvy with it and I'm not as experienced. So it would take a long time to increase my knowledge there. Jo: To be fair, both of us have had many years when we could have become experts, but the fact is it doesn't suit our personalities. I am now working with Claude Code a bit more to do Amazon ads, but even then we go in once a week and Claude does a few things and then we log out again. I'm not doing this daily stuff, and I may eventually get back into doing it for Meta. But in terms of what I mean by low-key marketing — it's lower stress when you don't have to do stuff every day. And I guess what you're doing with the Mystery Books podcast, with the library pitches, with the batching — is that what you're doing? Putting aside time for marketing occasionally? Sara: Yes. And that's what I do. I'll think, oh, I haven't checked Kobo promos, so let me go check that, because I do use those too. I'm wide, so I'm trying to find things that bring my books to readers everywhere. I use the Kobo promos, I use Kobo Plus, I use Draft2Digital to get digital books into libraries. I'm always running — if they have a library sale anywhere, I sign up for it and I just do these occasional things. It's not every day, and I like doing things in phases. I like doing a special edition and working on that and then being done with that and putting that away and going back to writing or whatever. I don't mind doing promo for a little bit, but then I don't want to do it every day. A project-based approach to the author business Jo: We are similar in so many ways. I also have this project approach to life and business. If I'm writing a first draft of a new book, pretty much everything else goes out the window. Sara: Yes. Jo: Exactly. I just don't have the bandwidth. I'm not in that head space. And then, as we record this, I've got a Kickstarter coming up for Bones of the Deep and yesterday I did the book trailer, and I'll do the push for the Kickstarter and then I'm just going to stop. Sara: Well, the positive way to look at that is it's focus, right? We can focus for two weeks or a month or whatever — two months doing a Kickstarter or whatever — and then we're done with it, and then we move on. Jo: That just seems more sustainable to me. I didn't like doing everything every day or every single week. Sara: Me either. I like switching it up, and I do enjoy the different phases of writing. I like the research and then I like doing the — well, I don't like the drafting that much, but once I get a draft done, I like the editing. And then when it comes time to promote it or do a special edition or whatever, I enjoy that part. Finding whatever I'm going to use for the interior photos and stuff — just things like that. I enjoy each phase and I like switching it out. Jo: I think that's really good. Some people think this writer's life is you write new words every single day and you manage your ads every single day. That seems to be what some people do, but that's certainly not us, is it? Sara: No. And that's great if you want to do that. I just don't want to. And I think we've come to the point now where each person can do this as they want. Hopefully people don't feel the pressure to meet these self-imposed deadlines or parameters that don't exist. There's no rules for writing or publishing. You can do whatever you want. Social media — or not Jo: Let's just mention social media then. What are you doing for that? Sara: Not much! Jo: Nor me! Sara: I'm dabbling in Pinterest because I think that could have the longer tail. I do a little Instagram, but that is about it. And I really considered just leaving it altogether. I'm never on Facebook. We were talking earlier about saying no, and I don't want to join any more Facebook groups. I don't care what information they have. I figure I'll hear about it on a podcast if it's great. I think social media has changed so much. In the beginning, it was great — you could find readers. Now it's just much harder to connect with readers there. I want to have a presence so that if people go look for me, they'll find my books and hopefully find a link to download a free book and read it or an audiobook and listen to it. Then they can get on my newsletter and connect with me there. That's my philosophy. Jo: I think so too. I am on Instagram @jfpennauthor in that I do post pictures there, and even very recently I've discovered how to do a reel, which is just hilarious — I'm only about seven years late. But I don't check my DMs, so if anyone messaged me on Instagram or Facebook, I'm just not getting them. Sara: I know. And I feel like there's so many places people can connect with you. I put up a post on Facebook and said, I'm not going to be here much anymore. If you're looking for me, you can find me on Instagram maybe, or sign up for my newsletter to really stay in touch. Jo: I think that's what we have to do. But our idea of this project-based approach to the author life and the author business doesn't suit social media, because the people who are really good on social media are on it multiple times a day, creating content multiple times a day. It just suits some people and not others. Sara: I do things and I take pictures and think, oh, I'll put this on Instagram. And then I don't ever do it. One time we went on a road trip and I took a bunch of paperbacks and dropped them off in the free little libraries. I took a picture at each one and I never posted those ever. I ran across them years later and thought, oh yeah, I did it but I didn't post it on social media. That's just not my thing. Special editions and physical design Jo: Although you did just say that you like doing the art and the photos, and you've done some beautiful special editions. You've done letters, you do a lot of physical design for your books. So talk about that — why you're doing that, why it's fun, and the pros and cons, because it can be a time suck and a money suck. Sara: Yeah. I think you have to figure out where your gauge is for that, because you can go all in and do everything for the special editions. I've come to the conclusion I'm going to survey my readers before I do another one and say, what do you really like about them? Because I do mine and release them on my Shopify store first — is it just that you're getting it first, or do you like all the bells and whistles? I enjoy doing the endpages and the ribbon, and I've done character art for them. But since my books are set in the 1920s, there's a lot of photos from that time period that are available. In Deposit Photos, you can go in and search for those. The last two books I did, I used photos that I thought captured what the characters would look like. That was a lot of fun to find and just include photos instead of character art. And it was a lot faster than waiting for character art too. The pros are that it's fun and you get to do things you don't normally get to do — finding beautiful illustrations for the endpages, doing the sprayed edges, just making it really special. Storytelling through letters Sara: I enjoy doing things that you can't do on Amazon. You just can't do letters on Amazon. With both Kickstarters, you could get three physical letters in the mail. They were a story told through letters, and they had art. The first one was black and white, and then the second set was colour. Since then, I've done colour, and it's a challenge to write those because it's a totally different type of writing. It's a 1,000 to 1,500 word little snippet, and where you end is important so that readers will be looking for the next one. Including art — whether it was a map, illustrations of what the view looks like, what the house looks like. Not that I illustrated it — I had somebody else help me do that. It's fun to think about how stories can be told in different ways. I love novels, but 70,000 words is a lot of words. That's a big project. Sometimes it's nicer to have a shorter project. The letters were shorter and a shorter time investment. I enjoyed them for that. For the cons — it's just a longer ramp up to get it going. If you want to do a special edition or letters or book boxes or anything like that, just estimate how much time you think you need and then multiply by three or five, because it's going to take so much longer than you think. Would you agree with that, with your special editions? Jo: Yeah. Although I think now I've got a process for it. Although, I did my book trailer for Bones of the Deep yesterday, and it reminded me — the book trailer is 30 seconds, and it took me nearly ten hours! Sara: I do believe that though. I completely believe it. Jo: Because I'm a bit of a control freak. I love working with Midjourney. I say I think I'm a control freak — of course I am. We all are as indie authors. But I'm a very visual author, and you sound like you are as well. I see the book, and if I'm generating pictures of the characters or the ship or what happens in the storm or whatever, then it needs to look like what's in my head. So I end up generating and generating, and then I did music and then — yeah, it's very creative, but it takes a heck of a long time. From Kickstarter to Shopify store Jo: Coming back to your letters and your Kickstarters — I did go check. It's been a while since you've done those. Have you changed to using your Shopify store, and will you do another Kickstarter? Sara: I may do another Kickstarter. I do feel like I found new readers on Kickstarter. That's a pro definitely — people will see your work that maybe would never see it on Amazon. It's a much smaller pool to stand out in. Whereas on Amazon there are thousands and millions of books, on Kickstarter there might be five historical mysteries or two at that moment. So it's easier to stand out. I'll probably do another Kickstarter, but to me it was difficult with the prep that went into it. Then the launch, and the launch kind of stressed me out. I know we talked to you on our podcast before your first Kickstarter and you were a little stressed, so I'm not as stressed as I would be with the first one. But it is a lot to prepare, and I do feel some pressure that I want this one to do well. And then the fulfilment — I like to do things in phases, so I felt like it was hard for me to move on to anything else while I was waiting for the books to arrive, because I didn't feel done with that until I had sent out the books. It just seemed like it took quite a bit of time. So with my next release, I thought, I'm going to launch this on my Shopify store and see how it does. I still did the special edition and I still did a lot of the things I learned to do with Kickstarter, like emailing my list a little more often and highlighting these special things. And coordinating with a couple of other authors in my genre to say, hey, I have a book out and it's a special edition — you might be interested. And then share their stuff when their book comes out. The first one I did, I had the book sent to me. I signed them, packed them, and sent them out. But the second one, I said, to save time and money, we were just going to do a digital signature. I had them shipped directly from Book Vault to the reader, and that just helped simplify things so much. Launching on my store, I didn't see quite as many sales or bring in quite as much money as I did on Kickstarter, but it took a lot less time. I feel that was a good trade-off. It simplified the time it took to do it, so I was able to get back to writing more quickly. The second one I launched on my store as well. I've done the spinoff series on my store — it's a three-book series — and I'll probably do the third book on my store too. Then maybe when I go back to my original 1920s series, which is the one that does the best and is my most popular, I may go back to Kickstarter with that one. I think it's nice to have the choice to launch on my store or Kickstarter. I can choose — do I have enough time to do it the way I want to on Kickstarter? Scarcity, direct sales, and training readers Jo: I feel like launching on my store, there's less of a time pressure. We don't really have scarcity in our business, and the only way to make it scarce is to have a limited-time offer. Which to me, Kickstarter by its very nature is a limited-time offer. Obviously it's easier for me because I'm near BookVault, so I go up there and physically sign the books, and I like doing that occasionally. But I hear you with the direct store, and I also presume it trains people to buy from your store. So how has your revenue shifted from the big stores like Amazon, Kobo, to Shopify, Kickstarter, direct sales? Sara: It's shifted a lot. I do the Shopify store just like I do everything else — in phases. I'm like, hey, I have a new release. Go buy it at my store. And I have a lot of sales. I also launched a third set of letters last year around October, leading into November. I said, you can get this series of letters — two a month all year in 2026. Go to my store, sign up for it, buy it there. They'll be launching in December. I push it, I talk about it. I do a podcast about the letters or the special edition on Mystery Books podcast. I ran a couple of ads, got the word out, saw some sales, got everything done, and then it just kind of tapers off. What I need to do is continue to market it, especially to my list — hey, did you know I've got these bundles? Did you know you can get bundles of paperbacks or audiobooks over here from me at a discount? I need to work that into my newsletter strategy. It's kind of like I use it in phases. I still have books on all the retailers and still promote those and link to them. But that's not my focus now. If I'm going to send traffic anywhere, I'm going to send it to my store. My mindset is more on direct sales and the special things I can do — the special editions, the unique things they can only get from me. I'll still do a BookBub if I can get one, and push that to the retailers. The smaller newsletter sites — I use those to reach readers there. But my focus is definitely on the special editions and doing things on my store that you can't get anywhere else. Beyond ebook, audiobook, and paperback Jo: A lot of people, new authors particularly, are thinking about ebook, audiobook, paperback. And all of those you can get anywhere — for both our books, you can get them in those formats anywhere. And large print as well. I have large print paperback, and I actually remember, it was probably five years ago when you were here and you mentioned large print hardback. And I was like, oh yeah, I should do that. Of course, I never did. You can't do everything. Sara: You can't do everything. Jo: You can't. But I think you probably can do a large print hardback on Amazon now with KDP Print — you can do hardback — but none of them are as good quality as the printing we get elsewhere. Also, as you say, all those special things — you actually can't sell them on Amazon. People can sell them secondhand or whatever, but you just can't do that. So I think that's the creative fun of having your own store or doing Kickstarters or selling direct — just all the other fun things that satisfy us creatively too. Because it's not all about the readers, is it? Sara: Right, because we want to be enjoying what we're doing. We don't want it to be a slog. Jo: What's the fun in that?! How long Sara has been an indie author Jo: Just remind us how long you've been doing this now. Sara: My first book came out in 2006. It was traditionally published, and I had a series of ten books with a traditional publisher. Then as that one was getting near the end, I was experimenting with indie — was a hybrid for a while. Then I went all indie pretty much. Jo: In what year? Sara: That was probably — I think my first indie book came out in 2012. So for a while I was trying to do indie and a traditionally published book, and that was very — I felt like I was torn in all kinds of different directions. I thought it was going to be so much simpler just to do this all myself. Maybe not, but — Jo: Pros and cons, as we said. Co-writing the Mystery and Thriller Trope Thesaurus Jo: One of the things you've done recently is co-written a Mystery and Thriller Trope Thesaurus with Jennifer Hilt, who's been on this show as well as your show. Tell us about co-writing, because I don't think you've done much co-writing. Sara: No, I hadn't. That was the first co-written book I'd ever done. And it was a great experience. Jennifer Hilt made it so easy. She has several books in this Trope Thesaurus series, so she had a format and we just used her format. We took the tropes and divided them up. She took half and I took half, and we went off and wrote on our own and came back together and then we would trade. It was really easy. I don't know that this is the way co-writing usually goes, but we did have a contract and we started out with all the normal things — a plan and a contract. We had to decide who was going to coordinate everything for the cover and the copy editing and all that. When we got done, we used Draft2Digital and did the payment splitting, which made that part easy. It's been a great experience, and I think it's just because Jennifer has done this before and she's really easy to work with. I highly recommend co-writing if you can find somebody like Jennifer who's already done it and can take you through the system. Jo: I think that's the point — if you have someone like Jennifer who has a layout, it's a bit like the For Dummies series. I had an opportunity to do something with them at one point, and it's so formulaic in terms of doing it, and then you're filling it in. Clearly Jennifer's managing that really well. The co-writing I've done with various people has been pros and cons, but it's not been in an established series. I love that you say that, but just to warn people — that might not be your experience. Sara: Yes. And I think it's so much about personality and how you work together, how you each write, and your deadlines. If you try to set a really close deadline — we pushed our deadline out. We had planned to do a Kickstarter with the launch of the trope book, and then she ended up moving and I had a bunch of stuff going on. We were like, you know what, that's fine. We won't do a Kickstarter. And it was okay. You just have to figure out how it's going to go. And if you have someone that's flexible when you need to be flexible, that's so important. Jo: Adjusting is the reality of life, isn't it? And I feel like the Trope Thesaurus — it's not going to necessarily have a spike sale and then disappear. It is an evergreen book, right? Sara: Yes. People will find it when they find the series. It's not something that has to be pushed during a certain time period and then we're done. It's a long-term, evergreen type book. The role of series and bundles Jo: Talking of series, you've obviously got multiple series. People should definitely go look — you've got great branding and your series are so clear. What part do series and bundles play in marketing in general, and in your direct sales? Sara: I like to bundle them for my direct store because I figure I need something special about my store — a reason for people to go there. They can get the books on Amazon and Audible and Spotify and all these places, so why would they go to my store? I've really leaned into bundles for the store, so they can get a three-book audiobook bundle or the whole series in pretty much all my series. They can do the paperback bundling. I've done a paperback starter series bundle where they can get each book one in my first three series bundled together through Book Vault. I thought I really need to do that with the audiobooks. That's on my list — to create a starter audiobook bundle. Bundles do well on Kobo. They draw readers in over there. And for the rare times I can get a BookBub, I think bundles seem to appeal to BookBub. If I'm going to pitch something, it seems like they like bundles. Readers like them too. Part of it is the convenience. You've got the whole series together and you can just read one after another. You don't have to go find it and figure out what order they're in. Jo: They do. And I love offering bundles in the Kickstarter as add-ons and on my Shopify stores as well. Because I'm always surprised — somebody's just found me and then they order the 13 ARKANE thriller paperback bundle, and I'm like, okay, wow. That just feels like a win. Sara: Yes. I love to see those come in and you think, oh, I wonder how they found me. Why they would dive in with the seven-book series. That's fantastic. Jo: It is interesting. With the paperbacks and the shipping, you drop some money for a complete print series. And then obviously it's usually a bit less on things like audio and ebook bundles, but it's still a real commitment. So yeah, everybody, we love bundles. Sara: We do. What Sara is excited about next Jo: I wanted to come back to the podcast, Wish I'd Known Then, which is brilliant. I often refer to it on this show. Hopefully we share quite a few listeners, and you and Jamie talk about industry changes, personal things. Given all the stuff that's going on, what are you excited about? What are you experimenting with? What changes are you seeing that you're enjoying? Sara: We appreciate the shout-out. Every time you give us a shout-out — and I do think we share a readership. I think you are our most frequently mentioned other podcast. We are always referring to you on Wish I'd Known Then. What I'm looking forward to is — I like seeing what other businesses or industries are doing and seeing if I can apply that to writing and books. That's how I came up with the letter idea. I saw some people doing that. I found out later there were some mystery-related mystery letter subscriptions, but I didn't know about them and they weren't well known. I thought, oh, I could try that. So I'm looking forward to doing more creative things that we haven't had the opportunity to do, but now we are going to have the tech and the fulfilment to do. Merch could be fun. I haven't ever delved into that. Translations — I didn't even mention translations earlier. I've done a couple of languages in my historical series, and I think it's really interesting the options we have now in translation. The books could go into so many more languages, so much easier. So I'm looking into that. Just reaching out and trying some of these new things that are on the horizon. You're much more futurist than I am. I'm much more about looking back at the past and going, oh, that was cool. Maybe we can do something similar, but different now. Finding creative inspiration from other industries Jo: That's interesting. How are you finding out that information about what other industries are doing? Because the curation of the information stream is hard for all of us. Sara: I don't know. I seem to run across things. I'm always reading and browsing online and seeing what people are talking about. I did see a post years ago about a company that was doing special edges — limited-edition special edges. When I saw that, I thought, oh, I wonder if I could do that. And I hand-stamped snowflakes on a Christmas book. Jo: Oh, I remember that. I actually bought a stamp. I got a (skull) stamp made. Sara: Oh, awesome. Jo: I never used it! Sara: Well, it's a lot of work. It takes time. But they're very special. Each one is unique, just like a snowflake. Each book has all these different types of snowflakes and ink colours on it. I'll see something and think, oh, I wonder if I could do that. And then I'm always consuming really quirky media. I'm into Asian dramas — Korean dramas, Japanese dramas — and I'm seeing trends over there for storytelling. The vertical dramas they're putting out, super short. I just wonder what that's going to turn into in the future. I'm not a video person, but in the future I think there could be short little videos that we could make of our books. That would be just crazy. I don't know that I would have the skills to do that, but we might be able to hire somebody to do that for us. Korean dramas and new storytelling trends Jo: There are lots of AI apps that are already helping with that. I do love making book trailers. And I have also thought about my short stories particularly — turning them into short videos. I've written a few screenplays, so I'm also thinking about that kind of visual-sized content. I also watch a lot of Korean shows. Sara: Oh, do you? Jo: I love Korean shows. Sara: Oh, we have to talk later. Jo: They're very good. I also like the Korean sports stuff and the cooking stuff, and they're just so good at hooking you in. Sara: Yes, they are. Jo: They are so good. Sara: They're really good at blending genres. And I've noticed with their storytelling, they're doing a lot of these stories they call isekai stories, where the main character falls into a story. I heard somebody talking about it, saying they think that's popular because we're so familiar with media entertainment — we kind of know where the story's going. So that's a new way. If your character falls into a fictional mystery and knows who the bad guy is and is trying to prevent a death or something, that's a completely different story than just a straight mystery. Jo: That's interesting. In a way, the LitRPG genre where the character goes into a game, or the character is in a game — I suppose it's got some relationship to that. But I think K-Pop Demon Hunters is like the most successful film and music and all of this kind of thing. It's clearly coming to more Western audiences. Sara: Yes. It's becoming much more mainstream than it used to be, I think. Jo: That's really interesting given that you're mainly a historical author. Are we going to get 1920s Korea? Sara: Oh, maybe. That's an interesting time period. Maybe my character needs to travel there. Jo: You have a travel series, don't you? Sara: Yes. I have a modern, cosy kind of travel series, and then in my 1920s series, it takes place mostly in England, but I have a spinoff with a character who's gone to Egypt, and I have three books set in Egypt. Jo: Well, you never know. Sara: I know. Maybe they need to travel. Jo: I love it. Okay, where can people find you and your books and your podcasts online? Sara: Thanks for having me. This has been so much fun. You can find me at SaraRosett.com. My store is SaraRosettBooks.com. You can find the podcast with Jamie and me, Wish I'd Known Then — it's everywhere, Apple, Spotify. We're even on Substack now. Yeah, that's where everything is. Jo: Brilliant. Well, thanks so much for your time, Sara. That was great. Sara: Thank you.The post Special Editions, Seasonal Podcasts, and the Art of Low-Key Book Marketing with Sara Rosett first appeared on The Creative Penn.

The recent pirating of over 500,000 books and lawsuit settlement from Anthropic for 1.5 BILLION dollars opens with Judith Briles and the AuthorU-Your Guide to Book Marketing podcast. Joining her is Colin O'Brien, intellectual property expert and partner in the Illinois based law firm of Latimer, LeVay Fyock LLC. In one of Judith's favorite podcasts, so much is covered that focuses on your Author Success. So much, that a second podcast was created to cover “the rest” of what authors need to know. Get ready to take lots of notes. His website is www.LLFLegal.com and email Colin@LLFLegal.com. Your takeaways include: -Get two critical questions to separate generic to true branding. -What the current status is in copyright litigation. -Why DMCA is critical for authors. -Why AI companies have significant risk. -When and Where to posts copyright marks ©! -Why every author should read, understand, and embrace Article 1, Section 8, Clause 8 in the US Constitution. -Tips on how to create your trademarks—what you can't … and what you can. -How to search out the appropriate clause for any trademark you apply for. And of course, much more. It's a jammed-packed hour with host Judith Briles, The Book Shepherd for author success. You'll come away with tips for expanding your “author smarts” chops. Join in ... you will learn a lot! Tune in for lots of ideas and how-to tactics via the AuthorU-Your Guide to Book Publishing podcast. It's ranked in the Top Ten of bookmarketing campaigns. Since its inception seven years ago, the AuthorU-Your Guide to Book Publishing podcast with over 22 million listeners downloading various shows for practical publishing and book marketing guidance. Join me and become a regular subscriber.

Waiting to share about your book until its out? Wondering if you're sharing so much it's wearing out your readers? We can relate!Joining me today is my new friend, Becky Robinson, author of Reach: Create the Biggest Possible Audience for Your Message, Book, or Cause. Becky is also host of the Book Marketing Action podcast and founder of Weaving Influence Press.She's sharing about how to best reach and serve readers today, so we increase awareness and our readers' anticipation of our book. Plus tips on how to use email marketing to nurture your community and not just see them as numbers on your email list. Resources mentioned:Becky's book, ReachBecky's podcastBecky's website

What if your book isn't the product… but the foundation of everything that follows? Many authors publish with hope that book sales will drive income. Few realize the real opportunity lies in what the book makes possible. This week's guest, Dr. Lee Baucom, has spent more than two decades turning books into thriving businesses — and he's sharing exactly how it works. A bestselling author of seven books and creator of the Book to Business Blueprint, Lee explains how to shift your thinking from “selling copies” to building a complete ecosystem around your message. When your book becomes the backbone of your authority and offers, new doors open. In this conversation, we explore how successful authors design businesses that grow from their books, stay focused on meaningful opportunities, and avoid the distractions that derail momentum. If you're a coach, consultant, or expert who wants your book to generate more than royalties, this episode will expand what you see as possible. What You'll Discover: Why your book should be treated as a foundation, not a finish lineHow authorship instantly elevates authority and credibilityWays to design a business that grows naturally from your bookWhy readers are looking for solutions, not simply a book to readHow to use feedback to spot real opportunities and ignore distractionsPractical ways to turn your message into scalable offers and programsA well-positioned book can support your speaking, programs, and long-term growth for years to come. The key is knowing how to build around it with intention. Tune in now to discover how your book can become the backbone of a business that continues to grow, evolve, and create impact long after publication.Here's how to download your copy of Lee's Business to Business Blueprint*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

In this episode, Becky is joined by Bree Groff—workplace culture expert and author of Today Was Fun: A Book About Work (Seriously)—to explore what it looks like to market a book in a way that feels joyful, authentic, and aligned. From designing a standout book cover and interactive website to creating influencer kits and experimenting with guerrilla marketing tactics, Bree walks through the creative strategies she used to bring her book to life and have fun along the way.During the episode, you'll learn:About Bree and what inspired her to write her book, Today Was Fun.How Bree landed on the title of her book and what she hoped readers would take away from it.Why Bree did not conduct a title survey and instead went with the title she felt most connected to.The craft behind Bree's book and how its uniqueness has tied into her marketing and promotional strategies.What Bree did to prepare for the launch of her book, and how she made her approach fun.About Bree's experience creating influencer boxes/book kits, what the contents were, and the investment they required.More of the ways Bree incorporated fun into her book marketing and launch campaign.How Bree's book marketing tactics have evolved in the first year since launch.About Bree's plans for the one-year anniversary of her book and how she wants to re-energize the message.Don't forget to check out our show notes, which include action steps and resources.Sign up for the bi-weekly newsletter to connect with Becky Robinson and gain access to ongoing learning and conversation.

Are you struggling with book marketing in the age of BookTok and shrinking budgets? Today, we sit down with Antina van der Veen, founder of BookInfluencers.com and co-founder of ChallyPop, a specialized agency dedicated to connecting authors and publishers with book-focused creators.Antina shares her journey and reveals the secrets to authentic and effective promotion. Learn why User-Generated Content (UGC) campaigns are the genuine, less 'salesy' way to sell books, allowing companies to use creator creativity on their own corporate channels. We discuss the importance of aligning with the book community's values—which are open-minded and supportive of diversity—and why ChallyPop vets every book to ensure an authentic fit with their creators. Plus, Antina explains why compensating creators is not a bribe, but a necessary token of appreciation for their time and platform. If you want to leverage the power of specialized creator marketing and future-proof your book promotion strategy, this episode is a must-listen.Love the show? Subscribe, rate, review, and share! https://superbrandpublishing.com/podcast/

This week I'm talking with Molly Arbuthnott about writing picture books, working with illustrators and creative ways to get our books in front of the reader (including traveling...!) You can find more about Molly here: https://www.mollyarbuthnott.co.uk/about/ and you can find her books here (audios as well) https://oscartheferrycat.co.uk/product-category/books/Y0u can listen to one of her books here: https://youtu.be/plbZp5wcPVoAnd vote for her for the People's Book Prize here: https://www.mollyarbuthnott.co.uk/blog/the-peoples-book-prize-please-vote/Sign up for my writers' newsletter to learn more about the craft of writing, know when my workshops are and be the first to get exclusive information on my writing retreats. https://katcaldwell.com/writers-newsletterWant more information on my books, author swaps, short stories and what I'm reading? Sign up for my readers' newsletter. https://storylectory.katcaldwell.com/signup You can always ask me writing questions on instagram @author_katcaldwellWho do you want to be on the show? DM me on instagram or TikTok and let me know!

Send us Fan MailMost authors don't have a marketing problem — they have a clarity problem. In this kickoff episode of our April series, The Few Things That Actually Matter in Book Marketing, Alyssa reveals why unclear messaging silently sabotages your marketing and shares a simple framework to fix it:"I help ___ go from ___ to ___ so they can ___."This one statement becomes the foundation for all of your content, emails, speaking, and offers. Tune in and walk away with the clarity your book marketing has been missing.

311 / Think you need to be on every platform, spend big on ads, or release a book every month to succeed as an indie author? We're busting some of the most common publishing myths. ✨ This week's sponsor is Vellum: http://tryvellum.com/wishBut first, we catch up on life after a writing retreat: the post-draft crash, newsletter plate-spinning, and the genuine weirdness of evaluating promos when the market keeps shifting Honest BookBub promo numbers and why results look different nowWhy discoverability matters more than "good enough" writingWhy you don't need every social media platform to succeedNewsletters, Goodreads, and BookFunnel as practical visibility toolsWhy direct sales and Kickstarter can work even with a small audienceWhy rapid release is optional and genre dependentWhy ads don't require huge spend, and how AI is changing targetingGenre zeitgeist: how trends like cozy and romantasy impact your strategy

What if your next reader wasn't on Amazon… but already waiting for you on Substack?This week, Sinem Günel, bestselling Substack creator and co-founder of Write, Build, Scale, unpacks how nonfiction authors can turn Substack into a powerful engine for audience growth, idea validation, and steady income.You'll hear how to test book ideas before you write them, build a loyal subscriber base that actually engages, and create paid content people want to subscribe to.If your book marketing feels like a one-time push, this conversation will shift how you think about long-term visibility.Key TakeawaysWhy Substack works for authors It's not another platform to “manage.” It becomes your home base where readers return, respond, and stay connected.Build before you publish What if your book had an audience before it existed? Substack lets you test ideas and watch what resonates in real time.Turn readers into revenue Paid tiers don't work because you ask. They work because readers feel they're getting access they can't get anywhere else.Grow without chasing algorithms Substack's built-in discovery tools reward participation, not perfection. The more you show up, the more you get seen.Stop publishing in a vacuum Growth doesn't come from writing more. It comes from interaction, conversation, and showing readers you're paying attention.Tune in and rethink how your book connects, grows, and sells, long before and long after your launch.Here's how to connect with Sinem to download her free resources and templatesSubstack Starter KitYouTubeSubstack Mini Course Accelerator*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

Today I am talking with Matt Stone from 100covers.com. We chat about how to find the right cover, how an author should approach cover art, how to work with a graphic artist and more. 100covers.com has grown in the past few years. They are a large group of graphic artists ready to create a masterpiece for you book. Check out heir portfolio at 100covers.com. Be sure to use code KAT to get 50% off.Be sure to catch up on how the new A10 algorithm change at Amazon will affect us indie authors:https://www.writtenwordmedia.com/a10-algorithm-kdp-book-listing/https://www.matthewjholmes.com/blog/the-amazon-algorithm-just-changed-everythingSign up for my writers' newsletter to learn more about the craft of writing, know when my workshops are and be the first to get exclusive information on my writing retreats. https://katcaldwell.com/writers-newsletterWant more information on my books, author swaps, short stories and what I'm reading? Sign up for my readers' newsletter. https://storylectory.katcaldwell.com/signup You can always ask me writing questions on instagram @author_katcaldwell

Want to take your books beyond the U.S. and into global markets—but not sure where to start?  In this episode, Gryphon Publishing Consulting Owner Mary Jo Courchesne breaks down the entire process of selling international rights, so independent publishers can turn their books into opportunities around the world. You'll learn: how to determine whether your title is a good fit for international markets how to research genre trends in other countries how to connect with international publishers how major rights marketplaces like the Frankfurt Book Fair, London Book Fair, and more help publishers land deals and so much more! If you want to expand your book's reach—and revenue—beyond your home market, this conversation gives you a clear, practical roadmap for getting your books into readers' hands across the globe. This episode is presented by MetaComet Systems. Learn more at https://metacomet.com/?utm_source=ibpa&utm_medium=podcast&utm_campaign=2026 PARTICIPANTS Mary Jo (“MJ”) Courchesne is the founder of Gryphon Publishing Consulting, a permissions and licensing company serving independent publishers. She currently serves on the board of directors for the Independent Book Publishers Association (IBPA), is a member of the Rights Committee of the Book Industry Study Group (BISG), the American Book Producers Association, and the Copyright Alliance. She also serves as secretary on the board of directors for The Big Easy in Buffalo. She resides in Buffalo, NY. Independent Book Publishers Association is the largest trade association for independent publishers in the United States. As the IBPA Director of Membership & Member Services, Christopher Locke assists the 3,900 members as they travel along their publishing journeys. Major projects include managing the member benefits to curate the most advantageous services for independent publishers and author publishers; managing the Innovative Voices Program that supports publishers from marginalized communities; and hosting the IBPA podcast, “Inside Independent Publishing (with IBPA).” He's also passionate about indie publishing, because he's an author publisher himself, having published two novels so far in his YA trilogy, The Enlightenment Adventures.LINKS Learn more about the many benefits of becoming a member of Independent Book Publishers Association (IBPA) here: https://www.ibpa-online.org/ Learn more about IBPA Publishing University here: https://www.publishinguniversity.org/ Sell more books to the international market with IBPA's Frankfurt Book Fair and DropCap book marketing programs here: https://www.ibpa-online.org/page/ListofBenefits#sellmorebooks Follow IBPA on: Facebook – https://www.facebook.com/IBPAonline X – https://twitter.com/ibpa Instagram - https://www.instagram.com/ibpalovesindies/ Check out Gryphon Publishing Consulting here: www.gryphonpublishing.co

Everyone says your book needs to be different.But what if “different” is exactly why it gets ignored?In a marketplace flooded with AI content and endless new titles, standing out has become harder than ever. Many authors respond by trying to be louder or trendier.This week's guest, Scott McKain, argues that approach misses the point.In his book Beyond Distinction, Scott explains why difference creates attention… but distinction creates authority.In this conversation, we explore why authors who chase trends disappear, why AI cannot replace your lived experience, and how the most memorable experts build a reputation readers trust and remember.If you want your book to do more than exist on a crowded shelf, this episode will challenge how you think about standing out.Key Takeaways• Different vs. Distinct Being different gets noticed. Distinction makes you memorable.• The Trend Trap Follow trends, and you look like everyone else. Leaders create their own lane.• Your Human Advantage AI can generate content. It cannot replace your story, perspective, or lived experience.• Finding Your Distinction The clues often sit inside your own life story and professional journey.• Beyond the Book Authority grows when the conversation continues through speaking, podcasts, and community.If you want distinction rather than noise, tune in now!Here's how to connect with Scott:Buy your copy of Beyond DistinctionWebsite:LinkedIn*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

Need help mapping out your first book? Download your free 1-Page Book Launch Plan here: https://publish.selfpublishing.com/one-page-launch-plan/?last_touch_channel_new=Social&last_touch_medium=Youtube%20-%20Feed&final_touch_lead_source=One%20Page%20Book%20Launch%20PlanThousands of first-time authors have already turned their ideas into bestselling books with our guidance. You could be next. http://selfpublishing.com/work-with-usMost self-published authors are leaving thousands of dollars on the table every single month. There is a little known strategy that turns your book into a one-to-many revenue engine that builds your authority, grows your audience, and brings in paying customers. Coaches, consultants, and experts who have figured this out are landing speaking gigs, booking podcast interviews, and scaling their business faster than ever. If writing a book has always been on your list, this video will show you exactly why now is the time to make it happen.Popular Free Resources:Nonfiction Book Outline Template: https://publish.selfpublishing.com/nonfiction-outline-template/?utm_source=instagram&utm_medium=social&utm_campaign=default-linktree&last_touch_channel_new=Social&last_touch_medium=Form+EmbedFiction Book Outline Template:  https://publish.selfpublishing.com/fiction-outline-template/?utm_source=instagram&utm_medium=social&utm_campaign=default-linktree&last_touch_channel_new=Social&last_touch_medium=Form+EmbedNeed help mapping out your first book? Download your free 1-Page Book Launch Plan here: https://publish.selfpublishing.com/one-page-launch-plan/?last_touch_channel_new=Social&last_touch_medium=Youtube%20-%20Feed&final_touch_lead_source=One%20Page%20Book%20Launch%20PlanFollow selfpublishing.comYoutube https://www.youtube.com/@selfpublishingcomInstagram https://www.instagram.com/selfpublishingcom/TikTok https://www.tiktok.com/@selfpublishingdotcomFacebook https://www.facebook.com/selfpublishingcomFollow Chandler BoltInstagram https://www.instagram.com/realchandlerbolt/TikTok https://www.tiktok.com/@realchandlerboltLinkedin https://www.linkedin.com/in/chandlerbolt/Facebook https://www.facebook.com/chandler.bolt1Here are some links that might come in handy:Apply for a free book consultationRegister for our free on-demand trainingMust-watch episodes:SPS 044: Using A Free + Shipping Book Funnel with Anik SingalSPS 115: Using Atomic Habits To Write & Publish A Book with James ClearSPS 127: Traditional vs. Self Publishing: Which You Should Choose with Ruth Soukup SPS 095: The Five Love Languages: Selling 15 Million Copies with Gary ChapmanSPS 056: How I Sold 46M Copies of My Self Published Book with Robert Kiyosaki

One viewer described this episode as “a university lecture on creative writing.” This week, we unearth the systems behind a sustainable, profitable indie author career.Our guest is romantic suspense author and book coach Maria L. Secoy.As a former English teacher with a Master's in Secondary English, Maria spent over a decade in the classroom before transitioning into a full-time indie career. Her teaching background shines through as she breaks down the science of writing and the business of being an author.In this episode, we discuss:The 15-Hour Productivity Rule: How to write four high-quality books a year without burning out.The "Legacy Quest": Transitioning from writing for your soul to building a commercial catalog.Crafting Fierce Heroines: Using the "Vulnerability Gap" to create strong, relatable characters.The 80/20 Research Method: How to build authentic tech and security worlds without "data dumping."The Masterclass HighlightsProductivity & Deep Work: Maria emphasizes that full-time writing doesn't require a 40-hour week. By utilizing "Power Hours"—60 to 90 minutes of disconnected deep work—and batching administrative tasks, you can protect your creative energy. The Science of Character: We dive into Maria's Taylor Industries and On-Trail Love Adventures series. She explains why competence is key for romantic suspense heroines and how to find the one thing your strongest character is afraid of.Treating Writing as a Business: Passion is the spark, but systems pay the bills. Maria advocates for a "Truly Successful Author" mindset where rest is treated as a vital productivity metric.The Research Balance: Learn how Maria handles deep research into tech and security. The goal is to use research to build your own confidence so the dialogue feels authentic to the reader, even if 80% of the facts never leave your notes.Join the Community: If you enjoyed this "University Lecture" on the craft, consider subscribing for more deep dives into the indie author world.Visit our home base: thewccs.substack.com/subscribeBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-writing-community-chat-show--5445493/support.Connect With The Community

The Burden of Mental Noise: Social Anxiety & Psychic Thrills with D.I. JollyWhat if you couldn't turn off the thoughts of everyone around you? In this episode of The Writing Community Chat Show, we sit down with Berlin-based indie author D.I. Jolly to dive into his latest psychological thriller, Blurred Lines.More than just a "superpower" story, Blurred Lines serves as a visceral metaphor for social anxiety. We discuss how the protagonist, Miles, navigates a world of overwhelming mental chatter and the moment a psychic cry for help forces him out of his self-imposed isolation.Inside the Episode:The Power of Practice: How writing over 300 short stories for the Berlin Poetry Club sharpened Jolly's craft.Genre-Bending & Metaphor: Using lycanthropy to explore bipolar disorder in the Mostly Human series.The Research Process: Consulting with therapists to accurately portray the mechanics of anxiety and human thought.Killing Your Darlings: The reality of cutting 15,000 words to save a story.The Indie Hustle: Insights into the “Buy My Effing Book” marketing strategy and the impact of living in seven different countries on world-building.Whether you're an aspiring novelist looking for consistency tips or a fan of dark, psychological fiction, this conversation is packed with raw honesty and wit.Connect with D.I. Jolly:Buy Blurred Lines: https://amzn.eu/d/05ZGvoUoSupport the Show: We are celebrating our 6th Birthday! Help us make it a big one by visiting: https://thewccs.substack.com/p/six-years-400-episodes-and-166-days?r=20fopaFollow The Writing Community Chat Show: Ranked in the top writing podcasts in the UK, we bring you interviews with NYT best-sellers, celebrities, and the best indie voices in the business.Watch the video version on YouTube: The Writing Community Chat Show - YouTubeBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-writing-community-chat-show--5445493/support.Connect With The Community

What if the success of your book isn't only about strategy… but also about alignment? In this intriguing conversation, internationally recognized business numerologist Frea O'Brien shares how the language of numbers can offer surprising clarity for authors, speakers, and creative entrepreneurs. From identifying your natural strengths to choosing the right timing for projects, numerology can reveal patterns that help you move forward with confidence. Frea works with vision-driven leaders around the world, helping them align their business and creative decisions with deeper purpose and optimal timing. In this episode, she explains how authors can use numerology as a guide for everything from choosing a book topic to planning a launch or next pivot. If you've ever felt pulled in multiple directions or wondered whether you're forcing momentum instead of following it, this conversation will open a new lens on your author journey. What You'll Discover: How your birth date reveals strengths that shape your best book ideasThe 9-year creative cycle and how it influences your author pathWhy aligned messaging creates stronger impact than formula-driven writingHow timing affects launches, pivots, and creative decisionsSimple ways to calculate your life path number and uncover directionHow numbers can help you clarify your niche and long-term impactYour author journey doesn't have to feel random or reactive. When you understand your natural rhythm and strengths, decisions become clearer, and momentum feels more natural. Tune in now to explore how numerology can bring fresh insight, deeper alignment, and renewed purpose to your writing and business.Here's how to connect with Frea:WebsiteLinkedInInstagram*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the GameIf you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors.Podcast Connections gets you in front of the audiences who need your message and your expertise.Contact them at PodcastConnections.co*************************************************************************

“Make you a bestseller.” It's the loudest promise in book marketing—and often the least meaningful.In this episode, we break down how to distinguish real strategy from fear-based selling, AI-polished outreach, and high-pressure tactics designed to close a sale rather than build a career. From alarming emails about “missing metadata” to vague guarantees and unusual payment demands, we explain what's legitimate, what's inflated, and what's simply noise.Then we shift to what actually compounds.We walk through the foundational elements of sustainable book marketing: an optimized Amazon retail page, intentional category and keyword strategy, a reader-focused website, an email list you control, and targeted outreach to reviewers, influencers, and podcasters who genuinely reach your audience. You'll hear why one-off promotional blasts rarely build traction, how to evaluate podcast quality beyond download numbers, and what meaningful preparation looks like before any pitch goes out.We also unpack the proposal details that matter: specific deliverables, realistic timelines, strategic positioning, and measurable outcomes rooted in discoverability—not guaranteed sales. A professional team should explain the “why” behind every tactic and connect today's work to results you can still benefit from months later.Finally, we talk author readiness. What should you own yourself? How should you think about ROI without chasing instant payoff? And if your budget is limited, where does your money work hardest?If you want to avoid scams, invest wisely, and choose partners who assess your book instead of selling you fear, this episode gives you a clear, practical framework.If you found this helpful, follow the show, share it with an author friend, and leave a quick review so more writers can find us. Have a topic you want covered next? Text the word podcast to 888-402-8940 and tell us what you need.Send us your feedback!Help shape our 2026 content by taking our 30-second listener poll!

Are you making book marketing harder than it needs to be? Many authors follow the same advice, use the same platforms, and launch the same way… then wonder why sales stall. This week's guest, Mamie Sanders, explains why that happens and what to do instead. Mamie is the founder of MVL Marketing and a veteran digital strategist who has worked with major publishing houses and countless authors. She brings a refreshing perspective to book promotion: marketing isn't a formula. It's a fit. In this powerful interview, Mamie shares how authors can cut through digital noise, build genuine connections with readers, and create marketing strategies that match their strengths and goals. If social media feels overwhelming or your launch came and went without much momentum, this episode will help you rethink your approach. You'll also hear why long-term visibility matters more than launch-week buzz and how awareness and trust quietly drive consistent book sales over time. What You'll Discover: Why copying another author's strategy often backfiresThe biggest mistake authors make after launch dayHow to choose marketing platforms that actually suit youWhy connection and credibility matter more than constant sellingThe role of reviews, giveaways, and early buzz in long-term salesHow to build steady visibility instead of short-lived spikesBook marketing doesn't have to feel forced or formulaic. When your strategy aligns with your strengths and audience, promotion becomes more natural and far more effective. Tune in now to learn how to simplify your marketing, play to your strengths, and create momentum that lasts well beyond launch.Here's how to connect with Mamie:Want to discuss your digital marketing strategies,  book a 30-min. complimentary consultation call with Mamie WebsiteLinkedin*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the Game If you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors. Podcast Connections gets you in front of the audiences who need your message and your expertise. Contact them at PodcastConnections.co *************************************************************************

Learn how to market your book in a way that aligns with your values, builds genuine reader connections, and feels sustainable instead of draining.Book Marketing. These two words make most writers want to close their laptops and hide forever. But what if it didn't have to feel that way?In this episode, I'm joined by award-winning science fiction and fantasy novelist and certified creativity coach Beth Barany to talk about what she calls heart-centered book marketing: A values-driven approach to promoting your story that actually feels aligned with who you are.We break down how to market your book without feeling salesy, how to identify the core values behind your writing, and how to build meaningful reader relationships that energize you rather than drain you.Here's what we cover:[04:35] What heart-centered book marketing actually means and how it differs from the traditional advice you'll find everywhere online.[07:57] Why chasing other people's book marketing strategies leads to burnout, and a key question to ask yourself before adopting any tactic.[11:01] How to uncover your core values as a writer and why your novel characters can actually help you do it.[15:47] A real example of how Beth uses her values to choose her book marketing platforms, including a creative Reddit strategy she's currently exploring.[22:18] Why you should ditch the "buy my book" approach and use your story's tropes to invite the right readers in instead.[24:36] Why fangirling authors you love is the easiest free marketing strategy and how it can lead to real collaborations and unexpected opportunities.Whether you're pre-launch, mid-series, or just exhausted by marketing advice that doesn't feel like you, this episode will give you a refreshing, permission-giving framework to promote your book in a way that's sustainable, authentic, and actually kind of fun.

How do you capture something as enormous and personal as the feeling of “home” in a book? How can you navigate the chaotic discovery period in writing something new? With Roz Morris. In the intro, KU vs Wide [Written Word Media]; Podcasts Overtake Radio, book marketing implications [The New Publishing Standard]; Tips for podcast guests; The Vatican embraces AI for translation, but not for sermons [National Catholic Reporter]; NotebookLM; Self-Publishing in German; Bones of the Deep. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How being an indie author has evolved over 15 years, from ebooks-only to special editions, multi-voice audiobooks and tools to help with everything Why “home” is such a powerful emotional theme and how to turn personal experiences into universal memoir Practical craft tips on show-don't-tell, writing about real people, and finding the right book title The chaotic discovery writing phase — why some books take seven years and why that's okay Building a newsletter sustainably by finding your authentic voice (and the power of a good pet story) Low-key book marketing strategies for memoir, including Roz's community-driven “home” collage campaign You can find Roz at RozMorris.org. Transcript of the interview with Roz Morris JOANNA: Roz Morris is an award-nominated literary fiction author, memoirist, and previously a bestselling ghostwriter. She writes writing craft books for authors under the Nail Your Novel brand, and is also an editor, speaker, and writing coach. Her latest travel memoir is Turn Right at the Rainbow: A Diary of House-Hunting, Happenstance & Home. Welcome back to the show, Roz. ROZ: Hi, Jo. It's so lovely to be back. I love that we managed to catch up every now and again on what we're doing. We've been doing this for so long. JOANNA: In fact, if people don't know, the first time you came on this show was 2011, which is 15 years. ROZ: I know! JOANNA: It is so crazy. I guess we should say, we do know each other in person, in real life, but realistically we mainly catch up when you come on the podcast. ROZ: Yes, we do, and by following what we're doing around the web. So I read your newsletters, you read mine. JOANNA: Exactly. So good to return. You write all kinds of different things, but let's first take a look back. The first time you were on was 2011, 15 years ago. You've spanned traditional and indie, you've seen a lot. You know a lot of people in publishing as well. What are the key things you think have shifted over the years, and why do you still choose indie for your work? ROZ: Well, lots of things have shifted. Some things are more difficult now, some things are a lot easier. We were lucky to be in right at the start and we learned the ropes and managed to make a lot of contacts with people. Now it's much more difficult to get your work out there and noticed by readers. You have to be more knowledgeable about things like marketing and promotions. But that said, there are now much better tools for doing all this. Some really smart people have put their brains to work about how authors can get their work to the right readers, and there's also a lot more understanding of how that can be done in the modern world. Everything is now much more niche-driven, isn't it? People know exactly what kind of thriller they like or what kind of memoir they like. In the old days it was probably just, “Well, you like thrillers,” and that could be absolutely loads of things. Now we can find far better who might like our work. The tools we have are astonishing. To start with, in about 2011, we could only really produce ebooks and paperbacks. That was it. Anything else, you'd have to get a print run that would be quite expensive. Now we can get amazing, beautiful special editions made. We can do audiobooks, multi-voice audiobooks. We can do ebooks with all sorts of enhancements. We can even make apps if we want to. There's absolutely loads that creators can do now that they couldn't before, so it's still a very exciting world. JOANNA: When we first met, there was still a lot of negativity here in the UK around indie authors or self-publishing. That does feel like it's shifted. Do you think that stigma around self-publishing has changed? ROZ: I think it has really changed, yes. To start with, we were regarded as a bit of the Wild West. We were just tramping in and making our mark in places that we hadn't been invited into. Now it's changed entirely. I think we've managed to convince people that we have the same quality standards. Readers don't mind—I don't think the readers ever minded, actually, so long as the book looked right, felt right, read right. It's much easier now. It's much more of a level playing field. We can prove ourselves. In fact, we don't necessarily have to prove ourselves anymore. We just go and find readers. JOANNA: Yes, I feel like that. I have nothing to prove. I just get on with my work and writing our books and putting them out there. We've got our own audiences now. I guess I always think of it as perhaps not a shadow industry, but almost a parallel industry. You have spanned a lot of traditional publishing and you still do editing work. You know a lot of trad pub authors too. Do you still actively choose indie for a particular reason? ROZ: I do. I really like building my own body of work, and I'm now experienced enough to know what I do well, what I need advice with, and help with. I mean, we don't do all this completely by ourselves, do we? We bring in experts who will give us the right feedback if we're doing a new genre or a genre that's new to us. I choose indie because I like the control. Because I began in traditional publishing—I was making books for other people—I just learned all the trades and how to do everything to a professional standard. I love being able to apply that to my own work. I also love the way I can decide what I'm going to write next. If I was traditionally published, I would have to do something that fitted with whatever the publisher would want of me, and that isn't necessarily where my muse is taking me or what I've become interested in. I think creative humans evolve throughout their lives. They become interested in different things, different themes, different ways of expressing themselves. I began by thinking I would just write novels, and now I've found myself writing memoirs as well. That shift would have been difficult if someone else was having to make me fit into their marketing plans or what their imprint was known for. But because I've built my own audience, I can just bring them with me and say, “You might like this. It's still me. I'm just doing something different.” JOANNA: I like that phrase: “creative humans.” That's what we are. As you say, I never thought I would write a memoir, and then I wrote Pilgrimage, and I think there's probably another one on its way. We do these different things over time. Let's get into this new book, Turn Right at the Rainbow. It's about the idea of home. I've talked a lot about home on my Books And Travel Podcast, but not so much here. Why is home such an emotional topic, for both positive and negative reasons? Why did you want to explore it? ROZ: I think home is so emotional because it grows around you and it grows on you very slowly without you really realising it. As you are not looking, you suddenly realise, “Oh, it means such a lot.” I love to play this mind game with myself—if you compare what your street looks like to you now and how it looked the first time you set eyes on it, it's a world of difference. There are so many emotional layers that build up just because of the amount of time we spend in a place. It's like a relationship, a very slow-growing friendship. And as you say, sometimes it can be negative as well. I became really fascinated with this because we decided to move house and we'd lived in the same house for about 30 years, which is a lot of time. It had seen a lot of us—a lot of our lives, a lot of big decisions, a lot of good times, a lot of difficult times. I felt that was all somehow encapsulated in the place. I know that readers of certain horror or even spiritual fiction will have this feeling that a place contains emotions and pasts and all sorts of vibes that just stay in there. When we were going around looking at a house to buy, I was thinking, “How do we even know how we will feel about it?” We're moving out of somewhere that has immense amounts of feelings and associations, and we're trying to judge whether somewhere else will feel right. It just seemed like we were making a decision of cosmic proportions. It comes down so much to chance as well. You're not only just deciding, “Okay, I'd like to buy that one,” and pressing a button like on eBay and you've won it. It doesn't happen like that. There are lots of middle steps. The other person's got to agree to sell to you, not do the dirty on you and sell to someone else. You've got all sorts of machinations going on that you have no idea about. And you only have what's on offer—you only get an opportunity to buy a place because someone else has decided to let it go. All this seemed like immense amounts of chance, of dice rolling. I thought, yet we end up in these places and they mean so much to us. It just blew my mind. I thought, “I've got to write about this.” JOANNA: It's really interesting, isn't it? I really only started using the word “home” after the pandemic and living here in Bath. We had luckily just bought a house before then, and I'd never really considered anywhere to be a home. I've talked about this idea of third culture kids—people who grow up between cultures and don't feel like there's a home anywhere. I was really interested in your book because there's so much about the functional things that have to happen when you move house or look for a house, and often people aren't thinking about it as deeply as you are. So did you start working on the memoir as you went to see places, or was it something you thought about when you were leaving? Was it a “moving towards” kind of memoir or a “sad nostalgia” memoir? ROZ: Well, it could have been very sad and nostalgic because I do like to write really emotional things, and they're not necessarily for sharing with everybody, but I was very interested in the emotions of it. I started keeping diaries. Some of them were just diaries I'd write down, some of them were emails I'd send to friends who were saying, “How's it going?” And then I'd find I was just writing pieces rather than emails, and it built up really. JOANNA: It's interesting, you said you write emotional things. We mentioned nostalgia, and obviously there are memories in the home, but it's very easy to say a word like “nostalgia” and everyone thinks that means different things. One of the important things about writing is to be very specific rather than general. Can you give us some tips about how we can turn big emotions into specific written things that bring it alive for our readers? ROZ: It's really interesting that you mention nostalgia, because what we have to be careful of is not writing just for ourselves. It starts with us—our feelings about something, our responses, our curiosities—but we then have to let other people in. There's nothing more boring than reading something that's just a memoir manuscript that doesn't reach out to anyone in any way. It's like looking through their holiday snaps. What you have to do is somehow find something bigger in there that will allow everyone to connect and think, “Oh, this is about me too,” or “I've thought this too.” As I said, we start with things that feel powerful and important for us, and I think we don't necessarily need to go looking for them. They emerge the more deeply we think about what we're writing. We find they're building. Certainly for me, it's what pulls me back to an idea, thinking, “There's something in this idea that's really talking to me now. What is it?” Often I'll need to go for walks and things to let the logical mind turn off and ideas start coming in. But I'll find that something is building and it seems to become more and more something that will speak to others rather than just to me. That's one way of doing it—by listening to your intuition and delving more and more until you find something that seems worth saying to other people. But you could do it another way. If you decided you wanted to write a book about home, and you'd already got your big theme, you could then think, “Well, how will I make this into something manageable?” So you start with something big and build it into smaller-scale things that can be related to. You might look at ideas of homes—situations of people who have lost their home, like the kind of displacement we see at the moment. Or we might look at another aspect, such as people who sell homes and what they must feel like being these go-betweens between worlds, between people who are doing these immense changes in their lives. Or we might think of an ecological angle—the planet Earth and what we're doing to it, or our place in the cosmos. We might start with a thing we want to write about and then find, “How are we going to treat it?” That usually comes down to what appeals to us. It might be the ecological side. It might be the story of a few estate agents who are trying to sell homes for people. Or it might be like mine—just a personal story of trying to move house. From that, we can create something that will have a wider resonance as well as starting with something that's personally interesting to you. The big emotions will come out of that wider resonance. JOANNA: Trying to go deeper on that— It's the “show, don't tell” idea, isn't it? If you'd said, “I felt very sad about leaving my house” or “I felt very sad about the prospect of leaving my house,” that is not a whole book. ROZ: Yes. It's why you felt sad, how you felt sad, what it made you think of. That's a very good point about “show, don't tell,” which is a fundamental writing technique. It basically tells people exactly how you feel about a particular thing, which is not the same as the way anyone else would feel about it—but still, curiously, it can be universal and something that we can all tap into. Funnily enough, by being very specific, by saying, “I realised when we'd signed the contract to sell the house that it wasn't ours anymore, and it had been, and I felt like I was betraying it,” that starts to get really personal. People might think, “Yes, I felt like that too,” or “I hadn't thought you'd feel like that, but I can understand it.” Those specifics are what really let people into the journey that you're taking them on. JOANNA: And isn't this one of the challenges, that we're not even going to use a word like “sad,” basically. ROZ: Yes. It's like, who was it who said, “Don't tell me if they got wet—tell me how it felt to get wet in that particular situation.” Then the reader will think, “Oh yes, they got wet,” but they'll also have had an experience that took them somewhere interesting. JOANNA: Yes. Show me the raindrops on the umbrella and the splashing through the puddles. I think this is so important with big emotions. Also, when we say nostalgia—we've talked before about Stranger Things and Kate Bush and the way Stranger Things used songs and nostalgia. Oh, I was watching Derry Girls—have you seen Derry Girls? ROZ: No, I haven't yet. JOANNA: Oh, it's brilliant. It's so good. It's pretty old now, but it's a nineties soundtrack and I'm watching going, “Oh, they got this so right.” They just got it right with the songs. You feel nostalgic because you feel an emotion that is linked to that music. It makes you feel a certain way, but everyone feels these things in different ways. I think that is a challenge of fiction, and also memoir. Certainly with memoir and fiction, this is so important. ROZ: Yes, and I was just thinking with self-help books, it's even important there because self-help books have to show they understand how the reader is feeling. JOANNA: Yes, and sometimes you use anecdotes to do that. Another challenge with memoir—in this book, you're going round having a look at places, and they're real places and there are real people. This can be difficult. What are things that people need to be wary of if using real people in real places? Do you need permissions for things? ROZ: That book was particularly tricky because, as you said, I was going around real places and talking about real people. With most of them, they're not identifiable. Even though I was specific about particular aspects of particular houses, it would be very hard for anyone to know where those houses were. I think possibly the only way you would recognise it is if that happened to be your own house. The people, similarly—there's a lot about estate agents and other professionals. They were all real incidents and real things that happened, but no one is identifiable. A very important thing about writing a book like this is you're always going to have antagonists, because you have to have people who you're finding difficult, people who are making life a bit difficult for you. You have to present them in a way that understands what it's like to be them as well. If you're writing a book where your purpose is to expose wrongdoing or injustices, then you might be more forthright about just saying, “This is wrong, the way this person behaved was wrong.” You might identify villains if that's appropriate, although you'd have to be very careful legally. This kind of book is more nuanced. The antagonists were simply people who were trying to do the right thing for them. You have to understand what it's like to be them. Quite a lot of the time, I found that the real story was how ill-equipped I sometimes felt to deal with people who were maybe covering something up, or maybe not, but just not expressing themselves very clearly. Estate agents who had an agenda, and I was thinking, “Who are they acting for? Are they acting for me, or are they acting for someone else that we don't even know about?” There's a fair bit of conflict in the book, but it comes from people being people and doing what they have to do. I just wanted to find a good house in an area that was nice, a house I could trust and rely on, for a price that was right. The people who were selling to me just wanted to sell the house no matter what because that was what they needed to do. You always have to understand what the other person's point of view is. Often in this kind of memoir, even though you might be getting very frustrated, it's best to also see a bit of a ridiculous side to yourself—when you're getting grumpy, for instance. It's all just humans being humans in a situation where ultimately you're going to end up doing a life-changing and important thing. I found there's quite a lot of humour in that. We were shuffling things around and, as I said, we were eventually going to be making a cosmic change that would affect the place we called home. I found that quite amusing in a lot of ways. I think you've got to be very levelheaded about this, particularly about writing about other people. Sometimes you do have to ask for permission. I didn't have to do that very much in this book. There were people I wrote about who are actually friends, who would recognise themselves and their stories. I checked that they didn't mind me quoting particular things, and they were all fine with that. In my previous memoir, Not Quite Lost, I actually wrote about a group of people who were completely identifiable. They would definitely have known who they were, and other people would have known who they were. There was no hiding them. They were the people near Brighton who were cryonicists—preserving dead bodies, freezing them, in the hope that they could be revived at a much later date when science had solved the problem that killed them. I went to visit this group of cryonicists, and I'd written a diary about it at the time. Then I followed up when I was writing the book to find out what happened to them. I thought, I've simply got to contact them and tell them I'm going to write this. “I'll send it to you, you give me your comments,” and I did. They gave me some good comments and said, “Oh, please don't put that,” or “Let me clarify this.” Everything was fine. So there I did actually seek them out and check that what I was going to write was okay. JOANNA: Yes, in that situation, there can't be many cryonicists in that area. ROZ: They really were identifiable. JOANNA: There's probably only one group! But this is really interesting, because obviously memoir is a personal thing. You're curating who you are as well in the book, and your husband. I think it's interesting, because I had the problem of “Am I giving away too much about myself?” Do you feel like with everything you've written, you've already given away everything about yourself by now? Are you just completely relaxed about being personal, for yourself and for your husband? ROZ: I think I have become more relaxed about it. My first memoir wasn't nearly as personal as yours was. You were going to some quite difficult places. With Turn Right at the Rainbow, I was approaching some darker places, actually, and I had to consider how much to reveal and how much not to. But I found once I started writing, the honesty just took over. I thought, “This is fine. I have read plenty of books that have done this, and I've loved them. I've loved getting to know someone on that deeper level.” It was just something I took my example from—other writers I'd enjoyed. JOANNA: Yes. I think that's definitely the way memoir has to happen, because it can be very hard to know how to structure it. Let's come to the title. Turn Right at the Rainbow. Really great title, and obviously a subtitle which is important as well for theme. Talk about where the title came from and also the challenges of titling books of any genre. You've had some other great titles for your novels—at least titles I've thought, “Oh yes, that's perfect.” Titling can be really hard. ROZ: Oh, thank you for that. Yes, it is hard. Ever Rest, which was the title of my last novel, just came to me early on. I was very lucky with that. It fitted the themes and it fitted what was going on, but it was just a bolt from the blue. I found that also with Turn Right at the Rainbow, it was an accident. It slipped out. I was going to call it something else, and then this incident happened. “Turn Right at the Rainbow” is actually one of the stories in the book. I call it the title track, as if it's an album. We were going somewhere in the car and the sat nav said, “Turn right at the rainbow.” And Dave and I just fell about, “What did it just say?!” It also seemed to really sum up the journey we were on. We were looking for rainbows and pots of gold and completely at the mercy of chance. It just stayed with me. It seemed the right thing. I wrote the piece first and then I kept thinking, “Well, this sounds like a good title.” Dave said it sounded like a good title. And then a friend of mine who does a lot of beta reading for me said, “Oh, that is the title, isn't it?” When several people tell you that's the title, you've got to take notice. But how we find these things is more difficult, as you said. You just work and work at it, beating your head against the wall. I find they always come to me when I'm not looking. It really helps to do something like exercise, which will put you in a bit of a different mind state. Do you find this as well? JOANNA: Yes, I often like a title earlier on that then changes as the book goes. I mean, we're both discovery writers really, although you do reverse outlines and other things. You have a chaotic discovery phase. I feel like when I'm in that phase, it might be called something, and then I often find that's not what it ends up being, because the book has actually changed in the process. ROZ: Yes, very much. That's part of how we realise what we should be writing. I do have working titles and then something might come along and say, “This seems actually like what you should call it and what you've been working towards, what you've been discovering about it.” I think a good title has a real sense of emotional frisson as well. With memoir, it's easier because we can add a subtitle to explain what we mean. With fiction, it's more difficult. We've got to really hope that it all comes through those few words, and that's a bit harder. JOANNA: Let's talk about your next book. On your website it says it might be a novel, it might be narrative nonfiction, and you have a working title of Four. I wondered if you'd talk a bit more about this chaotic discovery writing phase when we just don't know what's coming. I feel like you and I have been doing this long enough—you longer than me—so maybe we're okay with it. But newer writers might find this stage really difficult. Where's the fun in it? Why is it so difficult? And how can people deal with it? ROZ: You've summed that up really well. It's fun and it's difficult, and I still find it difficult even after all these years. I have to remind myself, looking back at where Ever Rest started, because that was a particularly difficult one. It took me seven years to work out what to do with it, and I wrote three other books in the meantime. It just comes together in the end. What I find is that something takes root in my mind and it collects things. The title you just picked out there—the book with working title of Four—it's now two books. One possibly another memoir and one possibly fiction. It's evolving all the time. I'm just collecting what seems to go with it for now and thinking, “That belongs with it somehow. I don't yet know how, but my intuition is that the two work well together.” There's a harmony there that I see. In the very early stages, that's what I find something is. Then I might get a more concrete idea, say a piece of story or a character, and I'll have the feeling that they really fit together. Once I've got something concrete like that, I can start doing more active research to pursue the idea. But in the beginning, they're all just little twinkles in the eye and you just have to let them develop. If you want to get started on something because you feel you want to get started and you don't feel happy if you're not working on something, you could do a far more active kind of discovery. Writing lists. Lists are great for this. I find lists of what you don't want it to be are just as helpful as what you do want it to be because that certainly narrows down a lot and helps you make good choices. You've got a lot of choices to make at the beginning of a book. You've got to decide: What's it going to be about? What isn't it going to be about? What kind of characters am I interested in? What kind of situations am I interested in? What doesn't interest me about this situation? Very important—saves you a lot of time. What does interest me? If you can start by doing that kind of thing, you will find that you start gathering stuff that gets attracted to it. It's almost like the world starts giving it to you. This is discovery writing, but it's also chivvying it along a bit and getting going. It does work. Joanna: I like the idea of listing what you don't want it to be. I think that's very useful because often writers, especially in the early stages—or even not, I still struggle with this—it's knowing what genre it might actually be. With Bones of the Deep, which is my next thriller, it was originally going to be horror and I was writing it, and then I realised one of the big differences between horror and thriller is the ending and how character arcs are resolved and the way things are written. I was just like, “Do you know what? I actually feel like this is more thriller than horror,” and that really shaped the direction. Even though so much of it was the same, it shaped a lot about the book. It's always hard talking about this stuff without giving spoilers, but I think deciding, “Okay, this is not a horror,” actually helped me find my way back to thriller. ROZ: Yes, I do know what you mean. That makes perfect sense to me, with no spoilers either. It's so interesting how a very broad-strokes picture like that can still be very helpful. Just trying to make something a bit different from the way you've been envisaging it can lead to massive breakthroughs. “Oh no, it's not a thriller—I don't have to be aiming for that kind of effect.” Or try changing the tone a little bit and see if that just makes you happier with what you're making, more comfortable with it. JOANNA: You mentioned the seven years that Ever Rest took. We should say the title is in two words—”Ever” and “Rest”—but it is also about Everest the mountain in many ways. That's why it's such a perfect title. If that took seven years and you were doing all this other stuff and writing other books along the way, how do you keep your research under control? How do you do that? I still use Scrivener projects as my main research place. How do you do your research and organisation? ROZ: A lot of scraps of paper. My desk is massive. It used to be a dining table with leaves in it. It's spread out to its fullest length, and it's got heaps of little pieces of paper. I know what's on them all, and there are different areas, different zones. I'm very much a paper writer because I like the tangibility of it. I also like the creativity of taking a piece of paper and tearing it into an odd shape and writing a note on that. It seems as sort of profound and lucky as the idea. I really like that. I do make text files and keep notes that way. Once something is starting to get to a phase where it's becoming serious, it will then be a folder with various files that discuss different aspects of it. I do a lot of discussing with myself while writing, and I don't necessarily look at it all again. The writing of it clarifies something or allows me to put something aside and say, “No, that doesn't quite belong.” Gradually I start to look at things, look at what I've gathered, and think, “How does this fit with this?” And it helps to look away as well. As I said with finding titles, sometimes the right thing is in your subconscious and it's waiting to just sail in if you look at it in a different way. There's a lot to be said for working on several ideas, not looking at some of them for a while, then going back and thinking, “Oh, I know what to do with this now.” JOANNA: Yes. My Writing the Shadow, I was talking about that when we met, and that definitely took about a decade. ROZ: Yes. JOANNA: I kept having to come back to that, and sometimes we're just not ready. Even as experienced writers, we're not ready for a particular book. With Bones of the Deep, I did the trip that it's based on in 1999. Since I became a writer, I've thought I have to use that trip in some way, and I never found the right way to use it. I came at it a couple of times and it just never sat right with me. Then something on this master's course I'm doing around human remains and indigenous cultures just suddenly all clicked. You can't really rush that, can you? ROZ: You absolutely can't. It's something you develop a sense for, the more you do—whether something's ready or whether you should just let it think about itself for a while whilst you work on something else. It really helps to have something else to work on because I panic a bit if I don't have something creative to do. I just have to create, I have to make things, particularly in writing. But I also like doing various little arty things as well. I need to always have something to be writing about or exploring in words. Sometimes a book isn't ready for that intense pressure of being properly written. So it helps to have several things that I can play with and then pick one and go, “Okay, now I'm going to really perform this on the page.” JOANNA: Do you find that nonfiction—because you have some craft books as well—do you find the nonfiction side is quite different? Can you almost just go and write a nonfiction book or work on someone else's project? Does that use a different kind of creativity? ROZ: Yes, it does. Creativity where you're trying to explain something to creative people is totally different from creativity where you're trying to involve them in emotions and a journey and nuances of meaning. They're very different, but they're still fun. So, yes, I am an editor as well, and that feeds my creativity in various unexpected ways. I'll see what someone has done and think, “Oh, that's very interesting that they did that.” It can make me think in different ways—different shapes for stories, different kinds of characters to have. It really opens your eyes, working with other creative people. JOANNA: I wanted to return to what you said at the beginning, that it is more difficult these days to get our work noticed. There's certainly a challenge in writing a travel memoir about home. What are you doing to market this book? What have you learned about book marketing for memoir in particular that might help other people? ROZ: Partly I realised it was quite a natural progression for me because in my newsletter I always write a couple of little pieces. I think they're called “life writing.” Just little things that have happened to me. That's sort of like memoir, creative nonfiction, personal essays. I was quite naturally writing that sort of thing to my newsletter readers, and I realised that was already good preparation for the kind of way that I would write in a memoir. As for the actual campaign, I actually came up with an idea which quite surprised me because I didn't think I was good at that. I'm making a collage of the word “home” written in lots of different handwriting, on lots of different things, in lots of different languages. I'm getting people to contribute these and send them to me, and I'm building them into a series of collages that's just got the word “home” everywhere. People have been contributing them by sending them by email or on Facebook Messenger, and I've been putting them up on my social platforms. They look stunning. It's amazing. People are writing the word “home” on a post-it or sticking it to a picture of their radiator. Someone wrote it in snow on her car when we had snow. Someone wrote it on a pottery shard she found in her drive when she bought the house. She thought it was mysterious. There are all these lovely stories that people are telling me as well. I'm making them into little artworks and putting them up every day as the book comes to launch. It's so much fun, and it also has a deeper purpose because it shows how home is different for all of us and how it builds as uniquely as our handwriting. Our handwriting has a story. I should do a book about that! JOANNA: That's a weird one. Handwriting always gets me, although it'd be interesting these days because so many people don't handwrite things anymore. You can probably tell the age of someone by how well-developed their handwriting is. ROZ: Except mine has just withered. I can barely write for more than a few minutes. JOANNA: Oh, I know what you mean. Your hand gets really tired. ROZ: We used to write three-hour exams. How did we do that? JOANNA: I really don't know. JOANNA: Just coming back on that. You mentioned mainly you're doing your newsletter and connecting with your own community. You've done podcasts with me and with other people. But I feel like in the indie community, the whole “you must build your newsletter” thing is described as something quite frantic. How have you built a newsletter in a sustainable manner? ROZ: I've built it by finding what suited me. To start with I thought, “What will I put in it? News, obviously.” But I wasn't doing that much that was newsworthy. Then I began to examine what news could actually be. The turning point really happened when I wrote the first memoir, Not Quite Lost: Travels Without a Sense of Direction. I thought, “I have to explain to people why I'm writing a memoir,” because it seemed like a very audacious thing to do—”Read about me!” I thought I had to explain myself. So I told the story of how I came to think about writing such an audacious book. I just found a natural way to tell stories about what I was doing creatively. I thought, “I like this. I like writing a newsletter like this.” And it's not all me, me, me. It's “I'm discovering this and it makes me think this,” and it just seems to be generally about life, about little questions that we might all face. From then, I found I really enjoyed writing a newsletter because I felt I had something to say. I couldn't put lists of where I was speaking, what I was teaching, what special offers I had, because that wasn't really how my creative life worked. Once I found something I could sustainably write about every month, it really helped. Oh, it also helps to have a pet, by the way. JOANNA: Yes, you have a horse! ROZ: I've got a horse. People absolutely love hearing the stories about my ongoing relationship with this horse. Even if they're not horsey, they write to me and say, “We just love your horse.” It helps to have a human interest thing going on like that. So that works for me. Everyone's got different things that will work for them. But for me, it builds just a sense of connection, human connection. I'm human, making things. JOANNA: In terms of actually getting people signed up—has it literally just been over time? People have read your book, signed up from the link at the back? Have you ever done any specific growth marketing around your newsletter? ROZ: I tried a little bit of growth marketing. I have a freebie version of one of my Nail Your Novel books and I put that on a promotion site. I got lots of newsletter signups, but they sort of dwindled away. When I get unsubscribes, it's usually from that list, because it wasn't really what they came for. They just came for a free book of writing tips. While I do writing tips on my blog—I'm still doing those—it wasn't really what my newsletter was about. What I found was that that wasn't going to get people who were going to be interested long-term in what I was writing about in my newsletter. Whatever you do, I found, has got to be true to what you are actually giving them. JOANNA: Yes, I think that's really key. I make sure I email once every couple of weeks. And you welcome the unsubscribes. You have to welcome them because those people are not right for you and they're not interested in what you're doing. At the end of the day, we're still trying to sell books. As much as you're enjoying the connection with your audience, you are still trying to sell Turn Right at the Rainbow and your other books, right? ROZ: Absolutely, yes. And as you say, someone who decides, “No, not for me anymore,” and that's good. There are still people who you are right for. JOANNA: Mm-hmm. ROZ: I do market my newsletter in a very low-key way. I make a graphic every month for the newsletter, it's like a magazine cover. “What's in it?” And I put that around all my social media. I change my Facebook page header so it's got that on it, my Bluesky header. People can see what it's like, what the vibe is, and they know where to find it if they're interested. I find that kind of low-key approach works quite well for what I'm offering. It's got to be true to what you offer. JOANNA: Yes, and true for a long-term career, I think. When I first met you and your husband Dave, it was like, “Oh, here are some people who are in this writing business, have already been in it for a while.” And both of you are still here. I just feel like— You have to do it in a sustainable way, whether it's writing or marketing or any of this. The only way to do it is to, as you said, live as a creative human and not make it all frantic and “must be now.” ROZ: Yes. I mean, I do have to-do lists that are quite long for every week, but I've learned to pace myself. I've learned how often I can write a good blog post. I could churn out blog posts that were far more frequent, but they wouldn't be as good. They wouldn't be as properly thought through. In the old days with blogs, you had an advantage if you were blogging very frequently, I think you got more noticed by Google because you were constantly putting up fresh content. But if that's not sustainable for you, it's not going to do you any good. Now there's so much content around that it's probably fine to post once a month if that is what you're going to do and how you're going to present the best of yourself. I see a lot on Substack—I've recently started Substack as well—I see people writing every other day. I think they're good, that's interesting, but I don't have time to read it. I would love to have the time, but I don't. So there's actually no sin in only posting once a month—one newsletter a month, one blog post a month, one Substack a month. That's plenty. People will still find that enough if they get you. JOANNA: Fantastic. So where can people find you and your books and everything you do online? ROZ: My website is probably the easiest place, RozMorris.org. JOANNA: Brilliant. Well, thank you so much for your time, Roz. As ever, that was great. ROZ: Thank you, Jo.The post Writing Emotion, Discovery Writing, And Slow Sustainable Book Marketing With Roz Morris first appeared on The Creative Penn.

Memoirist and filmmaker Curtis Chin on pitching for national press, booking venues through cold emails, and making a high-volume book events strategy financially sustainable.   You'll learn:Why Curtis booked readings before his memoir released to drive pre-orders, and what that early push unlocked. How he found venues by researching programs and series online, then sending cold outreach without overcomplicating it. A practical way to define your “audience” so your outreach targets the right communities and institutions. How to write a venue email that creates urgency (a “hook” and a reason to say yes now), without sounding gimmicky. A press pitching approach that starts local, builds credibility, and then moves toward national outlets. What his spreadsheets are (and aren't) for, and a lightweight way to track outreach and payments without building a complicated system. How he initially used a publisher budget, then supplemented it with community funding when the budget wasn't enough. Why momentum compounds (your growing “resume” of events and media makes the next invitations easier), and how to lean into that effect. How he structures his day to keep writing, business logistics, and book marketing moving at the same time. How getting paid for talks changed the economics of touring, and why nonfiction subject expertise can create more paid speaking opportunities.  Resources & Links:

In a crowded marketplace, a well-executed in-person event can do more than sell books—it can elevate a publisher's brand, build lasting reader relationships, and open doors to new opportunities.  In this episode of “Inside Independent Publishing (with IBPA),” W. Brand Publishing Founder JuLee Brand will dive into practical, real-world advice for independent publishers who want to turn live events into powerful marketing and sales engines.  Topics Include:   what materials you need to bring   smart logistical planning that keeps your event running smoothly  proven strategies for promoting your appearance and drawing a crowd  and more!  If you're ready to boost book sales and expand your publishing company's visibility, this conversation is for you. PARTICIPANTS JuLee Brand is a graphic designer, art director, publisher, and storyteller with over 30 years of experience across music, television, and publishing. Founder of W. Brand Publishing and StorySessions™, she specializes in helping authors uncover clarity, meaning, and connection through guided conversation. Her work is rooted in a simple belief: words—and how they're presented—matter. Independent Book Publishers Association is the largest trade association for independent publishers in the United States. As the IBPA Director of Membership & Member Services, Christopher Locke assists the 4,000 members as they travel along their publishing journeys. Major projects include managing the member benefits to curate the most advantageous services for independent publishers and author publishers; managing the Innovative Voices Program that supports publishers from marginalized communities; and hosting the IBPA podcast, “Inside Independent Publishing (with IBPA).” He's also passionate about indie publishing, because he's an author publisher himself, having published two novels so far in his YA trilogy, The Enlightenment Adventures.LINKS Learn more about the many benefits of becoming a member of Independent Book Publishers Association (IBPA) here: https://www.ibpa-online.org/ Check out JuLee Brand's books at https://www.wbrandpub.com/ Follow IBPA on: Facebook – https://www.facebook.com/IBPAonline Instagram - https://www.instagram.com/ibpalovesindies/ LinkedIn: https://www.linkedin.com/company/independent-book-publishers-association Follow W. Brand Publishing on: Facebook & Instagram: @wbrandpub Today's episode is presented by Gatekeeper Press — where authors are family. Gatekeeper Press empowers indie authors with expert publishing, editing, and global distribution services—providing full, white-glove concierge support every step of the way.  Retain 100% of your rights, royalties, and creative control at gatekeeperpress.com.

Are you struggling to turn readers into high-paying coaching clients with your book? You're not alone. Many nonfiction authors assume their book will naturally lead to premium clients. Then they wait. And wait. This week's guest, client acquisition strategist Jesse Holmes, specializes in strategic word-of-mouth. He reveals what turns readers into coaching clients. If you're a nonfiction author, coach, or consultant who wants meaningful conversations, steady referrals, and high-value clients without cold outreach or paid ads, this episode will open your eyes.Jesse shares practical, relationship-driven strategies to help you move beyond passive book promotion and into purposeful connection. The payoff? More warm introductions, better-fit prospects, and conversations that lead to real opportunities. You'll also discover the missing link between book readers and premium clients: intentional relationship building rooted in generosity, clarity, and consistent daily connection.Key TakeawaysYour book builds trust. Conversations create clients. What happens after someone reads your book determines whether they ever hire you.Word of mouth can be engineered. Warm introductions don't have to be random when you build intentional referral relationships.One conversation a day can transform your pipeline. Small, consistent outreach compounds into steady opportunities and ideal clients.Give first to become top of mind. Strategic generosity sparks the reciprocity that leads to referrals and invitations.Clarity makes you referable. When people know exactly who you help, they know exactly who to send your way.Tune in now to start turning conversations into clients.Here's how to connect with Jesse:EmailWebsiteFaceBook*************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the Game If you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors. Podcast Connections gets you in front of the audiences who need your message and your expertise. Contact them at PodcastConnections.co *************************************************************************

What if the reason book marketing feels uncomfortable isn't because you're “bad at selling,” but because you've been taught the wrong approach?This week's guest expert, Susan Trumpler, founder of Unstoppable Women in Business and the SheBoss Café, helps women entrepreneurs build sustainable businesses without riding the revenue roller coaster. In this episode, she tackles one of the biggest blocks authors face: how to market and sell a book without feeling awkward, pushy, or inauthentic.Susan breaks down why so many authors hesitate to talk about their book, what's really behind the discomfort, and how to shift from “selling” to something far more natural and effective. You'll also hear how AI, when used intentionally, can support your voice rather than replace it—making outreach easier, more human, and more aligned with who you are.If you want your book to open conversations rather than create resistance, this episode offers a practical, grounded blueprint.In this episode, you'll learn how to:Reframe selling as sharing something valuable Shift from self-promotion to service so talking about your book feels natural and purposeful.Create buyer-centric connections that resonate Focus on what your readers are already thinking, feeling, and searching for—so your message lands without pressure.Replace rigid scripts with a real process Build an outreach approach that adapts to conversations instead of forcing them.Use AI without losing your voice Train AI tools with your language, stories, and perspective so your marketing sounds like you—not a template.Move past procrastination and perfectionism Learn how co-creating with AI can help you show up consistently without overthinking every word.If you're ready to let go of marketing anxiety and start treating your book like the gift it's meant to be, this conversation will change how you think about visibility, connection, and selling.Here's how to connect with Susan:AI Voice Brand Inventory Guide.WebsiteLinkedIn  FaceBook  Instagram *************************************************************************When Visibility Feels Hard, Podcast Guesting Changes the Game If you know your book deserves more reach but visibility feels like a struggle, podcast guesting can open the right doors. Podcast Connections gets you in front of the audiences who need your message and your expertise. Contact them at PodcastConnections.co *************************************************************************

He lost $65,000 USD to a bad publishing deal.Two years later, he built a 6-figure business using LinkedIn DMs.In this episode of LinkedIn Riches, I sit down with HJ Chammas to unpack how he went from a devastating business loss to landing 50+ clients — without paid ads, spammy outreach, or chasing vanity metrics.If you're a coach, consultant, or small business owner wondering whether LinkedIn lead generation still works in 2026, this episode is proof that it does - when you do it the right way.WHAT YOU'LL DISCOVER:0:54 - The $65k mistake that changed everything2:22 - How HJ rebuilt after getting burned5:34 - How a free book sparked a new business6:35 - The relationship-first LinkedIn DM strategy that actually converts9:12 - Why books are still the best authority builder15:03 - The business model behind turning a book into clients20:57 - Publish, Promote, Monetize - HJ's 3-part framework28:47 - How to structure your LinkedIn profile for inbound leads32:08 - The exact LinkedIn DM flow that opens real conversations33:22 - The “icebreaker” message that gets 50%+ reply rates39:06 - The free audit strategy that builds instant trustEPISODE LINKSConnect with HJ Chammas on LinkedIn: https://www.linkedin.com/in/hjchammas/Visit the Authority Publishing Website: https://authority-publishing.com/