Podcasts about booktok

Play Episode Listen Later Aug 26, 2026 68:47

Bridget, Caitlin, and Hilda are back to wrap up their discussion on book 1 of "Dungeon Crawler Carl" the latest #booktok sensation by Matt Dinniman. And yes, Princess Donut is still the best character ... but also, there may be a short ACOTAR tangent at the end of the episode, because you know these three can never stay on task. Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

262. Animal Farm: "Sugar Candy Mountain, Charlie."

The Writer Files: Writing, Productivity, Creativity, and Neuroscience

Play Episode Listen Later Aug 24, 2026 61:05

ACOFAE Podcast Presents: "Sugar Candy Mountain, Charlie." 2026 is the year that ACOFAE is covering the classics apparently, because they mentioned Animal Farm in the beginning of the year and here we all are now covering this Orwell classic. Published in 1945, and with the subtitle "a fairy story" in the UK, Animal Farm is a short book that covers the Russian Revolution of 1917 using a farm as the setting and animals as the characters for the most part. A story that begins with passion stirring for change, an opportunity, and then the slow decent into the same situation everyone started from, Animal Farm, is a story about how man corrupts. Which are the pigs and which are the humans? Impossible to tell. Horrifying. "Man is the enemy." TW / CW: For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: Animal Farm by George Orwell, 1984 by George Orwell *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast https://www.instagram.com/acofaepodcast/ @ACOFAELaura https://www.instagram.com/acofaelaura/

tiktok uk man books fantasy impossible fiction published george orwell orwell horrifying animal farm booktok russian revolution sarah j maas acotar tw cw cruel prince acomaf ya literature acowar acosf acofas sugar candy mountain

How #1 International Bestselling Author Raphael Montes Writes

Play Episode Listen Later Aug 21, 2026 52:35

#1 international bestselling author Raphael Montes spoke with us about his dual career in TV and fiction, finding commercial success while maintaining authenticity, and the US publication of his hit book THE SECRET DINNER. Raphael Montes is the internationally acclaimed, #1 bestselling Brazilian thriller writer best known for The Secret Dinner, a dark and provocative novel set in Rio de Janeiro described as "a mixture of Alfred Hitchcock's suspense with Quentin Tarantino's black comedy.” He is published in over 25 countries with over 8 million copies sold. Set in Copacabana, The Secret Dinner—a biting, dark satire of foodie culture, wealth excess, and youth desperation—is landing in the US for the first time and has been named a summer most-anticipated by Crimereads, in addition to two mentions in The New York Times. #1 New York Times bestselling author Riley Sager said of the book, "The Secret Dinner is a potent combination of gallows humor, Hitchcockian suspense, and trenchant social commentary. Bold and bloody, it's a thriller with real bite." Also a screenwriter, Raphael is the showrunner of Scars of Beauty—the most-watched original show on HBO Max in Latin America—and Netflix's award-winning series Good Morning, Verônica. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Raphael Montes, Milena, and I discussed: How he leveraged early Bookstagram and BookTok to great success The themes of power, ambition, food, and class behind The Secret Dinner Switching between screenwriting and fiction to beat writer's block Why he believes literature should provoke moral questions and self-reflection in readers How he broke into TV after producers noticed the filmic quality of his second novel Drinking dry gin martinis with Patricia Highsmith And a lot more! Show Notes: ElevenReader is a new, award-winning audio app for iOS, Android, Web RaphaelMontes.com The Secret Dinner: A Novel by Raphael Montes (Amazon) Raphael Montes Amazon Author Page Raphael Montes on TikTok Raphael Montes on Instagram Milena Gonzalez | Writer | Reader | Book Reviewer diary_of_a_book_babe on Instagram Kelton Reid Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

How Barnes & Noble made a comeback, with CEO James Daunt

Masters of Scale

Play Episode Listen Later Aug 20, 2026 32:54

CEO James Daunt has now rescued two iconic bookstore chains: Barnes & Noble and Waterstones. He joins host Jeff Berman to discuss the turnarounds, plus how bookstores are preparing for an onslaught of AI-written content, his BookTok strategy, and why local control is the key to making great bookstores. Subscribe to the Masters of Scale weekly newsletter: https://mastersofscale.com/subscribeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

ai business mindset masters management entrepreneurship startups comeback scale barnes noble booktok reid hoffman waterstones daunt diversity & inclusion jeff berman bob safian

Drew Afualo Can't Stop Digging + Bethenny's $42 bagel + Stephen A.'s Thumbs Down

2 Queens 2 Crowns

Play Episode Listen Later Aug 20, 2026 41:46

Drew Afualo's damage control is making things worse, not better — I'm breaking down where it went wrong. Then: Bethenny Frankel's $42 bagel and what it says about diet culture's rebrand, the BookTok drama I accidentally started this week, and why the NABJ gave Stephen A. Smith a thumbs down award. Let's get into it.Subscribe for monthly bonus episodes:https://www.patreon.com/c/queenthingspodhttps://queenthings.substack.com/Join the conversation:TikTok -@queenthingspod⁠,⁠ @iam_kjmiller⁠YouTube - www.youtube.com/@iamkjmillerIG:⁠@kjmillerGoodreads: https://www.goodreads.com/user/show/200570826-kj-millerReferences:Lemme Fix It! Podcast:https://www.youtube.com/@FixItpodThe Kara Goldin Show:https://karagoldin.com/podcast/Drew Afualo and ER Fightmaster:https://www.them.us/entertainment/celebrity/controversy-drew-afualo-er-fightmasterBethenny Frankel's Cafe in the Hamptons:https://www.fastcompany.com/91591361/bethenny-frankel-supermodel-cafe-response-skinny-culture-backMy TikTok on BookTok:https://www.tiktok.com/@iam_kjmiller/video/7675084494814153997?is_from_webapp=1&sender_device=pc&web_id=7626447009641842206Authors of Color I'd recommend:Kennedy Ryan:https://kennedyryanwrites.com/Tia Williams:https://www.tiawilliamswrites.com/Ashton Lattimore:https://www.ashtonlattimore.com/S.A. Cosby:https://en.wikipedia.org/wiki/S._A._CosbyTayari Jones:https://www.tayarijones.com/Addie E. Citchens:https://en.wikipedia.org/wiki/Addie_E._CitchensAbby Jimenez:https://www.authorabbyjimenez.com/R.F. Kuang:https://www.rfkuang.com/Elaine Chou:https://www.elainehsiehchou.com/NABJ Gives Stephen A. Smith Thumbs Down:https://www.latimes.com/entertainment-arts/tv/story/2026-08-16/stephen-a-smith-lashes-out-after-receiving-nabj-thumbs-down-awardWhat I'm Reading:The Great Alone, by Kristin Hannah:https://kristinhannah.com/books/the-great-alone/Dominion, by Addie E. Citchens:https://us.macmillan.com/books/9780374609337/dominion/The True Love Experiment, by Christina Lauren:https://christinalaurenbooks.com/books/the-true-love-experiment/

tiktok cafe digging dominion bagels cosby stephen a smith hamptons booktok thumbs down bethenny nabj kristin hannah christina lauren tia williams kennedy ryan drew afualo

Book Marketing, AI Book Discoverability, And Resilience, With Ricardo Fayet

The Creative Penn Podcast For Writers

Play Episode Listen Later Aug 19, 2026 67:55

How can you get your books surfaced when readers ask an AI what to read next? What are the hallmarks of authors and businesses that last more than a decade in the indie author industry? Ricardo Fayet gives his marketing tips after more than a decade at Reedsy. In the intro, Expanding Your Book's IP through Merchandising [Wish I'd Known Then]; Guide to writers conferences [Kindlepreneur]; Rick Rubin and Stephen Pressfield on resistance and the muse [Tetragrammaton]; Pulitzer Prize winners disclose AI usage [Nieman Lab]; My new rebuilt fiction site JFPenn.com. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Ricardo Fayet is the co-founder and chief marketing officer of Reedsy, a marketplace for writers to find vetted freelancers, author training courses, and lots more. He's also the author of How to Market a Book and Amazon Ads for Authors. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How AI search actually finds and ranks the books it recommends Why keywords and search volume are disappearing as marketing metrics Building an internet footprint so your book is worth recommending Why Claude leans on Goodreads while ChatGPT and Gemini lean on Reddit Product is more important than marketing, and how to find your comp titles Passion, business sense and resilience in the authors who last You can find Ricardo at Reedsy.com. Transcript of the interview with Ricardo Fayet Jo: Ricardo Fayet is the co-founder and chief marketing officer of Reedsy, a marketplace for writers to find vetted freelancers, author training courses, and lots more. He's also the author of How to Market a Book and Amazon Ads for Authors. So welcome back to the show, Ricardo. Ricardo: Thank you, Jo. It's been a while. Jo: It has been a while. As we were saying, it's been a decade, which is crazy, because you and I see each other at events and things. For anyone who doesn't know you— Tell us a bit more about you, where you're from, and also, what is Reedsy these days and how have things changed? Ricardo: Yes, sure. I think I'm hard to dissociate from Reedsy because my only background really is Reedsy. We started Reedsy right after business school for most of the founders. There are four founders, and I'm one of them. We've been going since 2014, so it's been 12 years. We started around the same time, and you started even earlier than we did, but we've had the chance to meet at quite a few conferences since. I think the main thing we're still known for is our marketplace. Since the very beginning, Reedsy is a curated marketplace where authors can come in and look for editors, cover designers, marketers, ghostwriters, literary translators, author website designers, pretty much any freelancer you would ever need to hire throughout your writing career. That's how we started. That's our main source of revenue and our main business. Since then, as you mentioned, we've also added courses, live events, so we've got a membership under Reedsy Learning. The main thing we're proud of right now is our writing tool, Reedsy Studio, because we've been pouring a lot of engineering talent into it over the past five, six years, and I think it's a really cool writing tool that is 90% free. It also does the formatting, so it's a good alternative to Vellum or Atticus for those who haven't purchased those tools. So there's a lot of things that Reedsy does at this point, which always makes it hard for me to describe what we do. Jo: But you generally serve writers. That's probably the crux of it. Ricardo: Exactly, yes. We're mostly at the production stage. The thing we say is we help authors make beautiful books, right? That's a little bit the tagline that applies to 90% of what we do, though we also help a little bit with the marketing side of things. Jo: And then just tell people where your accent is from. Ricardo: So I'm half French, half Italian from my parents, and I was born in Spain. So depending on my mood and the moment, it might be anywhere from French, Italian, Spanish. It's anyone's guess, really, at this point. Jo: Yes, exactly. You've been part of the indie author ecosystem, as you said, since 2014. You're often at the author conferences, and you stay abreast of everything that's going on. So what are the biggest changes you've seen in the industry since you started out? Like you said, you guys came from business school. You chose to come into the industry at a particular point, and yet things have changed. So what do you think are the biggest changes, and how have you seen authors adapt? Ricardo: It's crazy, the amount of things that happened in the past 10 years. Obviously we came into the industry as a result of Amazon launching Kindle Direct Publishing, and then the Kindle Store becoming one of the number one places where people buy books. That's what enabled self-publishing in the first place as an industry, and obviously we wouldn't exist without self-publishing being a thing. But then I think probably one of the biggest changes that happened was the introduction of Kindle Unlimited and various other subscription models. Perhaps as a response to that, afterwards, I would say direct sales is the other massive change that happened in the industry. The ability for authors to sell direct to their readers via their websites, or running Kickstarters, or basically the ability to reach your customers directly. Now, obviously, artificial intelligence is probably the biggest change of them all, not just in publishing, across every industry, but of course it's going to affect publishing very strongly, or it has already started making big waves. So I would say those are the three main changes that we've seen happening in the industry. Jo: Just interestingly, given that you're French, Italian, Spanish, European— Has the pace of change been the same in mainland Europe? Because you and I have also met up at European conferences, but I just get the sense that each individual European country, the UK included, as I include the UK in Europe, goes at a different speed. Ricardo: No, they definitely do. Our market at Reedsy is all in English. We only have an English website, and I would say 70% of our market is US, then 15% UK, and then Australia, New Zealand, et cetera. We do have clients in continental Europe, but they're mostly going to be American or British expats. A lot of retired people who write books and use Reedsy services. I think the main reason for that is that self-publishing as an industry hasn't really grown in Spain, France, Italy the way that it's grown in the US and the UK, probably because these are countries where book buying habits are a lot more traditional. So all my friends from high school and university in France, they all buy books, they all buy paper books. They all buy from bookstores. They don't really buy from Amazon that much. They love the smell of paper, all these sorts of things. So obviously that makes it harder for indie authors in those countries because they cannot place their books in the places where people buy them, which is traditional brick-and-mortar bookstores, or at least it's much harder. So there is an indie movement in those countries, but it's much smaller. I would say Germany is maybe the exception in Europe, where I've seen more and more full-time indie authors, but I don't think it's a market that's comparable even to the UK. Jo: Interesting. Okay, so let's go to marketing, because you love marketing, you have a newsletter about it, and you have a book, How to Market a Book, same title as mine, and we've found each other in our Also Boughts over the years. You have, however, updated yours several times. 2025 was your last update. Mine was 2016, so yours is definitely the most up-to-date one. So what are your thoughts on how authors can reach readers now? And let's split this into two. Let's start with some tips for new authors who just have maybe one book and are really just starting out. Ricardo: Yes, first of all, sorry for stealing your title. Jo: Oh, you know, it's never been a problem. Ricardo: We were trying to come up with something… I know, I know, I know. But still, we wanted something more original, and then we realised that for SEO purposes, that's the title we should really go for. The good thing is, if you search “how to market a book” on pretty much any retailer, you're going to find your book or mine in any order really, but those are going to be the top two books to this day, thankfully, so I'm good with that. I think in terms of marketing tips for new authors who have just the one book, I'd say, despite all the changes in the industry, the basics of marketing still stay the same. One of my big mantras when it comes to marketing is that product is more important than marketing. So having a great book is going to be more important, in my opinion, than being a great marketer. Having a great product. By that, I generally don't talk about literary value or prose or anything like that, just because I'm not a book critic. I'm not an editor. My opinion on whether a book is good or not is worth zero. From a marketing standpoint, for me, a good book is one that resonates with its intended audience. So the first step for newer authors is to basically figure out who they wrote this book for, right? Have an idea of who their target market is. A great way to do that, without entering into marketing jargon like proto-personas and stuff like that, is to think in terms of comp titles, comparable titles. I think that's probably the base of any marketing, whether traditional publishing houses or indie authors, to think, “Okay, which other books out there are similar to mine?” If your book is completely unique, you have, I would say, 99.9% chance of not selling, because your market doesn't exist, and 0.01% chance of creating your own market and completely dominating it, right? So being unique is not necessarily a bad thing, but I would say 99% of the time, it is. Obviously being unique within an existing niche, within an existing market, that's completely different, but you need to work on some comparable titles. So I would say that's where I would start, and that's one of the things that AI is great at. If you even just plug in your book into an AI chat that has enough context, if you're comfortable doing that of course, or if you plug in a synopsis, like a long synopsis, you can basically ask the AI chats, “Okay, what would be some comp titles?” Either you'll have heard of those books, and you'll think, “Okay, they're good comps,” or you may not have heard of them, in which case I would really recommend buying them and reading them and seeing whether they're comps or not. I think that's where marketing starts. Jo: Yes, and we might come back to that for book discoverability. Well, let's just talk about it now, because I now pretty much use Claude for discovering books as well. I just find that the Amazon search, for nonfiction it works really well, right? As you said, if you want to learn how to market a book, you just search “how to market a book”, and our books are very well titled for that. But for fiction, it's so difficult to find new books and comp titles, especially if you don't write in a clear genre, which I don't. I know lots of people do. So we're writing cross-genre. So in terms of book discoverability, I know you've been looking into SEO for books and all of that. What are your thoughts on how authors can more effectively have their books surfaced if people are using the AIs for finding books? Ricardo: That's a very big topic. That's one of my favourite topics right now. That's what I talk about in my marketing newsletter, and I want to start a Substack on the topic as well, because I think it is the future of book discoverability. As you say, search on Amazon isn't great, and if it's not great on Amazon, you don't even want to imagine on Google Play, Kobo, all these sorts of places, right? If you search on Kobo or Apple Books or Google Play for witch cozy mysteries, the top 10 books are going to have exactly “witch cozy mystery” in the title or the subtitle or the series title, right? Jo: Yes. Ricardo: Search is very simple on those sites, so it's very easy to game, but it's terrible as an experience for readers. So I do think that a big part of search is going to move to AI, and now you have Rufus within Amazon itself that appears as a chatbot and encourages you to talk with it, to ask for recommendations. In the beginning Rufus was really terrible, but now I recommend authors play with it. In general, I recommend when it comes to AI discoverability that authors play with all the AI search tools. So it's going to be Claude, ChatGPT, Gemini, Google's AI Overviews and AI Mode, Rufus within Amazon. Just like we talked about comp titles, right, ask for something like, “What would you recommend for fans of this book? Which other books would you recommend?” Or if you're looking for something specific that describes your book, what books would you recommend on… I think one of your examples was fiction around masonry or something like that, right? Jo: I always say, for example, if you ask for action adventure thrillers on pretty much anywhere, you're going to get 20 books by male authors. For those of us who are female authors, but also who have female main characters, you can then be far more granular. That's just not something that necessarily works on Amazon. So, action adventure thrillers with female protagonists written by female indie authors, which is very specific. That will work in AI, whereas that definitely won't work on Amazon. Ricardo: Exactly. So one of the great things about AI search, and terrible things at the same time, is that the concept of keyword is lost, right? So we title our books How to Market a Book because the keyword that people would search for is “how to market a book”, or “book marketing for authors”. Those were the two keywords that had the biggest search volume if we looked at Google Keyword Planner, or any search tools that give you keyword volume. When it comes to AI search, since it's conversational, and it's very personalised, and it can go as niche as you want, keywords are going to disappear, and search volume as a metric is going to disappear. The search you just told me about, maybe there are 10 people who are going to run it exactly. Most people are going to run variations of that. Since you can go as granular as you want, it's going to be very long phrases, very long sentences. So the whole concept of keywords, search volume, SEO, is going to disappear in favour of what some people call GEO, generative engine optimisation, AIO, AI optimisation, AI search optimisation. There's a bunch of names for it, but it is a different discipline. It still works on the basis of Google SEO because what most of these search engines will do is they're going to search the internet, right? They've been trained on a lot of information, but not all of that information is current. Most of these models have been trained on documents and web pages before 2021. That's why when you used the very early versions of ChatGPT, and you asked it about current events or current books, it didn't find it. It didn't have that information. Now all these models have the ability to search the web, and they do that really effectively. So the first thing they're going to do if you run a search like that is they're going to run dozens of different searches on Google or a similar search engine. Action thriller books with female protagonists. Action thriller books with female protagonists by indie authors. Action thriller books by indie authors. They're going to create what I call a corpus, so a massive document of information with candidates, books that probably meet those criteria that they have found through regular web searches. Then they're going to go through all those books and determine which are the most relevant to recommend, and they'll return with that. Then they'll usually have a verification layer as well, which is, okay, I have these five books that I want to recommend to this user, but I just want to make sure first that they are written by indie authors, that they do have a female protagonist, et cetera. And if I'm not able to verify that, I'll flag it in my answer to them. So there are these three layers. Web search, then ranking of the book candidates, and finally a verification layer, and then they serve you the answer. Obviously, that's really powerful. If that's the way that search is headed, which I firmly believe, then we as authors need to learn how to get our books in there. Jo: Yes. It's so interesting, and I do this all the time. Really niche stuff, like a thriller about anatomical Venuses, which are these models from anatomy museums and stuff like that, with an edge of the supernatural. What is brilliant is that you can find the books that come up. I actually got one that I read and reviewed, and it was fantastic. So I love the more granular thing, but we're really in the very long tail now, right? It feels like you can write a very nuanced book, and it will be surfaced, but only by a few people. So do we have to write our books and then try to not even retrofit them in the way that we used to? We used to try and figure out the seven keywords and all of that kind of thing, and now I almost feel like we just get to be grownups, where you just get to write the book and put it out there, and these things are more intelligent than the search terms. Ricardo: Yes, absolutely. I think in terms of the variety of books that are going to be read and discovered, that's amazing. A little bit like the whole indie publishing movement was amazing, because if you remove the traditional publishing gatekeepers, then suddenly zombie books aren't dead anymore. Zombies are alive again. They've… Jo: Come to life. Ricardo: They've come alive, and so you get a bunch of zombie books again. It's not a small niche audience. It's actually a pretty big niche audience that loves zombie books, and suddenly they have those to consume. This is a little bit similar on a much, much bigger and more granular scale, because anyone can find exactly the kind of book that they're looking for, with the tropes they want, with the type of characters they want, with the type of author they want, and you can basically use any kind of filter. So for discoverability on the side of the reader, that's great. For the authors, it doesn't mean that you can just write whatever you want and then rest, and readers will find them. Because your books still need to have generated a certain internet footprint and a certain review footprint in order to become interesting or recommendable to AI search engines, right? Unless you're the only book that an AI search engine can recommend for that specific search, and yours was very specific, so it might have been the only one. If there are other candidates, the AI search engines are pretty smart. They're going to recommend the candidates that have more reviews, better reviews, or are more famous, that have more, when I talk about internet footprint, more pages talking about them on the internet. That's for me the big finding I've seen. The more pages you have on the internet talking about your book, so that could be book review sites, that could be Goodreads lists, Listopia lists, anywhere on the internet where your book is mentioned, that creates a footprint for it. The more footprints, the more famous your book looks to AI search engines, and so the more worthy of recommendations it is to them. Jo: Yes, and this is one reason why I now ask people, especially when you sell direct, or say you have a Kickstarter and you want reviews, I ask people if they can review on Goodreads. Obviously Goodreads is owned by Amazon, but it is far more searchable by the bots than Amazon is. I sometimes find that Amazon gets blocked. Or Amazon blocks some of the bots, let's put it that way. They might change over time. They own 15% of Anthropic or something. But Goodreads I feel like does get indexed, and I'm not willing to engage on Reddit. I know Reddit is another popular one. Just be very clear on social media, because some people think, oh, I just need loads of influencers to talk about my book, and that will impact the AIs. But I find that social media just almost isn't even there. Ricardo: It depends on which social media. For me, Reddit is a social medium, right? It's a very weird one, but it's obviously the number one social medium used by AI search engines, and it's pretty dodgy stuff with lots of conflicts of interest, because Google has a paid partnership with Reddit. I think Sam Altman has shares in Reddit. So both OpenAI and Google Gemini heavily rely on Reddit for their AI answers, right? If you ask anything from ChatGPT or Gemini, I'd say there are very high chances that in the sources and the citations of the answer, you're going to find Reddit, right? That goes for books as well. Every time you ask for book recommendations, Reddit is going to be big for those two AI search engines. Claude, it's a little bit different. They do have a little bit of a relationship with Reddit, but I don't think it's as big. I found that Claude relies heavily on Goodreads, not Reddit. To me, Goodreads is another social medium at the end of the day, right? It's not the kind of social medium we think of, like… Jo: It's not TikTok. Ricardo: It's not TikTok. TikTok is surfaced a little bit, but not that much. It might become more surfaced in the future, but right now what I've found is, it's really Reddit and Goodreads. Facebook, LinkedIn, but LinkedIn is big for nonfiction topics more than fiction, because there are just not a lot of fiction readers, sorry, talking about their favourite books on LinkedIn. They usually go to other places for that. Jo: Yes, it's really interesting. So obviously TikTok has its own BookTok thing, so some people are finding books on BookTok, and some people like me are finding books through asking Claude, and that's just my overwhelming feeling about the industry. We talked earlier about what's changed. When I started, so 2006, there wasn't even KDP, and then KDP arrives, then you came in 2014, and probably until maybe a few years after that, there was one way to self-publish. Then what's happened since is this kind of splintering. There are so many ways to self-publish. There are so many ways to reach readers. There are so many ways to market. So someone, for example, could sell direct on TikTok Shop, only market through TikTok, and you wouldn't even know that they existed over in another ecosystem, right? So do you feel like that's happened too, this total splintering? Ricardo: Absolutely. I think there are so many different ways in which you can reach your audience now and monetise it as well, that it's absolutely possible. We both know examples of authors who are only visible to their TikTok niche, right? I think the big difference is also monetisation, because earlier you also had different ways of becoming well-known. Like you had Facebook, you had potentially Twitter, back when it was Twitter. Various social media, word of mouth. But where people bought books was Amazon. So that was your monetisation. It was either selling your book on Amazon, or potentially getting KU reads after that when KU launched. Now you can sell on TikTok, you can sell direct, you can run Kickstarters, you can start a Patreon or Substack and make your money through there. There are pretty much infinite ways through which you can monetise your content as a creator. Most of those places will also have a discoverability engine built in, so you can not only sell through there and make money through there, but also grow an audience there. That's probably the biggest competition that Amazon has ever had to face, is this sort of splintering. For us authors and content creators in general, it's amazing, because it's a bunch of different opportunities. Jo: Yes, and I think probably that's circling back to marketing. As we've said, some things have changed, some things stay the same. Is the email list still the number one way to market, do you think, for authors who want a long-term career? Ricardo: I think so. It's just the one thing you really own that allows you to communicate with readers, right? Because even if you build a following on TikTok, TikTok can change. The things we said about Facebook 10 years ago, if you build your Facebook group, Facebook can change, and Facebook changed. Facebook destroyed the reach of pages, and now groups also aren't amazing, et cetera. So the same thing that happened to Facebook can happen to TikTok, can happen to any other social media. Substack is a bit of a hybrid because it is a newsletter, it is a mailing list, but it also has a discoverability engine built in. So I still wouldn't really go all in on Substack. The great advantage there is that you do own the emails, right? So you can move away from it at some point. For me, the email list is the one thing that you are completely in control of. Personally, the main thing I check is my emails every day. I spend more time in my inbox than anywhere else, and I think that's probably the case for most people. So I do think, despite the influx of mails that readers are getting in their inbox, I still think it's one of the most important marketing tools for authors. Jo: Yes, and I still remember when I started my list in December 2008, and I still have people on the list who've been with me that whole time, and have moved email list services several times as well. So I think that's important too. The care of that list too is so important. One of the things that I am annoyed about with Substack, I don't have a Substack, but when I follow some people's, it's always constantly trying to get you to sign up to other people's lists, trying to subscribe you to this or that or the other. I'm like, “That's so annoying.” Now I've found on all these email services they're trying to pair you with other creators and cross-promote and all of this. So it feels like even the email list is becoming a difficult place unless you really protect it. So just protecting your list, I think, and remembering that those are people. Those are people who've bought your books, or people who read your emails. Like people listening to this, these are humans. Sure, some bot might be looking at the transcript, but humans listening to this are individual humans with individual email lists. We tend to forget that, don't we, as you get a bigger list. You think about it as a big number, whereas it's still individual people. Ricardo: Yes, it becomes a number, it becomes metrics, the open rate, the click rate, and all that. But the great thing about email is that you get replies in your inbox. There you remember that they're actual human beings who write you back. I think for readers, the ability to write back to an author and get a response is just amazing, right? If you write to your favourite author and they write back to you, that's the best feeling ever as a reader. So I think email is still one of the best ways to turn your readers into fans and into super fans of your brand, by just interacting with them and answering them. Because yes, you can answer comments on TikTok, Facebook, and all those places, but it doesn't feel the same as an author answering you in your inbox, I feel. So you do get that ability to create a real connection with readers directly through email. Jo: Yes, and I think that trust and the reputation is so important. Just in terms of seeing the authors that you've seen over the years, like I said, you've been going to a lot of the author conferences. You know a lot of the authors in the industry. A lot of people will know you from events. But you've also seen authors come and go, and you've seen vendors come and go. Both of us have seen people arrive, and we'd be like, “Oh, yes, I wonder how long they're going to last.” Then some people do and some people don't. So what are some of the elements that you've noticed about the businesses that last more than a decade? Ricardo: I think they need to solve a genuine problem, or offer a genuinely better solution than one that already exists. I see a lot of businesses come in and they do what another vendor already does, without doing it necessarily better. Those businesses tend to disappear, or linger there, but you don't really hear about them again. When they solve a real need… I still remember when BookFunnel came out, and they've since become massive with one very, very basic thing, which is, “We will take care of delivering your ebook files to readers.” That's how they started, and that's how they became massive. To me at the time, I was like, “That seems like a very small problem,” because I can just email an ebook file. I didn't realise that it was so complicated for a lot of readers to upload files to their Kindle or other devices, and that having a service that takes care of that for you is just massively helpful. I realised that when I published my books, actually. So businesses that solve even micro or apparently very small problems, but they really solve them effectively, they stay. Others that surf on trends, they tend to disappear when the trend disappears. When there's a new marketing trend, and that trend stops working, then those businesses tend to go. Jo: Yes, and what about the authors who last? Because let's face it, most of us don't solve a problem in a different way. Maybe you could say we solve your entertainment problem in a different version to your last book. What about the authors who last long term? What have you noticed about them? Ricardo: Two things. So the first one… Maybe three things. First one is passion. I always say to people who are looking to start self-publishing, I always say that publishing in general is probably one of the worst ways to make money. It's awful. You can pick up any other occupation and it's probably going to be easier to make money. So writers who make a career do it because they need to write, because they have a passion for writing. So a lot of people who come into the industry thinking, “I've heard about all these self-publishing success stories. Surely I can write a book and I can market it. It's not that hard. So that's going to be a great way to make quick bucks,” those generally don't last, because they don't have that genuine passion. The first hurdle they're going to face—and there's going to be a bunch of them along the way—they're going to quit. The second thing is business sense, or business education, the basics of business, right? Thinking in terms of marketing, thinking in terms of who's my reader, unit economics. If I'm selling my books at $3.99, I shouldn't be spending a ton of money. If I just have one book at $3.99, I cannot afford to pay $5 on ads to generate a sale. So those kinds of basic economics or business knowledge, I think, if not a requirement, it's a massive plus. The third thing is resilience. The industry has changed a lot, as you mentioned. There are a bunch of ways now to reach an audience. There are a bunch of ways to make money. It can also be distracting, because you go to one of these conferences and you go back thinking, “Oh, I've got to create my own website, sell direct. I've got to launch my Substack. I have to use Claude Code for my ads,” and three more things, “and I have to set up my TikTok Shop and do TikTok Lives to sell books,” right? Jo: All of those by next week. That's why we go to the conference. Ricardo: Exactly. All those by next week, right? And during that one week after the conference, you have the energy to start implementing all those things, but afterwards you lose that energy and you go back to, “I just want to quit.” So you need to have some sort of resilience, and the business sense of, “Okay, I'm going to try this for the next six months, and I'm going to stick to it, and I'm going to see whether it works or not. And if it doesn't work, I'm not just going to despair. I'm going to try something else.” That goes for marketing tactics, but also goes for books. Most authors I know who make a living writing, they didn't get there with their first book or even their first series. A lot of times I see authors who write a couple of series, and those series do okay. They sell a little bit, but not much, and it doesn't afford them to quit their day job. Then suddenly, based on what they've learned with those first two series and what they've learned potentially going to conferences or listening to podcasts like this, et cetera, they write a third series that's a hit. That's a hit, and that's instantly much easier to market, and that's when they can afford to go full time and write full time, because they've found that sort of product market fit. And product market fit for me is the main thing for marketing in general and for authors in particular. Until you find that, everything is really difficult from a marketing perspective. But finding it usually requires writing more than one book and more than one series, because you're rarely going to get the big lottery ticket on the first try. Jo: Or ever. I think it's really important. I've never had a breakout book, but I've made good money every year. I think, and Hugh Howey said this, that the real story of self-publishing is not the people who make seven figures a year, it's the people who can go on a holiday once a year, or the people who can just put a bit towards their mortgage or whatever. So you may never have a breakout series. I think that's really important, too. Ricardo: That's true. Jo: That's true. You can just keep writing and make all right money and be what we call in the mid-list. Ricardo: Yes, but you've got to keep going. You've got to have that resilience to keep going, probably because it's your passion. Exactly. You're not chasing that seven figure series. You're writing because you need to write. Jo: Yes, and you can't stop, and you get the bug. I think when you're writing that first book, I'm not sure if people understand that you either get the bug or you don't, I think. You've written a couple of books now. Do you think you have the bug, or is it more about the business? Ricardo: I don't have the bug. I definitely don't have the bug. I would've kept writing otherwise. Jo: You're a technologist, right? Ricardo: Yes. I'm more of a technologist, more of a marketer. To write my first book, How to Market a Book, I actually had to write newsletters, because that I can manage, right? One newsletter a week. Now I don't even manage that. I send it once every two weeks when I can even manage that pace. But back then I did one newsletter a week, and that's how I wrote my first book. I then put all these newsletters together, and that was before the age of AI, so I couldn't just dump all that into ChatGPT and tell it, “Create me a book based on that.” I had to do it myself. Jo: Oh, terrible. Ricardo: Terrible, I know. The days when we had to work. No, but that was a really good experiment. The second book, Amazon Ads for Authors, I actually wrote it from scratch, and I didn't love the experience. I loved the finished product, I'm very proud of it, but I didn't enjoy the experience of writing it. Amazon Ads is not the most exciting topic in the world. Even for people like me, who actually enjoy Amazon Ads, it's not super exciting to write about. The fact of having to write that whole book from scratch, I didn't love the experience. So now I do want to write a third book at some point, but I think it'll probably be in the format of the first one. Like, when I finish my series of newsletters on AI search and AI discoverability, I might do a booklet or something around it, but we'll have to see. It's not my favourite thing. It's a good thing I don't need to. Good thing I'm not an author, basically. Jo: No, but I think that's really great to recognise. You actually have written books that support your business, and that is very common for nonfiction writers. That's completely normal for nonfiction authors. So I think that's another important thing for people to recognise, is that the reasons we write are different, the reasons we market are different, and we all have different approaches. As we wind up, and obviously you talked a bit there about how easy it is to generate books with AI, and that is probably one of the biggest things that people are worried about. Now, those of us like you and I have been talking about AI at conferences and things for years now. Neither of us are afraid of it, I think basically because both of us use it, and we're technologists, so we just get on with it. There is so much fear in the community. There's so much negativity. You mentioned Substack, and now they've integrated Pangram, which is renowned for false positives around what is written with AI, and so people are very worried. If we look forward and we look at the next decade, this is not going away. This is going to change a lot of things. So how should authors be thinking about AI, do you think, if they want to prepare for the next decade? Ricardo: I think they need to play around with it, because you and I know that until you actually use it, you don't realise what it's capable of. We've both had these moments of “Oh my God, I'm going to be out of a job,” or “Oh my God, this is incredible,” the kind of things it's able to do. You also realise by using it the things it's not great at, or the things it can be good at but needing a lot of human input. There are courses out there, there are books, there are a lot of things, but for me, the most important thing is to start playing around with it. So you can pick one specific topic to play around with. Either something that you've been meaning to get into for years and haven't done, or something that really annoys you. Looking at the results of your Facebook ads, for example. If you run Facebook ads in the first place, and when you log into your Meta dashboard you cannot make sense of it, take screenshots or download the data, feed it to an AI chat, and talk with it. One of my biggest tips when talking to AI chats is asking them questions rather than asking them for things to do. Because if you just feed it your advertising data and you tell it, “Tell me what I should do,” the chat has no context about what your ads are about, what your goal is, et cetera, et cetera. If you feed it just a screenshot and you say, “Here are my ads. I would like you to help me make sense of them. What do you need to know from me in order to help me with this?” Then it's going to start asking you questions. “Okay, what are you advertising?” They're books. “Okay, what kind of books? Where are you selling? Are your ads going straight to Amazon or retailers, or are they going to your website? If you sell direct, okay, are these conversion ads?” Et cetera, et cetera. So you build that context, and they can help you with it. So that's just one example, but I would pick one thing that you want to test AI with, with zero expectations. Don't expect that by the end of the week you'll have a full system for understanding your Meta ads thanks to AI. You might get to that or you might not, but at least you'll play with it and you'll understand its capabilities, and have a sort of understanding of how it works and how you can potentially use it for other things. I think that's the best way to adapt, because once you play with it, you start thinking. You're walking the dog and you're just thinking, “Ha, I could maybe use it for this thing or that other thing,” and that's how you progressively become more familiar with it. I think there are a lot of worries around AI, but as you say, it's there to stay. So far, I think I was looking at data this morning, and the unemployment rate in the US has stayed stable ever since ChatGPT was introduced two years ago. So there are a lot of narratives out there around how it's going to replace humans, it's going to replace jobs, et cetera, which it might do. I'm not great at predictions usually, but so far it hasn't. What it will definitely do, however, is completely change the way we work. Obviously AI was one of our big reckonings at Reedsy, because we run a marketplace. Our main business model is the marketplace, where authors come in and look for editors, for marketers, for cover designers, for translators, and some of these domains and services are being transformed by AI, right? AI translations are massive right now. We haven't really seen a decline at all on the Reedsy marketplace, but we're prepared for it. It might very well happen, but what we think is happening, or is going to happen, is professionals using AI tools to provide a better output or a faster output or a cheaper output, or all three of these things. So for example, we now have literary translators who say they're open to editing AI translations, right? So you can come in, you can have your book translated with AI, whichever tool or method you choose for that. Then if you want a set of human eyes on it, you can hire a literary translator who's open to working on an AI-translated manuscript, and that's obviously going to be much, much cheaper than paying 10 cents per word from scratch for a literary translator. I'm not necessarily recommending you completely bypass literary translators, or that you go this way, but you have options, right? You have options for different sets of budgets. I think all these human editors, narrators, translators, designers, et cetera, they're not going to disappear, but they might have to reinvent the way they work in the future. Jo: As we all are doing. As you say, for me mostly it's the business side, getting Claude to help me with business stuff. Like even bookkeeping. There are bills that we've all been paying for years that we can now maybe reduce, and reducing costs as well as increasing profit is obviously good business sense. So, interesting times. But just as we wrap up, what are you excited about in what's coming? How do you see Reedsy shaping up in the next decade? What is coming for you and Reedsy? Ricardo: We're really excited about the decade to come, because obviously 10 years for a startup is a long time. I think most startups after 10 years, the founders are gone. Jo: Yes. Ricardo: Or they've exited or they've sold or whatever. We've stayed, we're the same founders, and we're still as excited because I think we have new products, right? We're working on new things. As I mentioned at the beginning of the episode, Reedsy Studio, our writing tool, is probably one of the things we're most excited about, because first, it's getting adopted very fast. It has startup-like growth that we hadn't seen for other products in a long time, and it has very cool technology built in. We probably have a team of 10, 15 engineers now working full time on it and adding a lot of things. So we've added templates for plotting your book, with relationships within different characters and places and magic systems and things like that. We've added writing goals and writing statistics. We still have the free exports. One very cool thing we've added is real time collaboration. So just like Google Docs, you can write in real time with a co-author, or you can get an editor to work in there live with track changes. So you could have an editor working on chapter one while you're writing chapter three, for example. That kind of thing. It's really powerful technology, and that's one of the things we're really excited about for the future. A business, just like authors, we've got to reinvent ourselves. We've got to find ways to keep things exciting and keep motivated, and that is definitely one of them. When adoption goes along with it, then that's obviously super satisfying. Jo: Brilliant. So where can people find you and Reedsy online? Ricardo: So Reedsy you can find at reedsy.com, R-E-E-D-S-Y.com. And there you'll find the whole suite of tools and services. For me, you can find me mostly by email, as I mentioned. That's the one place I check consistently every day, and my email address is ricardo@reedsy.com. So again, R-E-E-D-S-Y.com and ricardo@reedsy.com. You can email me any questions you have about this episode, about AI book discoverability, about marketing, about Reedsy. I always try to answer every email I get, because I think when we started Reedsy, I really appreciated people like you, and some other agents and editors and authors we contacted who were influential in the industry, who actually answered us and took the time to do that. So now I try to answer every email I get, because I feel like we've been very lucky in the beginning to have those people answering our emails, so we should do the same. Jo: Oh, well, thanks so much for your time, Ricardo. That was great. Ricardo: Thank you, Jo. Thanks for having me again.The post Book Marketing, AI Book Discoverability, And Resilience, With Ricardo Fayet first appeared on The Creative Penn.

Have We Taken Book Boyfriends Too Far?

We Read It One Night

Play Episode Listen Later Aug 19, 2026 91:19

Comrades! We're diving into the piping hot waters of romance community tea with today's topic: Book Boyfriends! The cishet white men popping up in online romance spaces with shady at best intentions. We talk parasociality, the capitalism of it all, centering men, and how BookTok and Bookstagram have become ground zero of a change we're seeing in the separation between real and online life. Do you agree with our takes? Are you a book boyfriend defender forever? Do you have absolutely no idea what we're talking about because you're not chronically online? Let us know in a review or in the comments on our socials. Enjoy the show! Butcher & Blackbird episode Reformed Rakes Fabio episode SUPPORT THE PODCAST by visiting our Bookshop.org Storefront to get any book mentioned in the episode. If you use this link or go directly from my store, we earn a small commission. You can also buy me a coffee and shop some WRION merch! FOLLOW THE PODCAST on Instagram/Threads @wereaditonenight FOLLOW Alison on Instagram/Threads @thealisonfinch FOLLOW Caro: on Instagram/Threads @difficultwomanthreads Facebook: We Read It One Night Email: wereaditonenight [at] gmail.com

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Dungeon Crawler Carl Part 1

Play Episode Listen Later Aug 19, 2026 48:16

Although this book is in a genre they don't normally cover, since everyone on Booktok is talking about it, you know that your favorite booktok girlies had to weigh in on book 1 of "Dungeon Crawler Carl," by Matt Dinniman. Important things to call out as they cover the first 50%: Princess Donut is the best, listening to the audio book is the elite way to consume this series,, and did we mention Princess Donut is the best. I mean Carl is alright I guess, but you know the feline is proud to be the crowning achievement of this series. Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

261. Daughters of the Moon #6- The Lost One: "Everyone's lost."

Play Episode Listen Later Aug 17, 2026 57:33

ACOFAE Podcast Presents: Daughters of the Moon #6- The Lost One: "Everyone's lost." ACOFAE is back in the 2000's with Daughters of the Moon #6! Six! Can you believe it?! This book starts off with a cold open on top of a cold open, and then we the reader get an outside perspective on our favorite LA goddesses. Turns out after losing their friend Catty, they got weird? Maybe they're witches? But they totally most definitely killed her. Our new lost girl, Tianna, is having one hell of a day. Memory loss on top of high-school is the dumps. Top it off with weird guys stalking her and Tianna doesn't have time for soccer Vanessa, or poetry Serena, or talking it out Jimena. Tianna has to save herself and get her memories back before something worse happens. Probably. The teen club. TW / CW: loss of family For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: the Daughters of the Moon series by Lynne Ewing Mentions: Buffy, Pretty Little Liars, Rosewell, V for Vendetta, Teen Witch, Pixar *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast https://www.instagram.com/acofaepodcast/ @ACOFAELaura https://www.instagram.com/acofaelaura/

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Why Are We So Obsessed With Romantasy?

The Hook Up

Play Episode Listen Later Aug 17, 2026 59:47

Whether you have or haven't read books like Heated Rivalry, A Court of Thorns and Roses or Fourth Wing, you can't deny the rise in smutty literature. In 2025 romantasy and sports romance experienced triple-digit growth.But there's been some criticism around how DR and romantasy books often glamourise SA and are too accessible for young readers. In today's episode Dee is joined by guest co-host Esme James, a sex historian and author, to discuss why we're all so obsessed with fantasy smut. SHOW NOTES:https://lighthouse.mq.edu.au/article/2026/feb-2026/romance-revival-why-we-love-stories-about-love?utm_source=chatgpt.comWhy romance novels thrive on tiktok - https://www.abc.net.au/news/2023-12-27/why-romance-and-romantasy-novels-are-so-popular-on-tiktok/103198518?utm_source=chatgpt.comEsme's book! https://www.simonandschuster.com/authors/Esme-Louise-James/244716193Dr Esme Louise James IG - https://www.instagram.com/esme.louisee/?hl=enDM us your thoughts, questions, topics, or to just vent at @triplejthehookup on IG or email us: thehookup@abc.net.auThe Hook Up is an ABC podcast, produced by triple j. It is recorded on the lands of the Wurundjeri people of the Kulin nation. We pay our respects to elders past and present. We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the land where we live, work, and learn.

Understanding Virginia Woolf's A Room of One's Own Part 2

The Creative Penn Podcast For Writers

Play Episode Listen Later Aug 14, 2026 60:03

Welcome to Academia Unlocked, our literary deep-dive series on Book Talk for BookTok! In this episode, we kick off our three-part series discussing A Room of One's Own by Virginia Woolf. With over 13 years of combined academic training in literature and creative writing, we walk listeners through the foundational tools of reading beyond the surface. The book community talks about the "decline of literacy" constantly, but almost no one stops to define what literary literacy actually is or how to build it. This series exists to change that. Today we discuss Virginia Woolf's A Room of One's Own, her extended essay and speech. Sponsor: Vionic Use code BOOKTALK at checkout for 15% off your entire order at ⁠⁠⁠⁠⁠⁠⁠⁠www.vionicshoes.com⁠⁠⁠⁠⁠⁠⁠⁠ when you log into your account. 1 time use only. Share your thoughts for a chance to be featured! Submit them at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠booktalkforbooktok.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for a future mini-episode or exclusive Patreon discussion. Support the Show: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/booktalkforbooktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Us on Social: Instagram: @BookTalkForBookTok TikTok: @BookTalkForBookTok YouTube: @BookTalkForBookTok Learn more about your ad choices. Visit megaphone.fm/adchoices

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Going Indie, Publishing Innovation, And The Challenges Of Book Marketing With John Bond

Play Episode Listen Later Aug 12, 2026 67:51

How can you tell where the real innovation in publishing is happening right now, and why is it emerging from the indie side first? How do you market your own book when you've spent 35 years marketing everyone else's? John Bond talks about Going Indie and what he's learned about authors who last. In the intro, my thoughts on writing with AI, Charles Dickens and encouragement for the 3-year-old dancing to K-Pop at the wedding, UK copyright law, The end of an era — Hugh Howey; Notre Dame, Paris; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why 2012 was a watershed moment for publishing in the UK Whether the snobbery around self-publishing has finally gone How to co-write a book with someone, and why there's no formula The pride swallowing involved in getting endorsement quotes for your own book The shadow economy of indie sales that no industry chart measures The hallmarks of writers who build a long-term career You can find John at wearewhitefox.com. Transcript of the interview with John Bond Jo: John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. So welcome back to the show, John. John: Thank you, Jo. Thanks so much for having me. Jo: You were last on the show in 2022. You've been on a couple of times, but just set the scene. Tell people a bit more about you and your long background in publishing. John: I suppose I could say I started as a marketing manager at Penguin back in the early 1990s in London, and that role eventually evolved into running sales and marketing, as it often does. I did that at Penguin and at HarperCollins. Then I ran one of the publishing divisions at HarperCollins, including 4th Estate, and published Hilary Mantel and Jonathan Franzen and Chimamanda Ngozi Adichie and others. I left that in 2011 and set up Whitefox in 2012, and it's a classic startup story. It was somebody I worked with at HarperCollins. We sat around a kitchen table, came up with an idea for a business, which was Whitefox, and that's grown into the creative agency that it is today. Jo: So back then, did you think, “I can do this better”? Was that the impetus, “I can do publishing better than Penguin and HarperCollins”? John: No, I thought we would solve a problem. There's something very attractive about that whole startup mentality and beginning something from scratch. I mean, I was in my early 50s. I'd had a long career in traditional publishing. On the plus side, I knew a lot of people, and I thought I could get meetings, people would reply to my phone calls or my emails. On the downside, I didn't necessarily have the energy of a 20 to 25-year-old. I knew a lot of people and I knew quite a lot of things, and I also knew what problems something like Whitefox could solve. We set up with this idea that if we could galvanise and organise the diaspora of freelancers in the publishing space and make them available to anybody that wanted to make a book, that that would be quite a powerful thing. These incredibly creative, wonderful people who were below the radar and were not particularly valued or managed or utilised properly. I thought if we could access that and make that available not just to traditional publishing people who know about these people, but to individual authors, businesses, brands, people that wanted to make a book, and if you added a layer of our expertise from traditional publishing, that could be quite powerful, I suppose. That's what I was thinking back then. Jo: It's funny, though. You said these wonderful freelancers who were not particularly valued or managed or utilised properly. That could also apply to a lot of authors in traditional publishing. John: Totally. Totally. But if I'm honest, I don't think I was thinking about that. What's really evolved since we started, even in that 2011, 2012 period, is so much has happened to independent writers, indie authors. The whole ecosystem has become much more vibrant, and what is accessible to those writers is much greater. I'd like to think we've played a part in that. What that's done is put power back into writers' hands, and that quickly became apparent in the business as a byproduct of what we'd set up. Jo: Yes, and 2012 I do think in the UK was a pivot point, because I got into self-publishing in 2006/2007 when the Americans did with the beginning of the Kindle and the iPhone. Really the American ecosystem grew first. I happened to be in Australia, and so I think I was able to escape the negativity of the vortex in the UK, which took a number more years to embrace self-publishing as a force to be reckoned with as opposed to an embarrassing thing in the corner for vanity press. Do you see 2012 as a changing point in UK publishing? John: I think we'd just come out of the Kindle moment, hadn't we? There were all sorts of conversations going on about how that was going to change things forever. I think no one quite knew what the upshot of that was going to be, but we knew that it was incredibly disruptive. In 2012, Penguin, as it was then, before Penguin Random House, had offered to buy Author Solutions for $115 million, presumably seen as some kind of defensive measure as to what the market was going to evolve into. I think it felt like a real period of change. In the UK, James Daunt took over running Waterstones, and he was then ultimately going to run Barnes & Noble. It felt like a bit of a watershed. I think we were lucky in that sense, that maybe in the UK and in London, what we were creating coincided with an opening up of opportunity and creativity, and people wanting access to more tools to be able to do things themselves. Getting this idea that you invest in your own talent and what that could mean for your ability to do things quicker, better. Some of it was happenstance, but lucky for us. As you say, we then became aware that in a sense a lot of these things had come to fruition earlier on the US side. In London, that whole idea of setting up something that wasn't a traditional rights-owning model, but where you wanted to be working with people creatively, felt actually really exciting and timely. Jo: And when you started to work with independent authors, probably a couple of years after that, you started to work with a lot more indie authors and things really started to change in terms of the business side. Did you feel any of the snobbery from the traditional industry? Like you mentioned, you have a lot of contacts, a lot of connections. I came to your wonderful launch party and there were just people from all over the industry. I wondered if you got any kickback, or if anyone raised their eyebrows a little bit at who you were choosing to work with? John: Oh, definitely. And I would say I really think that's gone. You may think differently, Jo, but from my perspective, I think there has been such an evolution in the nearly 15 years that we've been going. So any of that residual snobbery, looking down your nose at people that were going DIY, producing multiple books, learning from every single publication. We've spoken about this before. I remember you sat on the panel of a FutureBook conference in the UK, which was run by a trade magazine, with this idea of looking at the, in quotes, “digital future of the business.” It felt like there were a lot of things being talked about, but not a lot of action on the traditional side. I suppose some sort of awe that there was some magic going on with people who were making a success of self-publishing. But then quite a lot of people looking down their noses at things that shouldn't get through the gatekeepers. I do think that's gone. Or if it's not completely gone, I can see it on the way out of the door, because there's no room for that when agents are struggling to sell books to publishers because publishers are looking at the next indie author, the next Freida McFadden, the next Sarah J. Maas, the next Rebecca Yarros. So whoever it may be, or wherever they're publishing, whatever they're doing now, wherever they may be, knowing that a lot of those people will already be publishing and be on not their first, second, third or fourth, but potentially their 10th or 11th book. It's a race to see who can help those authors, as a traditional publisher would see it, amplify what they're doing. I think the idea that there's an us and them, if it did exist then, which it certainly did in certain publishing quarters, is gone. I used to go to those conferences, like the FutureBook Conference, and certain publishers would talk about publishing, and when they meant publishing, they meant a really tiny area of quite literary, traditional imprints. That's what publishing meant. They didn't even mean publishing to mean educational publishing, or children's publishing, or academic publishing, and certainly not Kindle or POD or whatever. So I think that's had to change for very good, sound, commercial, economic reasons. Jo: Yes, you're right. I definitely have heard, as we go to similar events sometimes, and you do hear agents used to talk a lot more about finding books very occasionally in a slush pile, or doing courses so you could meet people and do pitch events and all this. Now it's often build an audience on BookTok or whatever, and sell lots of books, and traditional publishing as an amplifier, as you said. That's how I always hear them pitch it now, the question of— What can traditional publishing still do when indie authors can do so much? It does seem to be, well, we can amplify you, we can get you into traditional press, we can get you in traditional bookstores, we can help you with film and movie deals, that kind of thing. So that's really interesting, because that's actually changed quite a lot. They don't now seem to say, “Oh, well, we can make sure we pay you,” or, “We are editorial success as such.” John: I think they don't say editorial success or quality or indeed marketing, because that was what used to be said. I think there's an understanding that a lot of indie writers are better marketeers of their own books than traditional publishers, and if you go into the publishing machine, then you'll get your slot. It lasts for a certain period of time and then that moves on to another book. Whereas obviously if you're writing your own book and you're marketing your own book, you're able to do that yourself 24/7 wherever you are in the world, and you will know more about your readers and your audience and how that evolves than a traditional publisher would. What they probably mean now is, as you said, as much as anything, distribution, or even physical distribution. Because to be part of that process, I think that is still where a large conglomerate is able to wield some muscle, with this idea that if you physically want to see your book in bricks and mortar retailers in X outlets around the world, that's potentially easier to do if that is your aim, via a traditional publisher. So it is constantly evolving, because it used to be that marketing was the silver bullet, and I don't think that's the case anymore. Jo: No. We'll come back to marketing, shall we? Struggling with marketing. So let's get into your book. You recently co-wrote Going Indie with James Silver, Publishing Your Book Your Way. Obviously you already knew a lot about indie authors, so I wonder, what did you discover in the process of researching the book and the interviews you did? And I was one of your interviews. Did anything come up that surprised you, since you're already pretty embedded in the world? John: I would say some of it was reinforcing what I knew. So how everything is so intertwined, how in some ways unlinear everything is. People are doing lots of things in a different order to the way that traditionally writers would perceive this relay race of a manuscript gets passed to an editor, an editor passes on. That's just not how it is or needs to be anymore. I still think there is—not even a misconception—but I think there's a received wisdom that when you're talking about self-publishing, you're talking about fiction. The majority of books that Whitefox produces are not fiction, they're non-fiction. Some of them are quite mainstream, some of them are quite niche. That idea of connecting to your audience and your followers, and being slightly more scientific about how you find readers in your non-fiction niche, I think is still unspoken about in a way, in that genre fiction tends to be what people automatically assume the conversation is about. This probably doesn't surprise you, but I was pleasantly surprised to have it confirmed to me quite how much swapping and sharing there is of skills and knowledge in that space. I'm not saying indie writing is egoless at all, but there's quite a lot of sharing of knowledge and what works, and collaboration, which I think is great to see. Again, if you've, as I did many years ago, come out of corporate conglomerate publishing, traditional publishing, there's less of that by the very nature of the kind of organisation. And look, we just talked about marketing a little while ago. I do think this whole idea that the cutting edge of experimentation, it's not traditional publishing, it's indie writers. They are looking at not just how to find readers, but how to fulfil orders, how to make commercial sense of what they're doing from the absolute outset and get-go of what they're doing. And just how now the lines are blurring between what would be classified as traditional digital publishers and the writers who are doing their own thing, or doing their own thing on behalf of a few other writers. Those lines have completely blurred. There used to be this traditional hardback, paperback, X number of books a year, a year after hardback there's a paperback. This is the model we have been doing for centuries, and people doing things on their own. I think that's blurring massively, and the Venn diagrams of people's areas of expertise are just overlapping massively. Jo: Well, I think you're right there, and certainly the hardback special editions with sprayed edges and foil. A lot of us now are doing that first and not putting out the other, or putting out the rest of it at the same time. I dare say probably there are more indie authors with sprayed edge hardbacks than there are traditionally published authors. John: I'm sure that's right. And what's interesting is if you go to a traditional book printer, they are loving the direct communication with writers, that's not coming through traditional channels and traditional relationships. It's great business, it's interesting. I think that's something that's even developed in the last couple of years, that cutting out of some of the middle men required. Jo: Yes, and in terms of supporting freelancers and small publishing houses and printers and stuff, the other thing I've heard is that indie authors pay upfront, or they pay quickly, compared to some of these big publishers who are asking for long lead times and steep discounting. So actually a lot of these independent businesses are doing better under indie author work than they were under traditional. John: I think that's right, and that's what I mean also about the sharing of information and this collaborative idea of sharing creative knowledge. I mean, I'm making it sound like a kind of 19th century cooperative, which it isn't. I'm not suggesting that for a second. It's this idea that there's a lot of people learning a lot of things and there's a keenness to share some of that information, because if you've developed your own readership for your unique creative product, some of those learnings are very exciting. The printers I've spoken to love working on those kinds of things, because they are also being challenged to come up with new ways of developing ever more innovative physical product. Jo: Yes, I think it's a fun, creative time for sure. Things like Kickstarter, which you came on and talked about crowdfunding years ago, and I've obviously done. I think, what am I on now? Seven? I've just done my seventh. John: Wow. Jo: It's so much fun. But now what's happening is traditional publishers are arriving on Kickstarter and all that kind of thing. So we really see a blurring. Let's come back to your book, so Going Indie. You co-wrote it. Now obviously there are lots of positive sides of collaboration, but in terms of any challenges with collaboration and co-writing and the writing process of doing this? Because I've done this several times and I've found it very challenging. So tell us about the collaborative writing process. John: We thought a lot about it before we took it on. What I would say, having done it, is I am assuming there is no formula for how you do this. At Penguin I worked with a married couple who were crime writers, and they wrote books together. They merged their names so it appeared to be one name. I could not tell you, and they didn't share what that process was, whether they were writing different chapters or … I don't know. So I can only speak from my own experience. James is an established journalist. He's great with deadlines. He was very good at chivvying me along when I needed to be persuaded to hit the deadlines that I'd promised. I write blogs, I write newsletters, I write content for our website, but this is my first book. I've never written anything of this length. So in a way it started with the structure. It started with this idea that we would play to what we perceived as our respective strengths in terms of writing. We absolutely were not each writing every third word or anything like that. It was a process of trust in different parts. I thought, James had done some research and will be better at writing that. He deferred to me on areas that he took to be my areas of expertise. We did every interview for the book together. We went over the notes from those before they became part of the interviews for the book. And some of the book's elements are diagrammatic, so those are very easy to collaborate on. I think we tried to be professionally, creatively constructive with each other. So it was raising an eyebrow rather than shouting at each other if we didn't agree about something. A lot of it was down to the editing, and I don't know what your experience was like with a co-writer, but a lot of it came down to: here is something which is quite baggy. How do we, between us, make this as tight as we possibly can? I don't mean copy editing or proofreading. I mean the actual sort of, how do we get this into a pithy, usable, practical but discursive book? We didn't ever set out for this to be a pure reference book at all. We wanted to take a snapshot of what was going on. So a lot of it was genuinely trying to do some research and get people to feed into what was going on from lots of different perspectives, which is why we wanted to get mainstream traditional publishers, we wanted to get agents, we wanted to get indie writers, we wanted to get people who have all sorts of experiences and perspectives. That's what makes it what it is, which is, here's what we think are some of the interesting discussion points of what's going on now. Jo: It is a fantastic snapshot. I think it's really interesting—and obviously you also have seen my book, Successful Self-Publishing, which is on its fourth edition—this is one of the difficult things with snapshot type books. So have you already thought about that? I know this one has just come out, but have you thought, “Oh no, in five years we have to do it again”? John: Well, I think we thought we're going to have to address AI, which we do in the book, and we really tried to caveat that with saying, look, so much may change so quickly, and here we are talking about what we know now. We obviously tried to set the context for where we are now, and we tried as much as possible to make something which would last as long as we can. I think what we did think was, we have tried to make it as international a perspective as possible. But at the same time, we are a London-based agency, and a lot of the views will be from people based in the UK. So I think what I would like to explore is something that looks at potentially somewhere like the US, where I think there'll be different people that would perhaps have different perspectives on different things. So I think we thought about potentially there being future iterations of the book, but not yet. Jo: Not yet. This is the challenge with non-fiction, of course. On that, I would say what you just said around the US and stuff, the successful UK authors all use the same systems as the US. So I wouldn't say that the US … I mean, we all have the US companies we all use. I say Kobo is obviously Canadian, but I would say that we use the same ways of doing things. Obviously you might interview a different author, but … John: That was all I meant. I meant interviewing. Because we've interviewed agents and authors and publishers and they are largely UK based. So it was the idea that maybe there are some perspectives on things rather than systemic. Jo: Differences. John: Yes. Just that. Jo: So then I guess another challenge, we've kind of nodded to it so far, is marketing. So let's talk about the challenges of getting this book out in terms of publishing and marketing. Because you've been on the inner circle side, trying to do that for other people's books, but your own book, this is a whole nother thing. So tell us about that. John: Well, how do you do it, Jo? I mean, honestly, I've loved some of it. I get how you become completely obsessed with your book and trying to make sure that you can get it into the hands of the people that you want to get it into the hands of. We've got some great endorsement quotes, which was a task that, how can I say this? I would call it pride swallowing. The idea that you really try and get people to say nice things about your book and, if they don't reply, you think, “How much do I pester them? How much do I annoy them by asking them again nicely?” And the absolute sheer unadulterated joy when they come back with something positive that you can use and utilise in some way. So that whole process of waiting for feedback, I suppose, and hoping that people are going to like what you've done and help you spread the word for it. We had a launch event, we've given books away. We've published the book as ebook and POD. I think one of the great things about that is it's enabled us to be completely adaptable and make changes right up until the last minute. That drove everybody in my team completely crazy because we were making changes up until the last minute. So, is the book definitely going to be available on publication date? What's it going to do? You know, all of that kind of stuff. Also, just getting this idea that I suppose you can never stop. Is that a very obvious thing to say to a writer? It probably is. You just can't stop, because if you go, “Right, well, I've done it,” complacency is the enemy. Just as soon as you've got that quote, or someone said that they're going to give you an opportunity to talk about it on a platform, it's just another day and you've got to keep thinking about how you can spread the word and tell people that it exists. Jo: Yes, well, I think that's right, and particularly non-fiction, which unless it's very timely and you must get it out right now. But other than that— Most books you just have to keep marketing for years. Then just as you say, when do you stop? Well, you kind of never stop unless you want to, unless you want to retire and just give up, basically. Dean Wesley Smith, who's a big writer in the US and a kind of a mentor of mine in past years, he talks about it as this massive sea of books. And when a book arrives, he pictures it coming down and landing on the water. So the day you launch, it's landed on the water, and then it begins to sink. Then there are all these other books coming down. It's like this rain of books, and your book is sinking as soon as it lands. And your job is to keep it afloat somehow. John: Keep it afloat. Jo: Yes. John: I think you're right, and it's such an interesting perspective for us, who work with a lot of people who have one book. You know, they've spent 10 years writing it. It's their life story. It's their memoir. It's their self-help book. It's their book that accompanies them on their speaking journey, or whatever. Then there are the people who are writing constantly and can't stop writing because they're exercising that creative muscle all the time and wanting to get better, and wanting to improve and learn and understand why this works and why that hasn't worked. Just getting a glimpse into what it must be like for that person for whom writing is not a hobby. I kept saying to myself, “This is not something you're doing as a hobby.” I want this book to be of value to people, and if I'm investing that time and effort into something that I want to get out there, you've got to commit to whatever it is you need to do to make sure you're not sinking. Jo: Yes. John: I will now not be able to get that image out of my head. Jo: Yes. I know there's people listening who don't have a mind's eye, which I always find fascinating, but for those of us with a mind's eye, you can now picture that and you will never forget it. The other thing, I guess, is that, having done a lot, over 40 books now, the inevitable thing is you cannot keep pushing all of those books back up to the surface. So when you do get the bug as such of writing, the most interesting thing for all of us is always the next book. It's always like, ooh, the next thing I'm doing, I'm very excited about. So you do have to pick your battles on marketing. So have you got the bug, do you think? Are you thinking of other books in general? Because as you said, you must be, I guess, in your 60s. John: I am. Jo: You could retire. John: I am. You were talking about that long career. I could. I mean, I really love doing it, and I would love to do more. I think one of the things that surprised me was just how many ideas came up while we were doing the book about tangents that one could take it. I have no desire to write a novel. I don't want to do that. I wouldn't be very good at that. I do think there are some interesting spaces around where there's a kind of intersection of creativity and learning, and how you can develop books that would help people who are trying to achieve different things in different sectors of publishing. So without getting too granular about it, this book doesn't really address brands who want to become publishers, and I think that is something that our business has developed into working with, not just individuals, but businesses and brands. I think there's definitely spin-offs of this book which are not about repeating what we've done so far. And this whole idea of what you've been doing for a long time, what we've been doing since 2011, 2012, it's evolving now at such a speed. I mean, who would have known what was going to come out of TikTok? As you talk about TikTok to Shopify, that whole kind of new ways of finding readers, of taking books to market. As you said, Kickstarter, crowdfunding. There's all sorts of things that I think will emerge, because in a funny sort of way traditional publishing at the moment feels quite conservative with a small c. I mean, the bestsellers. Dan Brown is number one in the bestseller list this week in the UK as I speak, who has been a bestseller forever. And obviously new writers come along the whole time, but the market feels a little bit as if it's waiting now for innovation. I think if that innovation's going to happen, it's probably going to happen in the indie space before it happens in mainstream publishing. So people are coming to us and thinking, does that represent a trend? Does that represent something which could be a way of looking at something a little bit deeper, doing some research around and creating something which is not a long book, not a massive thesis, but something which is indicative of something which could be useful for people. Jo: Just coming back on the Dan Brown is in the bestseller list. I think this is completely to do with the way that traditional publishing measures things. For many years, more than a decade, probably since the beginning of Kindle, certainly the beginning of Kindle Unlimited, there is a shadow economy, I call it, or a parallel economy. I would say that almost zero of my own personal sales are measured by any industry standards. Anyone who makes any money from Kindle Unlimited or Kickstarter or Shopify, or selling direct in any form, or selling books at conventions, none of this is measured by any traditional things. As you know, the New York Times list, for example, does not include Amazon sales in their bestseller list. So you've got indie authors in the UK who are incredibly successful who have to decide, say, someone like LJ Ross, for example, decides, “Okay, I'm going to set up a proper imprint with Gardners or whatever so that I can get in bookstores so that I can hit a Sunday Times list or something.” So I would say that seeing things like Dan Brown on a bestseller list has almost no meaning in the shadow indie economy. John: No, you're absolutely right. We're not even able to see audiobook sales. Jo: Yes, audio. Any kind of borrows, like Spotify. John: No, you're completely right. I suppose I was making a broader cultural point, that it doesn't feel like there's an enormous amount of innovation going on or risk taking within what I would call mainstream trade publishing. And there doesn't seem to be the need to be, because there will be more consolidation. Small companies will be bought by big companies, so there's growth through acquisition. There's still a hope that something will take off that is a surprise, and there's still an enormous reliance on established brands who, even through the traditional metrics of how you measure them, are probably selling less, but still at the top of the pile. I suppose that's what I was meaning. Jo: Yes, and I agree with what the industry looks at as signals. It's just, as we said, a lot of these signals are invisible. So coming onto innovation, at London Book Fair this year there were a lot of sessions on AI, and you mentioned AI briefly, and there is a chapter in Going Indie on generative AI. And of course there's a lot of negativity and drama and lawsuits and this, that and the other. But at the same time, at London Book Fair, a lot of traditional publishers talking about using it, and of course they always say, “Oh, we use AI only in marketing and business, not with the creative or editorial.” Everyone makes this distinction. What are your thoughts on what's happening and where's it going with AI? Is a lot of this stuff not happening in public and just going on behind closed doors? John: I think so. We do have a chapter in the book on AI. We've generated summaries of every chapter using AI, which we explicitly said in the book as well. We've got our Ten Commandments of what we think are useful guidelines. I think that there has to be an enormous amount being done, whether it's experimentation or speeding up for efficiency's sake, or things that slow you down, within mainstream publishing. There has to be more than just the guardrails around the creative process. And clearly when we're talking about metadata, book description, cover copy, presumably royalty calculations, presumably if you're trying to grow your newsletters. There has to be an enormous amount of activity going on. We're driven by the market, so we do not commission. Writers come to us and they either want to work with us and we want to work with them, or that doesn't happen. So we're in a sense seeing what the market is seeing, and that is a whole range of things. As I've said before, there's a lot of sweeping generalisations out there, which if you look back to that Kindle moment, we were talking a little while ago about what was going on in 2010/2011, about the enormous broad brush strokes that were being perceived as a result of Kindle. Kindle has affected some areas of publishing, it's affected some not at all. I think it will be absolutely fascinating when the sweeping generalisations stop and there becomes, I suppose, even more transparency. The thing that people are looking for, isn't it? A little bit less opaqueness as to what is really being done. Because everybody's being so careful about what they say they're doing and what they're not doing. I suppose ElevenLabs is the one where people are openly engaging on the audio side. I mean, everyone is being so careful and cautious. Jo: Me too. John: What do you think? We spoke a bit about AI within the book, and I'm interested to know what you think. Jo: Well, I've obviously been openly talking about it since 2016. I openly talk about using it, and I've got my Patreon community where we talk about how we're using it, and tips on how to use it. But then, because I have been writing and publishing since 2007, 2008, I'm very strong in my creative voice. I'm very strong in my understanding of what I consider to be my level of output, and what I publish under my own name is what I publish under my own name. John: Totally. Jo: So the problem is for people who are less confident, I think, in what they're doing creatively perhaps. I know some people feel like they're scared it will take over or something. When you're as strong-minded as me, it's not taking over anything. John: It's not going to take over anything. And the other side of the coin is how many people are finding Whitefox using ChatGPT. Jo: Mm. John: I'm thrilled that we are emerging, through very detailed briefing of AI, as something that is worth engaging with. Jo: Positive marketing. John: Yes, exactly. As you say, I think there's a lot of negativity, and I think it will settle down eventually. I think less hysteria. Jo: Yes, hopefully sooner rather than later. So as we come to an end, you've been in the publishing industry a long time and seen a lot of people who have disappeared, but also those who've lasted. I wondered if maybe you could comment on those who last, because I definitely feel like I'm in my 50s now, and I want to keep doing this. I'm pretty obsessed with— What are the hallmarks of people who have a long-term career? So reflections on that. John: Oh, that's such a good question. I think there's some common characteristics and themes. So I think authenticity, I think this idea of being continually curious. I think there are people who can't help but create, and this idea that once you've sort of expelled once, that's enough. I think there's people that just can't stop creating, whatever you do with it. But this idea that the more you do, the better you get, the more you evolve and keep an open mind. I think there's definitely entrepreneurial writers who love this idea of keeping their readers engaged, and how that conversation is something that evolves and that collaboration evolves, is fascinating. I think if you love that, and you listen, there's always an opportunity to keep building on what you do. I love the writers who we work with. I can think of a writer who we're working on his fourth novel at the moment, and he is a bundle of positivity. No matter the trials and tribulations, the things that have gone wrong, his expectations definitely not being met with his first book. He definitely has this idea that he wants to keep writing, he wants to get better, and he is getting better. It isn't a journey that has a beginning and an end. It's something that will continue for as long as he wants to write. Every single book that he has published, he has learned and gained confidence, gained a network of connections that he's utilised himself now to not make the first half a dozen mistakes he made on the first book. Who knows where it will end up? But certainly the satisfaction he's getting, and the sales he's getting, are growing as he becomes savvier and quicker to make the right choices and decisions. So I think that's my honest answer to that. I think there are definitely people who think, “Phew, I have really wanted to do this book. Now I can rest easy. I've done my book.” Then there are people who really, whatever their objective, whatever the definition of success is from the get-go, just can't help creating. I do love that and respect that. I don't think our book falls quite into that category, because I think it's a slightly different thing. I think there are people who are still making a success of what they do and redefining that as they go on, and who are really open to ideas and input from different people and are not closed off. I love working with those people. Jo: So where can people find Going Indie and everything you do online? John: Well, Going Indie is available online at all good bookshops. It's available at Amazon and anywhere you buy books online as ebook and POD. Our website is wearewhitefox.com, and you'll find information about not just our book there, but a lot of other things that we're doing on that site. Jo: Brilliant. Well, thanks so much for your time, John. That was great. John: Thank you so much, Jo. It's been a pleasure. The post Going Indie, Publishing Innovation, And The Challenges Of Book Marketing With John Bond first appeared on The Creative Penn.

260: Blood Over Bright Haven: "All. Mages."

A LITTLE TOO QUIET: THE FERNDALE LIBRARY PODCAST

Play Episode Listen Later Aug 10, 2026 69:14

ACOFAE Podcast Presents: Blood Over Bright Haven: "All. Mages." Have you seen Rogue One? Excellent. That's the tone of Blood Over Bright Haven, a standalone that has kept ACOFAE thinking and feeling all the emotions. Ugh, so many emotions. Frustration, disbelief, and sheer audacity are some of the ones that come to mind. Sciona Freynan is determined to the the first female high mage in history and she's been single minded about that fact for years. Blind to her environment outside of study, Sciona embarks on a three month journey of discovery and creation that shatters not only her faith in magic, but in society and religion as well. You know how ACOFAE loves that shit. "Not all men, but all mages." TW / CW: addiction, loss of family For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: Blood Over Bright Haven Mentions: Star Wars: Rogue One *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast https://www.instagram.com/acofaepodcast/ @ACOFAELaura https://www.instagram.com/acofaelaura/

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Cait Jacobs - The Princess Knight

Play Episode Listen Later Aug 10, 2026 61:58

This week, we're chatting with Cait Jacobs, USA Today Bestselling author of The Princess Knight and essentially one of (if not THEE) earliest content creators in the decentralized community of BookTok, starting back in 2019. We "talk" about BookTok, building the romantasy of Princess Knight, which came out in 2024, and we also touch on the inspiration it draws from Legally Blonde. Other topics include how Jacobs brings their own experiences into their writing by intentionally crafting inclusive, queernormative worlds that feature representation for authentic disability and chronic pain. Also? Ryan Gosling comes up once or twice.

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When Your Love Life Is Affected By Gambling

The Hook Up

Play Episode Listen Later Aug 10, 2026 52:43

What's the bet you or someone you know has been affected by gambling? Probably pretty high. Around 3 million Australians experience some sort of gambling harm each year. And 1.2 million Australians are affected by someone else's gambling. And it can have a real impact on your dating or love life. In today's episode we speak with Luke Bateman, ex-NFL star turned author, about his past addiction and tips on reaching the other side. SHOW NOTES:Lifeline - 13 11 14Gambling Helpline - 1800 858 858Gambling Help Online - https://www.gamblinghelponline.org.au/Luke Bateman IG - https://www.instagram.com/lukebateman_/?hl=enLuke Bateman Australian Story - https://www.abc.net.au/news/2026-07-27/turning-the-page-luke-bateman/106963436Compulsive Gambling - https://www.mayoclinic.org/diseases-conditions/compulsive-gambling/symptoms-causes/syc-20355178The Psychology of Gambling Addiction: https://equilibriapcs.com/the-psychology-of-gambling-addiction-why-the-brain-craves-the-bet/Gambling Disorder Psychology: https://www.reachlink.com/advice/general/gambling-disorder-psychology/

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Exploring Favorite Cookbooks with Mary, Denise, and Sacheen

Women PetPreneurs

Play Episode Listen Later Aug 10, 2026 23:27

Welcome to another episode of Women Petpreneurs Presents Book Club! In this episode, Mary, Sacheen, and Denise dive into the world of cookbooks, celebrating their underrated status and sharing personal favorites and creative approaches to cooking. Whether you're a seasoned chef, a kitchen newbie, or someone who usually relies on DoorDash, there's something in this conversation for everyone. The hosts discuss everything from complex vegan soup recipes and handy kitchen gadgets to family cooking traditions, influencer-inspired cookbooks, and the joy of collecting recipes from magazines and old family binders. Tune in for a lively, relatable discussion about food, family, and finding inspiration in the kitchen!

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not another pucking hockey romance - the deal by elle kennedy

talk lit, get hit

Play Episode Listen Later Aug 10, 2026 105:36 Transcription Available

one ice hockey romance to rule them all, one ice hockey romance to find them, one ice hockey romance to bring them all and in the darkness bind them. this episode we're reading a book by the mama of all smutty ice hockey romance authors - the deal by elle kennedy. this episode we chat all about women who hate women, men who hate women and how long it REALLY takes to watch one and a half seasons of breaking bad. can this ten-year-old book, (fresh off the back of an ultra-successful TV adaptation) stand the test of time, or will it age like milk? will garret graham and hannah wells help us overcome our bitter dislike of ice hockey romances once and for all? find out all the juicy details in the episode. synopsis music by Ievgen Poltavskyisend us your voice messages here

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Why So Many Young Readers Are Going Online

Viewpoints

Play Episode Listen Later Aug 9, 2026 9:21

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Why So Many Young Readers Are Going Online | The Psychology Behind Conformity Bias

Viewpoints

Play Episode Listen Later Aug 8, 2026 22:30

Why So Many Young Readers Are Going Online More young people are reading these days thanks to one community on TikTok. We discuss the rise of BookTok and how publishers and authors are using this platform to better engage with consumers. Guests: Cait Jacobs, TikTok account owner, CaitsBooks Claire Wallace, vice president, communications, Book Talk. The Psychology Behind Conformity Bias Ever agree in the moment, but then look back and wish you spoke up and said something? This action of wanting to go with the flow is a very real phenomenon. We sit down with two experts to uncover how people's actions and opinions are altered by conformity bias. Guests: Robert Prentice, professor, business ethics, business law, McCombs School of Business, University of Texas at Austin, faculty director, Unwrapped Video Project, Center for Leadership and Ethics, McCombs School of Business Todd Rose, co-founder, president, Populace, author of Collective Illusions: Conformity, Complicity and the Science of Why We Make Bad Decisions. Linktr.ee | Apple Podcasts | YouTube | SpotifyFacebook: @ViewpointsOnlineX: @viewpointsradioInstagram: @viewpointsradioFull ArchiveContact UsAffiliates & National Syndication Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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Broken Dove Part 2 - Silver Elite 2

Book Marketing Tips and Author Success Podcast

Play Episode Listen Later Aug 7, 2026 76:12

Bridget, Caitlin, and Hilda are wrapping up "Broken Dove," book 2 in the Silver Elite series by Dani Francis. And ... !@#$%&* ... THERE ARE FEELINGS. FEELINGS. Mostly coming from Hilda. But still feelings. This was unexpected, so listen now to get all the details about how this book ends, but we will say it's Twisted Sisters-coded. Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

What Bestselling Authors Know About Getting Readers to Click Buy

Play Episode Listen Later Aug 7, 2026 24:15 Transcription Available

Top authors are not successful simply because they write good books or have bigger marketing budgets. The strongest authors understand something many writers overlook: readers are constantly deciding whether a book feels worth their time, attention, and money—and those decisions often happen before the first page is ever read.In this episode, we unpack what top-performing authors understand about reader choice and how newer, midlist, and independent authors can apply those same lessons without trying to imitate a celebrity bestseller's career. From Amazon and Goodreads to BookTok, newsletters, podcasts, social media, subscription platforms, and AI-powered recommendations, readers now discover books through more channels than ever. But the core question remains the same: when a reader sees your book alongside dozens of others, what makes them choose yours?We break down the practical signals successful authors use to build reader confidence. That includes clear genre positioning, covers that immediately communicate the right reading experience, compelling retail descriptions, consistent series branding, strong author presentation, and messaging that makes it easy for readers to understand exactly what they are getting. The most successful books are rarely confusing. They are clear about their audience, their promise, and the emotional or entertainment experience waiting inside.We also talk about the smartest way to study successful authors. Instead of comparing yourself only to household names with decades of visibility, legacy media coverage, and enormous reader bases, look for your true market neighbors: rising authors, successful midlist writers, and indie authors who are steadily gaining traction with readers now. Their categories, cover choices, series pages, pricing, descriptions, reviews, and reader conversations can reveal valuable clues about what is working in your genre today.You'll learn why readers often need familiarity before they are willing to take a chance on originality, why clarity consistently outperforms cleverness on a retail page, and how professional, cohesive branding reduces the perceived risk of trying a new author. Readers are not only choosing where to spend their money. They are choosing where to spend their time.The takeaway is not that you need to become a copy of a top author. It is that you need to understand the reader-confidence strategies top authors use so you can make better decisions about how your own book is positioned, presented, and marketed.Send us your feedback!Order Penny's latest book, Think Local Sell Global and start building a book sales strategy you have more control over!

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How He Got a Million Monthly Listeners and a Sold Out Tour Independently

The New Music Business with Ari Herstand

Play Episode Listen Later Aug 6, 2026 69:12

This week on the New Music Business podcast, Ari sits down with Nashville-based singer-songwriter Jared Benjamin. Jared broke down how he went from picking up a guitar during the pandemic to earning over 100 million streams, selling out headline tours, and building an intensely loyal community across TikTok and Discord. They discuss his creation process, content strategy, delegating production, leveraging pre-save ad campaigns, and releasing his debut album, Icarus Too Close to the Sun.Follow Jared Benjamin:https://www.instagram.com/jaredbenjaminofficial/http://tiktok.com/@jaredbenjaminofficialCheck out Ari's Take:https://aristake.com4:05 Interview Begins: Welcome & Icarus Debut Album Announcement5:06 Transitioning from Fast Singles to a Cohesive Debut Album9:43 Early Short-Form Visual Strategy & Writing Skits17:25 Lessons from Bad Industry Deals & Going DIY20:15 Learning Production on YouTube & Collaborating with Producers25:20 Writing "Three Steps Ahead" at AntiSocial Writing Camp28:35 Building a Social Following & Meeting His Manager32:50 The Daily Grind: Posting 2 to 4 Videos a Day & Managing Burnout35:55 First Headline Tour Experiences: From Empty Rooms to Sold-Out Venues41:59 Managing Online Communities: Grouped vs. Discord Strategy50:20 Tapping into BookTok & Author Playlist Marketing01:01:35 Leveraging Feature.fm Pre-Save Ads to Funnel Fans into DiscordEdited and mixed by Ruben ZarateMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

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Understanding Virginia Woolf's A Room of One's Own

On Wednesdays We Read (OWWR Pod)

Play Episode Listen Later Aug 6, 2026 67:41

Welcome to Academia Unlocked, our literary deep-dive series on Book Talk for BookTok! In this episode, we kick off our three-part series discussing A Room of One's Own by Virginia Woolf. With over 13 years of combined academic training in literature and creative writing, we walk listeners through the foundational tools of reading beyond the surface. The book community talks about the "decline of literacy" constantly, but almost no one stops to define what literary literacy actually is or how to build it. This series exists to change that. Today we discuss Virginia Woolf's A Room of One's Own, her extended essay and speech. Sponsor: Vionic Use code BOOKTALK at checkout for 15% off your entire order at ⁠⁠⁠⁠⁠⁠⁠www.vionicshoes.com⁠⁠⁠⁠⁠⁠⁠ when you log into your account. 1 time use only. Share your thoughts for a chance to be featured! Submit them at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠booktalkforbooktok.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for a future mini-episode or exclusive Patreon discussion. Support the Show: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/booktalkforbooktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Us on Social: Instagram: @BookTalkForBookTok TikTok: @BookTalkForBookTok YouTube: @BookTalkForBookTok Learn more about your ad choices. Visit megaphone.fm/adchoices

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Goin' Deep Show 2332: Monster Smut Book Club

The Goin' Deep Show

Play Episode Listen Later Aug 6, 2026 69:10

Kid, El Pres, and Hat Trick cover enough territory to make three completely different podcasts. What begins with a late arrival caused by groceries and a low tire quickly transforms into an obsession with The Wicker Husband, a movie about a living wicker man that launches an entire discussion about monster romance, BookTok, "hear me out" culture, and the increasingly absurd places internet fiction keeps wandering. From there the show bounces through AI-generated headlines, fake news confusion, political satire, internet memes, celebrity rabbit holes, and the continuing rise of Jimithy lore before landing on relationship dynamics. Hat Trick shares updates on her evolving arrangement with the fireman, sparking one of the episode's more honest conversations about communication, expectations, and why keeping things simple often works better than trying to force traditional relationships. The second half veers into internet culture, social media algorithms, music, celebrity crushes, Christian comedy, religious debate clips, and the strange reality that today's feeds are becoming nearly impossible to trust. The crew wraps things up discussing attraction, dating psychology, AI-generated content, baseball, new music experiments, and resting bitch face.

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15: Drie generaties over zappen, bingen, series en films

Generatie Vrouw

Play Episode Listen Later Aug 6, 2026 38:27

Wat zegt jouw Netflix-account eigenlijk over jou? In deze aflevering duiken Noraly, Roos en Eva in onze eindeloze stroom aan series, films, boeken en schermtijd. Roos bekent dat ze series verslindt, deelt haar beste kijktips en legt als scenarioschrijfster uit waaraan zij een echt goede serie herkent. Noraly snapt weinig van onze binge-cultuur. Waarom uren naar een scherm staren als een boek je verbeelding zoveel harder aan het werk zet? Is een avond lezen echt gezonder voor je brein? Eva probeert zich juist steeds vaker te verzetten tegen de eindeloze strijd om haar aandacht van allerlei online platforms. Een boek lezen voelt bijna als een daad van verzet, maar hoe weerhoud je jezelf van dagenlang bingen en hoe vind je ontspanning zonder opnieuw op een scherm te belanden? En wat is eigenlijk erger: eindeloos scrollen of nóg een aflevering aanklikken? Van Boer zoekt Vrouw tot Mamma Mia!, van guilty pleasures tot literaire meesterwerken: in deze aflevering praten Noraly, Roos en Eva over de vraag wat allemaal wél de moeite waard is om onze kostbare vrije tijd aan te besteden. Je komt gegarandeerd met kijktips de podcast uit!Support the show: https://libelle.nl/generatievrouwSee omnystudio.com/listener for privacy information.

Ep. 191- Harry Dresden is Dr. Smart Ass not Mr. Smart Ass. (Turn Coat)

Play Episode Listen Later Aug 5, 2026 85:08

Send us Fan MailHannah and Laura are covering the middle portion of Turn Coat by Jim Butcher in today's episode, and friends, things get very zany! They also discuss some romance novels that didn't "hit" for them, a beautiful children's book, and Hannah's first foray into Alfred Hitchcock's works.*This episode contains SPOILERS for Turn Coat by Jim Butcher. Spoiler section begins at: 36 min 11 secs. ***CW for the episode: discussions of violence, sex, guns, gore, blood, sexism, vampires, racism, sexism, immigration, climate change, incarceration, death, murderMedia Mentions:Turn Coat by Jim Butcher Great Big Beautiful Life by Emily Henry Barbed Wire Between Us by Mia Wenjen Of Time and Turtles: Mending the World Shell, by Shattered Shell by Sy Montgomery There, There by Tommy OrangeSomething Wilder by Christina Lauren Dial M for Murder---Tubi Support the showBe sure to follow OWWR Pod!www.owwrpod.com YouTube: @owwrpodBlueSky: @OwwrPodTikTok: @OwwrPodInstagram: @owwrpodThreads: @OwwrPodSend us an email at: owwrpod@gmail.comCheck out OWWR Patreon: patreon.com/owwrpodOr join OWWR Discord! We'd love to chat with you!You can follow Hannah at:Instagram: @brews.and.booksThreads: @brews.and.booksTikTok: @brews.and.booksYou can follow Laura at:Instagram: @goodbooksgreatgoatsBlueSky: @myyypod

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Chem Sex Parties & Gay Pain w/ Fruit Fly Author Josh Silver

The Hook Up

Play Episode Listen Later Aug 5, 2026 32:58

Who has the right to tell queer stories and profit off them? That's the main theme author Josh Silver explores in his latest book Fruit Fly. The book follows a writer who befriends a young gay addict so she can use his story to write a best seller. In this ep, Dee chats to Josh about his own story as an ex addict, the world of chem sex parties, and why it's important to share perspectives of gay pain and trauma.SHOW NOTES: Lifeline: 13 11 14QLife: https://qlife.org.au/Josh Silver IG: https://www.instagram.com/joshsilverauthor/?hl=enFruit Fly: https://www.bloomsbury.com/au/fruit-fly-9781836432395/Melbourne event: https://www.wheelercentre.com/events-tickets/season-2026/josh-silver-fruit-flyBrisbane event: https://bwf.org.au/2026/brisbane-writers-festival/josh-silver-fruit-flyDM us your thoughts, questions, topics, or to just vent at @triplejthehookup on IG or email us: thehookup@abc.net.auThe Hook Up is an ABC podcast, produced by triple j. It is recorded on the lands of the Wurundjeri people of the Kulin nation. We pay our respects to elders past and present. We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the land where we live, work, and learn.

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Chloe Burrows Gets Real About Success, Building A Career & Life After ‘Love Island' | The LuxeGen Group Chat

SheerLuxe Podcast

Play Episode Listen Later Aug 4, 2026 33:37

This week on the LuxeGen Group Chat, we're joined by KISS Breakfast host and all-round internet favourite Chloe Burrows for a candid conversation about confidence, career pivots, reality TV and the internet moments everyone's talking about.Chloe opens up about navigating life after ‘Love Island', landing her dream job on KISS Breakfast, battling imposter syndrome and why having "the gift of the gab" has opened more doors than she ever expected. She also shares her surprisingly intense 3:45am morning routine, the one purchase she couldn't live without and why writing a book is firmly on her bucket list.Elsewhere, the girls dive into the viral Greek yoghurt craze taking over London, Cameron Dallas' unexpected music comeback, Hailey Bieber's latest GAP campaign, the jewellery brands they're loving right now and the reality TV shows you need to add to your watch list. Plus, they swap book recommendations, discuss why BookTok is bigger than ever and reveal the products they're genuinely obsessed with this summer.Expect plenty of laughs, honest career advice, pop culture chat and all the feel-good group chat energy you'd expect from the LuxeGen team.Get SheerLuxe Straight To Your Inbox, Daily | http://sheerluxe.com/signup PANELSaroop Sangha | @saroop.k.s | https://www.instagram.com/saroop.k.s/ Bershka Printed Cargo Bermuda Shorts | https://go.shopmy.us/p-76493583 Cotton On Cord Necklace | https://go.shopmy.us/p-76493749 Yellow Havaianas | https://go.shopmy.us/p-76493920 Chloe Burrows | @chloeburrows | https://www.instagram.com/chloeburrows/White Fox Boutique Back For Good Windbreaker Jacket | https://go.shopmy.us/p-76494421 White Fox Boutique Love The Chase Shorts | https://go.shopmy.us/p-76494688 Anna Aitken | @annalouiseaitken | https://www.instagram.com/annalouiseaitken/ASOS DESIGN Tailored Relaxed Blazer (Similar) | https://go.shopmy.us/p-76494840 ASOS DESIGN EARRINGS | https://go.shopmy.us/p-76495054 River Island Leather Studded Mules | https://go.shopmy.us/p-76495204 THE HOT LISTGAP The Hailey Jeans | https://go.shopmy.us/p-76495479 Hatch Alarm Clark | https://go.shopmy.us/p-76499642 THINGS WE'RE LOVINGEnvé Bleu | https://envebleu.com/Saith | https://saith-jewellery.com/Mutimer | https://mutimer.co/ Katie Loxton Makeup Bag | https://go.shopmy.us/p-76504102 Bondi Sands Self Tanning Foam One Hour Express | https://go.shopmy.us/p-76504215 The Ultimatum | https://www.netflix.com/gb/title/81292203Are You The One LGBTQIA+ | https://www.amazon.co.uk/Are-You-One-Season-8/dp/B0CGPSHQ88

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Christmas in July? Our Smutmas in the Smokies Romance Book Event Recap

What The Smut Are You Talking About

Play Episode Listen Later Aug 4, 2026 29:41 Transcription Available

What's up, Book Nerds!We finally got to record an episode together in the same room (yes... from a hotel room

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180: Back to the Regency World of Emma M. Lion

Busy Girls Book Club

Play Episode Listen Later Aug 4, 2026 38:29

The short and sweet Emma M. Lion books have captivated the BookTok girlies, so we are back with book two in the series. And this one is full of eligible bachelors.

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Ariana Grande, AI goes rogue & Nara Smith is NOT a Trad Wife

Big Small Talk

Play Episode Listen Later Aug 4, 2026 69:12

BSTies – it’s been a week! Sarah talks about Ariana Grande’s new album (which has sparked intense online debate around her appearance), as well as her decision to step away from public life. The girls chat about why we need to be careful in these conversations concerning Ariana’s body and health, but also about the dangers of collective silence. Hannah dives into how a rogue OpenAI escaped its container and hacked another company. And just a few days later, Anthropic (the company behind Claude) revealed that THEIR model had done the same thing three times. Yay. Plus, a Nantucket store goes viral for putting up a “No Influencers” sign, former NRL player and BookTok sweetheart Luke Bateman outs gambling companies at a Senate inquiry, and Nara Smith is actively walking back her #tradwife label. Oh, and everybody please welcome producer Justine! Big Small Talk Instagram Sarah-Jane's Instagram Hannah's Instagram See omnystudio.com/listener for privacy information.

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Emily Wilson's Pan of Nolan's THE ODYSSEY, Obama's Summer Reading List, AI Drama, and more.

Book Riot - The Podcast

Play Episode Listen Later Aug 3, 2026 87:27

Jeff and Rebecca talk about Emily Wilson's pan of Nolan's The Odyssey, before checking in on the Booker longlist, Obama's summer reading picks, and the most troubling AI/publishing story yet. Follow the podcast via RSS, Apple Podcasts, and Spotify. Join The Book Riot Podcast Patreon for bonus content and ad-free listening. Subscribe to The Book Riot Newsletter for regular updates to get the most out of your reading life. The Book Riot Podcast is a proud member of the Airwave Podcast Network. Discussed in this episode: Emily Wilson hated The Odyssey, actually, and her unedited remarks to the AP Joyce Carol Oates has entered the chat And everybody wants to learn Greek Booker Prize longlist Obama summer reading list The most read books on Goodreads this year A viral BookTok hit might be largely AI-generated This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. Go to quince.com/bookriot for free shipping on your order and 365-day returns. Now available in Canada and the UK, too. Learn more about your ad choices. Visit megaphone.fm/adchoices

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259: Blood Like Fate: "Not all men, ALWAYS a man."

Play Episode Listen Later Aug 3, 2026 53:57

ACOFAE Podcast Presents: Blood like Fate: "Not all men, ALWAYS a man." ACOFAE is back with the sequel to an earlier 2026 read, making it twice so far this year Laura Marie and Jessica Marie just needed to know what happened! Blood like Fate, the sequel to Blood like Magic, picks up 6 months after the first book ended. Voya is the matriarch and is hitting roadblocks from all angles. Her family does support her, the "community" doesn't respect her, and oh she's given a vision where witches are dying from a hacked gene! She has a lot going on. Throw in a couple of revenge plots and a slight murder mystery and you've got the jammed back sequel and conclusion, so far, to Voya and her journey to break generation curses. "Take your revenge more seriously." TW / CW: addiction, loss of family For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: Blood Like Magic, Blood Like Fate Mentions: *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast https://www.instagram.com/acofaepodcast/ @ACOFAELaura https://www.instagram.com/acofaelaura/

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The Joy Luck Club - Books in Media

Play Episode Listen Later Jul 30, 2026 48:29

Welcome to Academia Unlocked, our literary deep-dive series on Book Talk for BookTok! In this episode, we kick off our three-part series discussing The Joy Luck Club by Amy Tan. With over 13 years of combined academic training in literature and creative writing, we walk listeners through the foundational tools of reading beyond the surface. The book community talks about the "decline of literacy" constantly, but almost no one stops to define what literary literacy actually is or how to build it. This series exists to change that. One of the most common ways readers come to The Joy Luck Club is as an immigrant family drama, a moving novel about mothers and daughters caught between two cultures. And it is that. But Amy Tan built something more architecturally daring: sixteen interlocking stories, four mothers and four daughters, arranged around a mahjong table so the structure itself mirrors the divide it describes. This series digs into both. Whether you first read this novel because it was assigned to you, came to it through the 1993 film and never picked up the book, or only know Jing-mei Woo's name from a Google search, this series will give you the critical lens to engage with Amy Tan's Joy Luck Club with more depth, more confidence, and a lot more to say. Sponsor: Joan Road Beauty For a limited time our listeners are getting a FREE full sized Mascara on their first purchase when they use code BOOKTALK at checkout. Just head to ⁠Jonesroadbeauty.com⁠. Share your thoughts for a chance to be featured! Submit them at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠booktalkforbooktok.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for a future mini-episode or exclusive Patreon discussion. Support the Show: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/booktalkforbooktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Us on Social: Instagram: @BookTalkForBookTok TikTok: @BookTalkForBookTok YouTube: @BookTalkForBookTok Learn more about your ad choices. Visit megaphone.fm/adchoices

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Broken Dove Part 1 - Silver Elite 2

On Wednesdays We Read (OWWR Pod)

Play Episode Listen Later Jul 29, 2026 71:38

Bridget, Caitlin, Hilda and cover the first part of "Broken Dove," book 2 in the Silver Elite series by Dani Francis. Unsurprisingly, there are LOTS of opinions on what's happening in this book, so they're going to talk them out, all for your listening pleasure. Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe

Ep. 190- Harry Dresden always gives people the benefit of the doubt. (Turn Coat)

Play Episode Listen Later Jul 29, 2026 88:52

Send us Fan MailHannah and Laura are covering the first third of Turn Coat by Jim Butcher and are struggling to understand why Harry Dresden is helping out a certain terrible warden. They also chat about the impact of an incredibly popular book, Hannah's journey into The Righteous Gemstones, and a book that Laura is adding to her favorites list.**This episode contains SPOILERS for Turn Coat by Jim Butcher. Spoiler section begins at: 47 min 21 secs. ***CW for the episode: discussions of racism, sexism, politics, climate change, death, violence, blood, gore, immigration, police, sex, drugs *Media Mentions:Turn Coat by Jim Butcher Holler: A Graphic Memoir of Rural Resistance by Denali Sai NalamalapuHeartstopper, Vol. 6 by Alice Oseman Automatic Noodle by Annalee Newitz Yesteryear by Caro Claire Burke The Righteous Gemstones---HBO Max Support the showBe sure to follow OWWR Pod!www.owwrpod.com YouTube: @owwrpodBlueSky: @OwwrPodTikTok: @OwwrPodInstagram: @owwrpodThreads: @OwwrPodSend us an email at: owwrpod@gmail.comCheck out OWWR Patreon: patreon.com/owwrpodOr join OWWR Discord! We'd love to chat with you!You can follow Hannah at:Instagram: @brews.and.booksThreads: @brews.and.booksTikTok: @brews.and.booksYou can follow Laura at:Instagram: @goodbooksgreatgoatsBlueSky: @myyypod

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261-Yesteryear

Book Cult

Play Episode Listen Later Jul 29, 2026 117:28 Transcription Available

Tradwife? More like Sad Life. Today we are talking about Yesteryear by Caro Claire Burke. This book has everything we all love about America today: influencers, rich people playing pretend, politicans, and internalized misogyny! WARNING: child abuse, sexual assualtBecome a supporter of this podcast: https://www.spreaker.com/podcast/book-cult--5718878/support.

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Literary Criticism 101: 8 Literary Lenses Every BookTok Reader Should Know

Play Episode Listen Later Jul 28, 2026 75:02

Ready to read beyond the plot? In this episode of Book Talk for BookTok, Jac and Amy break down literary criticism for beginners. If you've ever finished a romance or romantasy novel and felt like there was more going on beneath the surface but couldn't quite name it, this episode is your starting point. We're covering our 8 favorite critical literary lenses — the same tools used in academic literary analysis, translated into something any BookTok reader can actually use on their next read: Archetypal Criticism — spotting universal characters, symbols, and story patterns Ecocriticism — reading nature, setting, and environment as meaningful, not just backdrop Feminist Criticism — examining gender roles, power, and representation Marxist Criticism — unpacking class, wealth, and power structures in the story Narratological Criticism — analyzing how the story is told: structure, voice, and point of view Postcolonial Criticism — reading colonialism, identity, and cultural power dynamics Psychoanalytical Criticism — exploring character psychology, desire, and the subconscious Queer Theory — examining gender, sexuality, and identity outside the norm For each lens, we give you a quick-hit breakdown: what it is, the core question to ask yourself while reading, and the specific things to watch for in the text that signal it's worth applying. Whether you're deep into a romantasy series or picking apart your next spicy romance novel, these tools will help you read with more intention — and talk about books with way more depth. Click here for our Critical Literary Lenses Cheat Sheet. Perfect for: BookTok readers, romantasy fans, book club hosts, English majors (former or current), and anyone who wants to talk about books like they mean it. Sponsor: Joan Road Beauty For a limited time our listeners are getting a FREE full sized Mascara on their first purchase when they use code BOOKTALK at checkout. Just head to Jonesroadbeauty.com. Share your thoughts for a chance to be featured! Submit them at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠booktalkforbooktok.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for a future mini-episode or exclusive Patreon discussion. Support the Show: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/booktalkforbooktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Us on Social: Instagram: @BookTalkForBookTok TikTok: @BookTalkForBookTok YouTube: @BookTalkForBookTok Learn more about your ad choices. Visit megaphone.fm/adchoices

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258. Shadowhunters: The TV Show: Christmas in July.

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Play Episode Listen Later Jul 27, 2026 65:06

ACOFAE Podcast Presents: Shadowhunters: The TV Show: Christmas in July. Long time listeners will know that ACOFAE had to cover the show at some point. Yep, Laura Marie and Jessica Marie are revisiting the FreeForm pilot episode of ShadowHunters: The Mortal Instruments. It's a lot of things, and accurate is not one of them, but it is entertaining and ACOFAE will take what they can get at this point. Jessica Marie has actually seen the pilot before she started the books, and Laura Marie is just along for the ride and finding the value in what's on screen. Everyone is there, and the plot follows it's course, but it's the characters that give the show it's life. Just, why must we always start here.. Shout out to Jamie Campbell Bower, the once and forever Jace. TW / CW: none to our awareness For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: The Mortal Instruments, Shadowhunters Movie, Shadowhunters pilot, loose Shadowhunters universe Mentions: Fourth Wing, SJM, Game of Thrones, House of the Dragon, Lord of the Rings, Dune: Prophecy, The Magicians *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast https://www.instagram.com/acofaepodcast/ @ACOFAELaura https://www.instagram.com/acofaelaura/

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Episode 2227 - #1 NYT Bestselling Author W. Bruce Cameron on Netflix Premiere & A Dog's Perfect Christmas

Ash Said It® Daily

Play Episode Listen Later Jul 27, 2026 11:14 Transcription Available

Prepare for a masterclass in storytelling, heartwarming cinema, and laugh-out-loud humor! In this exclusive, must-listen episode of The Ash Said It Show, host Ash Brown sits down with the legendary literary powerhouse and cinematic mastermind, W. Bruce Cameron. If you've ever shed a tear, laughed out loud, or fallen completely in love with the furry heroes on your screen, this is the interview you cannot afford to miss. As a New York Times #1 Best-Selling Author, screenwriter, film producer, syndicated columnist, and humorist, Bruce Cameron has an unmatched gift for capturing the profound bond between humans and animals—along with the hilarious, messy realities of everyday life. From conquering the bestseller lists to dominating the streaming and box office charts, Cameron's creative footprint is legendary: * A Dog's Purpose: Spent an incredible 52 weeks on the New York Times bestseller list and was adapted into the beloved global blockbuster film starring Josh Gad, Dennis Quaid, and Britt Robertson. * A Dog's Journey: The sensational sequel that continued the magical cinematic journey. * 8 Simple Rules for Dating My Teenage Daughter: The iconic 2002 cultural touchstone that famously secured a Hollywood adaptation before the book even hit shelves! During this exclusive interview, Bruce dives deep into his highly anticipated upcoming film, A Dog's Perfect Christmas, premiering on Netflix in Fall 2026. Fans are in for an absolute treat with this star-studded holiday masterpiece featuring an iconic powerhouse cast including Dennis Quaid, Milo Ventimiglia, Jennifer Tilly, and Mary Steenburgen. Bruce shares behind-the-scenes magic about co-writing and producing the film alongside his incredible wife, Cathryn Michon, who also directed the feature. Expect exclusive insights into the creative process, on-set stories, and what it takes to bring these heartwarming holiday tales to life! Listeners get exclusive behind-the-scenes access to the creative genius behind Hollywood's biggest animal-loving blockbusters, unfiltered humor and heart exploring the comedic inspirations that shaped iconic hits like 8 Simple Rules, and invaluable industry insights perfect for aspiring writers, screenwriters, filmmakers, and fans of heartwarming storytelling.

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Booktalks podcast episode 110: Our Best & Worst Books of 2026 So Far

BookTalks

Play Episode Listen Later Jul 25, 2026 57:40

We're halfway through 2026, so it's time to check in on our reading lives! We're looking back at the goals we set in January, sharing how many books we've read, and revealing the stories that surprised, disappointed, and completely consumed us.We discuss our unexpected Maggie Gates obsession, whether the Fourth Wing series deserves its hype, our plans to continue Red Rising and Shield of Sparrows, and why mood reading has helped both of us read more than ever. We also weigh in on the BookTok debate about whether creators are actually reading every book they claim to finish.Then, we reveal our favorite books of 2026 so far—including Project Hail Mary, The Night We Met, Our Perfect Storm, You Deserve to Know, and Alchemized—along with our biggest disappointments, such as The Shippers, How to Kill a Guy in 10 Dates, and The Night Circus.Plus, Kayla has a major personal update: she's engaged! Hear the full story of Tom's Central Park proposal and how he managed to surprise her after a morning filled with suspicious hints.We close out the episode with our reading and podcast goals for the rest of 2026, including finishing several series, tackling our physical TBRs, returning to fantasy reading this fall, and working toward 500 YouTube subscribers.What are your best and worst books of 2026 so far? Share them with us on Instagram or TikTok at @booktalkspodcast.

The Joy Luck Club - Literary Analysis

google woo booktok book talk jing amy tan joy luck club literary analysis

Play Episode Listen Later Jul 23, 2026 56:07

Welcome to Academia Unlocked, our literary deep-dive series on Book Talk for BookTok! In this episode, we kick off our three-part series discussing The Joy Luck Club by Amy Tan. With over 13 years of combined academic training in literature and creative writing, we walk listeners through the foundational tools of reading beyond the surface. The book community talks about the "decline of literacy" constantly, but almost no one stops to define what literary literacy actually is or how to build it. This series exists to change that. One of the most common ways readers come to The Joy Luck Club is as an immigrant family drama, a moving novel about mothers and daughters caught between two cultures. And it is that. But Amy Tan built something more architecturally daring: sixteen interlocking stories, four mothers and four daughters, arranged around a mahjong table so the structure itself mirrors the divide it describes. This series digs into both. Whether you first read this novel because it was assigned to you, came to it through the 1993 film and never picked up the book, or only know Jing-mei Woo's name from a Google search, this series will give you the critical lens to engage with Amy Tan's Joy Luck Club with more depth, more confidence, and a lot more to say. Sponsor: VIONIC Use code BOOKTALK at checkout for 15% off your entire order at ⁠⁠⁠⁠www.vionicshoes.com⁠⁠⁠⁠ when you log into your account. Share your thoughts for a chance to be featured! Submit them at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠booktalkforbooktok.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for a future mini-episode or exclusive Patreon discussion. Support the Show: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/booktalkforbooktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Us on Social: Instagram: @BookTalkForBookTok TikTok: @BookTalkForBookTok YouTube: @BookTalkForBookTok Learn more about your ad choices. Visit megaphone.fm/adchoices

Off Campus, Heated Rivalry & The Summer I Turned Pretty: Why YA Romance Is Everywhere Right Now

#Millennial: Pretend Adulting, Real Talk

Play Episode Listen Later Jul 22, 2026 72:40

Support #Millennial!⁠⁠⁠ Visit Patreon.com/millennial to get exclusive bonus episodes, live stream access, and more! Visit our merch store: ⁠⁠https://shop.millennialshow.com⁠⁠ Follow the show in your favorite podcast app and leave us a review! Grab your popcorn and your feelings, because this week we're diving headfirst into the YA romance takeover happening on your TV right now. We're joined by Christine Riccio (author of 'Thirty, Flirty, and Forever Alone' and 'Attached at the Hip', host of Those Forking Fangirls podcast) to talk through whether we're actually living in a golden age of YA romance television, or if it just feels that way because Netflix and Amazon can't stop greenlighting shows built for people who grew up on The CW and obsessed over the Twilight saga. We get into what's different about the hype around shows like Off Campus, Heated Rivalry, and The Summer I Turned Pretty, how much of this we can credit to BookTok (and social media more broadly), and whether virality now matters more than a built-in fanbase ever did. Christine also brings her perspective as a published romance author to weigh in on how this boom is rippling into publishing. Plus: why does it seem like contemporary romance is winning while sci-fi and fantasy YA (RIP Vampire Academy and First Kill) can't get a second season? We break down what we think is really going on, and what we'd love to see more of on screen. Recs this week: Laura's got Obsession, Pam's bringing author Elissa Sussman, and Christine is serving up 'Cherry Baby' by Rainbow Rowell. Where to find Christine: Instagram, YouTube, Those F%#king Fangirls, Amazon And don't go anywhere after the credits roll — After Dark is getting personal this week with a round of "get to know each other better" questions pulled straight from Teen Vogue's best-friend deep-cuts. Head over to Patreon and support the show at the OTP tier or higher to get instant access! Learn more about your ad choices. Visit megaphone.fm/adchoices

SPECIAL EPISODE 28: Our new friend, Lindsey Olsson!

Play Episode Listen Later Jul 20, 2026 49:00

ACOFAE Podcast Presents: SPECIAL EPISODE 28: Our new friend, Lindsey Olsson! ACOFAE welcomes DEBUT author Lindsey Olsson to the podcast to discuss (SPOILER FREE) all things To Drown A Witch! Laura Marie and Jessica Marie are delighted to report that while writing and organizing To Drown A Witch Lindsey used a "murder board'! Longtime listeners will know how exciting this is. Join ACOFAE and Lindsey as they dive into the entire process of creating the world of Gadore. Someone is killing guards with magic and that someone can only be the witch. Or so it seems. In a world where women are being drown because men are scared, what happens when love isn't enough? TW / CW: none to our awareness For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: No spoilers! Mentions: To Drown a Witch by Lindsey Olsson *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast https://www.instagram.com/acofaepodcast/ @ACOFAELaura https://www.instagram.com/acofaelaura/

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Wildfire Smoke Health Alert; Hegseth Testosterone Plan; China More Popular Than U.S.; Amazon Turns BookTok Into TV; Jeopardy! Writer Search

Mo News

Play Episode Listen Later Jul 16, 2026 45:46

Headlines: – Welcome to Mo News + World Cup Finals Is Set (02:00) – Trump CDC Director Nominee Grilled on Vaccines (07:15) – Key Takeaways From Todd Blanche's Confirmation Hearing For Attorney General (11:20) – Trump's DNI Pick Jay Clayton Won't Tell Senators If Biden Won 2020 Election (16:50) – Pete Hegseth Wants To Test Troops For Low Testosterone (23:30) – Wildfire Smoke From Canada Spreading Across Midwest And East (27:45) – Trump Reverses ICE Traffic Stop Suspension (31:00) – People in Many Countries Now View China More Positively Than the U.S.~ Pew (33:00) – How Amazon Is Turning the BookTok Boom Into Hit TV (36:30) – Jeopardy! Needs A New Writer: What The Show Is Looking For In Applicants (39:30) – On This Day In History (44:45) Thanks To Our Sponsors: – Monarch - 50% off your first year | Code: MONEWS – Factor - 50% off your first box | Code: monews50off –⁠ Industrious⁠ - Coworking office. 50% off day pass | Code: MONEWS50 – LMNT | Free Sample Pack with any LMNT drink mix or 12oz cans purchase – ⁠Boll & Branch⁠ – 20% off first order, plus free shipping | Code: MONEWS

The Joy Luck Club - Literary Literacy