Podcasts about indie authors

Send us Fan MailHannah and Laura are thrilled to be chatting with author K.R. Lockhaven about his new book, Fool! They discuss the book's characters and themes, writing a shocking twist, and the role that humor can play in books. Be sure to pick up Fool, which released on September 14th!You can follow Kyle and find his works at:Website: KRRLockhaven.comInstagram: @authorkrlockhavenBluesky: @krlockhaven.bsky.socialMedia Mentions:Fool by K.R. LockhavenMrs. Covington's by K.R.R. LockhavenThe Azure Archipelago series by K.R.R. LockhavenThe Conjuring of Zoth-Avarex by K.R.R. LockhavenZoth-Avarex's Escape Plan by K.R.R. LockhavenThe Lies of Locke Lamora by Scott LynchJujutsu Kaisen by Gege AkutamiWe Break Immortals by Thomas Howard RileyTokyo Ghoul---HuluFelix Ortiz's worksSupport 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

My guest this episode is Luke Richardson, a former journalist, nightclub DJ, and English teacher who turned his love of travel and adventure into a career as a full-time indie author. Luke visits the places he writes about, drawing on their history, atmosphere, and people to create globe-trotting thrillers. He also approaches publishing as a business and builds a close relationship with his readers. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. About the Host Howard Lovy is an author, developmental editor, and writing coach with a long career in journalism and publishing. He works with writers at many stages of their careers, with a focus on helping them develop their ideas and strengthen their work while preserving their unique voices. He lives in Northern Michigan. About the Guest Luke Richardson is the author of international thrillers that blend history, mystery, and adventure in exotic locations. A former English teacher and lifelong traveler, he brings his real-life adventures to the page—and to podcasts—sharing insights on storytelling, creativity, and far-off places. You can find him on his website, Facebook, Instagram, TikTok, and YouTube.

Claire Taylor is a humor and mystery author and the mind behind The Liberated Writer. As a certified Enneagram practitioner and a long-time editor and story consultant, Claire helps authors understand themselves and their characters more deeply to tell iconic stories. In this episode, you'll learn: · What readers want out of character relationships · How the Enneagram framework can help you create memorable characters · How to use the personalities of your characters to create convincing relationships//Draft2Digital is where you grow your Indie Author Career// Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way.• Get started now: https://draft2digital.com/• Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog • Promote your books with our Universal Book Links from Books2Read: https://books2read.com Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

In this session, we hit a few news updates, then get into anthology layout updates, new manuscript work, getting an author website, working with narrators, and a little debate on Jim Carrey's Grinch.Check out the⁠ Indie Author & Publishing News ⁠page for daily updates

Ashli O'Connell is the author of the historical novel Emmaline. As a debut author, she earned five figures of royalties in ten weeks— all without having her book in Kindle Unlimited. Ashli joins us to share insights into her author debut and lessons learned from her successful book launch.//Draft2Digital is where you grow your Indie Author Career// Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way.• Get started now: https://draft2digital.com/• Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog • Promote your books with our Universal Book Links from Books2Read: https://books2read.com Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

BookTok made her book go viral… and then traditional publishing came knocking.This week, we're joined by Sheila Masterson, bestselling author of the dark romance sensation The Poison Daughter, to talk about the whirlwind journey from indie publishing to breakout success.We talk about what it actually feels like when your book takes off, the realities of going from indie to traditional publishing, the highs and surprises of the process, and what happens when the story you created starts becoming much bigger than you ever expected.Plus: The story behind The Poison DaughterHow BookTok and Bookstagram helped propel the bookGoing from indie author to traditional publishingThe whirlwind of getting signedWhat surprised Sheila most about the publishing worldWhat comes nextAnd… could The Poison Daughter be making it's way to Hulu?Whether you already love The Poison Daughter, found Sheila through BookTok, or you're fascinated by what happens when an indie book suddenly catches fire, this conversation is such a fun look behind the curtain.And, truly, Sheila is an absolute delight. ❤️

My guest this episode is Sheila M. Averbuch, a former journalist and technology publisher who spent years pursuing her dream of writing for children. More recently, she embraced independent publishing as a way to share what she learned from her own long and sometimes difficult path to publication and to help other writers along the way. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. About the Host Howard Lovy is an author, developmental editor, and writing coach with a long career in journalism and publishing. He works with writers at many stages of their careers, with a focus on helping them develop their ideas and strengthen their work while preserving their unique voices. He lives in Northern Michigan. About the Guest Sheila M. Averbuch is the author of middle-grade thriller Friend Me (Scholastic Press New York) and Pitch Your Book (ENNclick Editions) and is the UK's first pitching champion for the Society of Children's Book Writers and Illustrators (SCBWI.) She holds degrees from Harvard and Stanford universities and a New Writers Award from the Scottish Book Trust, and she co-founded the SCBWI network in Scotland. Sheila lives with her family near Edinburgh, Scotland. You can find her on her website and Instagram.

Dale L. Roberts is an accomplished indie author and host of Self-Publishing with Dale on YouTube. His specialties include book publishing, video production, public speaking, and networking. We dig into: · What authors can get out of YouTube · How to start building your platform on YouTube · What video content you should be making to help your author brand//Draft2Digital is where you grow your Indie Author Career// Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way.• Get started now: https://draft2digital.com/• Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog • Promote your books with our Universal Book Links from Books2Read: https://books2read.com Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

In this episode, we take on the world of Avatar, The Last Airbender and dive into The Promise - the events following the well-loved anime series. Hang out with the boys and your drink and enjoy another hour of your favorite comic podcast.Book of the Month: https://www.darkhorse.com/books/22-381/avatar-the-last-airbender-the-promise-library-edition-hc/Drink of the Month: (Listen in for Higgin's Drink)0-0-8 Studio: https://linktr.ee/Zero0EightHonorable Mentions:https://store.steampowered.com/app/4515660/Control_Im_Not_Coming_Back/Be sure to like and subscribe. Novel Spirits is brought on by 0-0-8 Studios, and there are many projects on the horizon. Stay tuned for the latest and greatest, our monthly vids, and claim your chance to win some cool merch. Cheers!

In this episode, host Bidemi Ologunde speaks with Natalie Saar, a content expert, narrative strategist, author, and creator of The Indie Authors, about storytelling, self-publishing, personal growth, and preserving an authentic human voice in an increasingly AI-driven world. Saar, who has published nine books, argues that AI can be a powerful research and optimization tool while human creativity should remain at the center of the writing itself. What happens to authorship when machines can generate competent prose at scale? Can writers embrace AI without surrendering the voice that makes their work distinctive? And how can the principle of becoming just 1% better help creators overcome perfectionism, self-doubt, and the pressure to constantly achieve? Bidemi and Natalie also explore the changing economics of independent publishing, discoverability in an algorithm-driven marketplace, and why telling more human stories may become even more important as synthetic content proliferates.

Before a novel hits shelves, some authors are inviting readers into the process—one chapter at a time. This episode explores pre-publication serialization with novelist Matty Dalrymple, who's serialized her twelfth and latest novel to subscribers. We dig into: · For authors: real-time reader feedback, revision insight, and built-in pre-launch buzz · For readers: early access, behind-the-scenes author notes, and a voice in shaping the story · Why it builds loyalty: daily engagement, milestone rewards, and a shared sense of journey between author and audience //Draft2Digital is where you grow your Indie Author Career// Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog • Promote your books with our Universal Book Links from Books2Read: https://books2read.com Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

How can you redesign your author business for the publishing environment that actually exists, rather than the one you wish you had? And how do you decide which marketing efforts will still bring readers to your books in ten years' time? Tracy Cooper-Posey shares her solar sail theory after more than 25 years as an author. In the intro, reviving your backlist [The Indy Author]; AI as a medium [Tim O'Reilly]; How to Write, Publish, and Market Short Stories – Joanna Penn. ProWritingAid Storyteller sale: Thursday, 3rd September until September 13th 2026 — 25% off all annual licenses as well as Story Critique credits. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Tracy Cooper-Posey is the multi-award-winning author of over 200 novels and works of nonfiction, science fiction, fantasy, romance, and historical fiction under three pen names. Her books for authors include The Indie Author Survival Guide and The Productive Indie Fiction Writer. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Learning to write again after chemo, one sentence at a time What enshittification means, and why it is the environment rather than you The hallmarks of an indie author business that persists over time The solar sail theory of long-term discoverability Why social media and paid ads have such a short half-life How to find and reduce the operational drag on your business You can find Tracy at ProductiveIndieFictionWriter.com or StoriesRulePress.com. Transcript of the interview with Tracy Cooper-Posey Jo: Tracy Cooper-Posey is the multi-award-winning author of over 200 novels and works of nonfiction, science fiction, fantasy, romance, and historical fiction under three pen names. Her books for authors include The Indie Author Survival Guide and The Productive Indie Fiction Writer. So welcome back to the show, Tracy. Tracy: Hi, Jo. It's great to be back. Jo: Yes. So you were last on the show in October 2023 talking about The Productive Indie Fiction Writer, and we went into depth then. So give us a bit of an update on your author business and also your life. Because it has been a bit of an up and down. Tracy: Yes, it's been a very interesting three years, because I had just gone into remission with cancer when we were talking last. Now I'm out of remission again and facing treatment in the next few weeks. My husband got cancer and went through treatment, and he's cured. So life has been pretty interesting. All that has made me do a lot of deep thinking about the indie author business and my own business and writing in general. So I'm still here. I'm still publishing, 200 plus books now. I had to learn how to write again. But the writing has shifted a lot towards science fiction and fantasy, including cosy science fiction now, which is the new genre that's just creeping in. All three pen names have been Aurealis Award finalists, which is nice. I'm still continuing the nonfiction work, which is something that you said the last time that we spoke. You said, “Now that you've written one, it's likely you'll write more nonfiction.” And I did. Jo: You did. They're excellent books. Just on that, you mentioned cosy sci-fi. For anyone who might not know, where is that genre? What's in that genre of cosy sci-fi? Tracy: It's not really officially a genre yet. It started off with cosy fantasy, which was where the cosy started. Actually, technically it started with cosy mystery, and everyone understands cosy mystery. The body and the murder are off stage. There's a lot of tea drinking. There's lots of friends, and it's all very polite and mannered. You're focusing more on the emotions and the feel, and they've picked up that cosy aspect of mystery and put it on fantasy. So you get books like, I think the primary one is Legends and Lattes. It's about an orc that's running a coffee shop because they got sick of fighting, and the adventures that they have trying to run their coffee shop. So if you pick up that same cosy sensation and put it on science fiction, that's cosy science fiction. But it's so new that it doesn't have a category on Amazon or anything like that. Cosy fantasy does now. Amazon just created a cosy fantasy category a while ago. But cosy science fiction is so new that people are still arguing over which books are cosy science fiction and which are not. Jo: Oh, that's interesting. You're incredibly prolific. You always have been. You mentioned there that you had to learn how to write again after cancer. What do you think happened, and how did you relearn? Because there are people listening who go through these similar things. Tracy: I think a lot of what happened was, well, life just became incredibly complex and challenging, and just getting through a day of pain took a lot of the energy, what they call the spoons. I didn't have the spoons to write anymore. Also you get chemo brain, which is the really interesting one. When I was going through chemo, I would look at a spreadsheet and just couldn't figure out how it worked. It just didn't make sense to me, so I had to hand over the finances and everything to Mark, which was rather interesting. The way I got myself back into writing again was, it was such an alien idea that writing wasn't even on my radar from day to day. I just didn't have the energy or the concentration to do it. So I started off really, really small. The first thing I did was read a lot of favourite books from other authors just to remember why I loved reading. Then I started reading my own books that I had written, just to remind myself of what I used to love about my own work. Then I just cracked the manuscript one day and read as far as I had written and thought, “Okay, what's the next sentence?” And that's the only thing that I would let myself do, was just write the next sentence. That's it. So I wrote the next sentence, and sat there and thought, “Do I want to write the next sentence?” On that particular day, no, I didn't. But I just kept opening the manuscript and looking and thinking about the next sentence, and eventually I wrote a few more. I think it was that coming back to the manuscript over and over with no pressure, just look at it, can you get the next sentence written? Very slowly I started building up, and now I'm pretty much back to the speed that I was at before the diagnosis. Jo: So I guess we could think about it in the same way that your body is physically recovering, your mind is also recovering. It almost feels like people want to disconnect the two. If you get a physical injury, that shouldn't affect your brain. But as you mentioned, having chemo, that in itself is difficult and has impacts on your brain. So if people think about it more as an injury you have to come back from, rather than day one you're back in, I guess. Tracy: Yes. It's really a rehabilitation-style process, and I think the key is you've got to take all pressure off yourself. I know that, for me in particular, because I was such a workhorse, I could feel this stress because I just wasn't getting things done. Once I gave myself permission to just take as long as it takes and just keep coming back to it, that helped enormously. It still took time for that rehabilitation process to actually work. There's a lot of forgiving yourself, and it has to be a gentle process, I think, because situations like cancer and chemo and whatever the situation is that's pulled you away from your manuscript, they're big life events, and there is a lot of stress involved with them both physically and mentally. So you have to give yourself time. Jo: Yes, it's so important. Okay, well, also in these last three years, as you said, you've got back to writing, and one of the books you have also written is The Anti-Enshittification Field Manual for Indie Authors. You also use Cory Doctorow's enshittification concept around the mature indie author industry. So just talk about what that term [enshittification] means? We think it is now established in the industry, in terms of what is going on there. How do we recognise it and adjust? Tracy: It's a very interesting term. The first time I heard it I raised my brows a bit. I was thinking, “Well, that's a bit cheeky.” The more you think about it, the more appropriate the name is. Basically, Cory Doctorow's idea is that any platform, so for the sake of this discussion, let's say Amazon, starts out serving its users extremely well because it needs them. When everyone first got into indie publishing, Amazon was open doors and you could just publish a book and it would sell, because they would push the book and they would do everything they could to make sure that readers saw your book. Then slowly and increasingly, the platform extracts value from those users for somebody else's benefit, usually shareholders, and ultimately for itself. You can track this process where it starts off really great for the users and then slowly shifts so that it becomes a less than stellar experience for the users. For indie authors, we're particularly exposed because our business sits on top of these platforms. So recognising that a lot of the platforms that we use now have enshittified, excuse me, or are in the process of doing that, that really helps. Because I think for years we were treating everything as a separate problem. We were worrying about organic reach, we were worrying about advertising becoming more expensive. There's subscription creep, there's deteriorating customer service, algorithm changes. Visibility was increasingly pay to play, and it's so much more than that now. The platforms keep removing features or changing the terms. Individually it just looks like a mess, but as soon as you put them together and say, “Oh, I understand now. The platform is enshittifying,” you can see the structural pattern. It actually applies to so many platforms and services. Once you see it, well, for me in particular, that was an enormously positive realisation, because until I saw the pattern, I thought I was failing, and nothing I was doing seemed to work anymore. Once I understood the environment itself had changed, I could stop trying to fix myself and start redesigning the business for the environment that actually exists. Jo: Yes, and that is the point. Redesigning your business for the environment that exists. Because what you mentioned there, I feel like some people still think that organic reach exists. I guess some people will say, “Oh, well, at the moment you can still put a video on, say, TikTok, and it might find an audience there.” Are people still building an audience in these newer platforms? But I think that's the point, isn't it? I guess Substack would be another one. Although we already see that heading in the same direction, with various things. As soon as you go in there thinking, “Yes, I'm going to get organic reach,” even if there is any, it follows this way, doesn't it? Tracy: It does. And this is what's so great about it, is once you recognise this pattern, you see it everywhere, and you can actually track a new platform through that process, and you can anticipate that, okay, maybe we're going to get organic discovery right now, but that's going to diminish. That way you're not disappointed, and you're all set up for when that happens. That means that you can reduce your dependency on these platforms and not expect them to behave like they did in 2011. Jo: It's interesting, though, with Amazon, for example, we've definitely seen that as authors. But on the other side, as a customer, as a reader particularly, I used to find a lot of books on Amazon directly. I'm almost entirely now finding books elsewhere, often through AI, actually, often through Claude. Tracy: Yes, exactly. Jo: And then going on Amazon to maybe get the book. It feels like for readers it's changed too, right? Tracy: Exactly. I mean, indie authors are particularly vulnerable because their entire business is built on these platforms, but this applies to everyone. It's not just indie authors. As you say, it's readers. They're noticing too that the decay of these platforms is starting to impact them as users. I'm exactly like you. I tend to buy my books from Kobo, but I will buy my books from anywhere, and I learn about those books from a dozen different places. I don't rely on just one platform anymore. It's really great once you understand this because then you can build an independent mindset that lets you flex around issues. Jo: Yes, and obviously we like to dwell on the positives here. So given that this is just a reality of the market and various platforms— What are the hallmarks of an indie author business that is more likely to persist over time given the reality of this? Tracy: Okay. Well, I think that the biggest part of it is, as I mentioned before, it's the mindset. Recognising these patterns is really a big one, recognising where a platform is in the process. Also developing a very independent mindset. I mean, we've been saying we're indie authors since 2011, but we were still really relying on those platforms to provide most of our business. I think these days the new indie author is much more independently minded. Even though you're using the platforms, and we're all using them, you develop a flexibility. You understand the industry, and you're making plans ahead of it, so you've got the flexibility there, and the business thinking, which really helps. You deal with any problems that come up. Every time there's an algorithm change, you're not going to wake up in the morning and just go through mourning because half your income has disappeared. You're ready with alternatives, and you've got different things that you can try. So that mindset, that thinking about and recognising patterns and how the industry is going, is critical. Once you've got that in place, then there's a huge number of strategies that you might want to incorporate. This is the thing, every indie author's business is different. We're all in different situations. I have health challenges, someone else may have a day job. I write a lot of books. Someone may be only able to produce a couple of books a year. We're writing in different genres. If you're writing literature, that's different from the sort of science fiction that I write. So the business and how it responds to the conditions out there is going to be different as well. So what you do as an author and for your business will be different. There's a lot of strategies that you can try and see which are most effective for you. One of the biggest, for instance, is something that you say a lot too, diversify your income. Have a durable backlist. Work to get your backlist built up. Direct sales is another strategy that I would say is almost mandatory for every indie author these days. I know a lot of indie authors are going, “Oh, but I've only got two books.” Doesn't matter. If you can sell from your site using just a PayPal link, that's direct sales, and that works. That gives you a lot more independence and agency. Owning your reader relationships, making sure that you keep the readers close, I think that's another critical one. Making sure that you're resilient for the platform so you can adjust when there's changes. And on and on. There's a lot of things that you can do to adapt. Jo: Yes. I think it's interesting just thinking about when you said, for example, direct sales is good for every indie author. I would say every indie author who wants to have a long-term business—and I think that's a really key thing. Because I feel like it's still important to have a difference between people who are writing primarily as a hobby or are not looking for the financial income that you and I think about. So I think that's one thing. I totally agree with you that just having a PayPal button or even selling some physical copies at a local fair or something, that all counts. I think it almost proves something and gives you that more independent mindset. It's like, “Yes, I can actually do this.” That is such a powerful reframe rather than, “I cannot do anything except upload my book on Amazon.” Tracy: Yes. And actually, funny you should mention the live markets, because we experimented over the last year with attending a few live markets and selling books, and there is a genuine power, a little thrill that you get when you sell a book, and you can sign it on the spot for them, and the reader is right there and you're face to face. That process is suddenly not this anonymous process, where you find that you've sold a book overnight and you've got no idea who it is that bought it. That person's right there in front of you, so you can sign the book for them and you have a little exchange. It's really empowering to build that independence into your business. Jo: Yes, and then you also mentioned the durable backlist. Do you think that having books in multiple genres, including nonfiction, is part of how you can make a living? As in, I think people often think, “Oh, maybe if I just write 20 books in one series.” I mean, maybe that works in some genres. I guess thrillers, actually, that can sometimes work, but you do so many things. Is it the 80/20 rule, that 20% of your books make 80% of the income, or does it literally vary from year to year? Tracy: Well, it does swing from year to year. But yes, generally the 80/20 rule holds. It's different from year to year, which 20% is making the 80% of the money. As I mentioned, I'm moving into science fiction and fantasy more, because that's actually more successful for me right now than the romance is. The other thing is, I think it really comes down to the individual author too. Some authors do very well just doing the one genre or even just the one series, and for them it's great. I always worry that that's putting all your eggs in one basket. I think, though, to counter that vulnerability, if you're just doing one series or one genre, go wide. Sell as wide as you can, and that gives you a bit of a hedge against vulnerability. It's a different situation for every author, and it's very hard for me to say, “Well, here's a 15-step list that'll give you all the answers,” because that 15-step list doesn't exist anymore, if it ever did. Just because everyone's business is so different. You need to do a lot of experimenting, I think, and find what works for you. That sounds like I'm waving off the answer, but I'm really not. You really do have to figure it out for yourself. If you do adopt that experimental mindset and say, “Okay, I'm going to do this for six months and track my statistics and see if there's any results there worth pursuing.” Jo: See what happens. Yes, and it's interesting you've also moved more into the nonfiction. Let's get into your solar sail theory, because I've followed you on and off since we met, like a decade ago. Tracy: It was 10 years ago. Jo: I know. It's crazy. It's really crazy. For those listening, we met in Oregon, at the Oregon Workshops with Dean Wesley Smith and Kristine Kathryn Rusch. I've been reading your blog pretty avidly around this solar sail theory, which I love, and now you're talking about writing science fiction, I can appreciate it more. What is your solar sail theory and some of the ways to build it? Tracy: Okay, so solar sail theory is a theory in science. Well, I was going to say science fiction, but there's solid science behind it. Solar sails are a way, they think, because it's never been proven yet, of propelling a spacecraft. You have this huge sail, like kilometres wide, and what it does is it captures photons. Photons are basically light. So when the light hits the solar sail, it gives it a minuscule amount of push, but there's no friction in space, so that push just keeps the ship going and going. So when you've got kilometres of sail, all the photons hitting that can bring a ship up to enormous speeds, like a fraction of light speed, which sounds small if you're not used to science, but a fraction of light speed is enormously fast, and these solar sails can bring a ship up to those sorts of speeds. So you can cross to the next star without needing faster-than-light travel or warp speed or something like that. Put that theory over the top of the indie publishing industry and you suddenly get a very interesting way of thinking about the industry, and it helps you make decisions. So it's not a prescription. Again, it's not a 15-step, here's how to conquer the universe. It's a decision matrix. It helps you figure out what's going to work for you. Whatever strategy or tactic it is that you're thinking about doing, you can ask the question, does this extend my sail? So does it leave something behind that can continue to make me discoverable? So for instance, a 30-second radio advertisement probably is not going to leave anything behind that'll let readers discover you, because once it's aired, it's gone. On the other hand, a podcast interview like this. The podcast interview that I did with you three years ago, I'm still getting people finding me and finding The Productive Indie Fiction Writer three years later because of that. So that's extending the sail, and it's just a little tiny push, like a photon. Blog posts also, they surface indefinitely, so readers can find them 10 years later. And because you're the host of your own podcast, all your podcast interviews and the website, they're also creating surface area, so people keep finding you years later. Also guest articles, and a book in a library. Your entire back catalogue is all part of the solar sail. Jo: I know people listening are going, “But what about social media?” Tracy: Yes. Social media is a tricky one because it's such a short half-life. I think on Facebook, if anyone sees your post at all, after two hours it's basically gone. They never see it unless they actually go to your account, and they need to have heard of you in order to go to your account and see the post. So that makes social media not really a good solar sail builder. It has other uses, and as long as you understand that it does have this very short half-life, then you can use it for the things that it's good at. Jo: Yes, the same with paid ads, for example. Paid ads are the same as social media. Perhaps a quicker push, but as you say, the half-life is quicker. Tracy: Yes. Exactly. Paid ads come and go. There's nothing out there that'll let the reader find you in a couple of years' time. So they're very short term. A lot of people can build their business on these short-term things. They spend thousands of dollars on paid ads each month, and that works for them, but if they stop doing it, then their business halts. It comes to a grinding halt. Whereas if you're building your solar sail, it's a long-term way of setting up your business, so it just keeps ticking on. Jo: Your series of posts on the solar sail, which are also in The Indie Author Survival Guide, they are nonfiction, useful things. So what about for the fiction side? What do you suggest people do around content marketing? Tracy: Well, it all applies to both fiction and nonfiction. I usually write, because The Productive Indie Fiction Writer is addressing fiction authors, this does all apply to fiction as well. As I was saying, your book catalogue, because you're on Amazon, and Barnes & Noble, and Kobo, and Apple, and maybe Google as well, all of those pages are part of your sail. Your own site, all the book pages on your own site are part of the sail. There's different ways to do it, but the common one is you have this standard sail out there that helps readers find you. You coax them to come to your site, and there you try to capture them as readers. So that usually means your email list. Some people use Substack now. There are other alternatives I'm sure I haven't thought of, but email seems to be the principal one. Then you can build that relationship with the readers over the long term. The solar sail just brings all those readers to you so that you can develop that relationship and keep the readers close. For fiction authors, I think this is critical. This helps you build independence from the retail platforms. Jo: Yes, it is interesting. I would put podcasting and YouTube in particular. So I had someone, they were in my Patreon, and they said, “I'm no longer subscribed to your email list because I hear from you in Patreon and on the podcast.” I was thinking about my own behaviour, and for the podcast that I am a hardcore fan of, I'm not on their email list. I was thinking it is because my relationship with those people is more auditory, I guess. The same with YouTubers. People end up subscribing to your YouTube channel. Then the problem still is, if I stop podcasting today, then I can't contact those people again. Except that I know lots of podcasters who stop podcasting and then maybe two years later they just pop on with an update episode. And people are like, “Oh, I never unsubscribed from you on my feed.” So that can appear years later. I definitely still agree that the email list is primary. But if you're somebody listening and you're a more audio or video person, I think we can probably think about the relationship with people on these different dimensions. Tracy: Yes, and some people definitely prefer the audio. I'm utterly text-based myself. I prefer to read. But yes, podcasting, apart from anything else, is a way of keeping contact with the readers, and they can email you in return. So it is a two-way process, so you can develop that relationship. So if that works for you, that is a good alternative. The other thing is too, of course, every episode that you've recorded and put on a webpage is also building your sail. So more and more people are finding you. So podcasting is interesting. If you're guest posting on someone else's blog, that's a somewhat time-consuming way, but it does build up your sail as well. Jo: The only problem with that, I would say, as someone who used to have guest posts, is it's still my website. When it came to auditing my website, about five years ago—and the thing is, because my website's been around since 2008, I had some people guest posting in the early days—and I was like, “This should not be here anymore.” So I am able to get rid of people's things when they're on my site, in the same way that Amazon can take down your book or whatever. Tracy: Yes, and that's where the anti-enshittification process comes in. That's where developing that independent mindset comes in. One of the questions that you need to ask is, how permanent is this? What happens if it goes away? Tat's why blogging on your own site is probably a stronger and better decision than guest blogging on other people's sites, because they have control of that. Jo: Yes, absolutely. So there's so much in these books. These are all excellent books. I feel like you know so much after decades in the trenches, and I love that you're putting out everything in these books. I did want to ask you one specific thing, because obviously we're increasing the size of our sail. But if we have massive amounts of drag, so we have sea anchors or whatever we want to call it in our metaphor, we have to sort that out too. So in The Indie Author Survival Guide, you have a section on protecting the margins. So I wondered if you would talk about the specific ways to think about what is operational drag and how can we reduce it? Tracy: Well, we just actually hit the perfect example. Guest blogging has more drag than blogging on your own site does, because you don't have control over it, so it can disappear. It requires maintenance. It takes your time. So drag is basically anything that is going to slow you down once you've built up speed, coming back to the solar sail theory. The sail will keep you moving, but because we're not working in a vacuum anymore, we're not in space, there are things that can slow you down. Particularly for mature author businesses, we accumulate all this cruft. For instance, Barnes & Noble recently changed their website so that all the URLs for a book changed, and that doesn't sound like a big deal, but I've got 200 books. So suddenly the links didn't work pointing to Barnes & Noble for every book. So the Books2Read universal book links had to be changed for all 200 books. Jo: Oh, I did know that and I haven't done it. Tracy: This is the thing, is when you've only got five books, it's like 10 minutes' worth of work, no problems, and you just move on. When you've got 200 books, that's suddenly a big deal. I only found out accidentally that they had changed them, and once I had confirmed that every single link no longer worked, it was suddenly a massive project. There's also the money drag. Everything these days is software as a subscription. Even Microsoft Office, you've got to pay the fee every year. It works well in theory, because you're getting updated software all the time, but you have a dozen of those or two dozen, suddenly you're spending a lot of money every year for software that once upon a time we used to pay a flat fee for and that was it. So it pays to go through and figure out what expenses you can get rid of or diminish, or can you find a cheaper version. There's advertising. Some advertising just isn't worth spending the money on. If you're doing pay-per-click advertising, you need to monitor it all the time, so that's a time sink that you're blowing money on, technically, because your time is money. There's also, you may not be managing it quite as well as you could, so you're actually burning more money because the ads are not working as effectively as they could. More drag. You need to go through every aspect. There's time drag, repetitive tasks. For instance, Mark and I have, for about, I think we're coming up on 11 years now, we track our sales. Every morning we sit down and go through every platform and record the sales for that day in a spreadsheet so that we can do analysis. It's a good way to spend time because it's got extreme uses. There's a lot of little tasks that you might do, especially if you've been working in the business as long as I have. All these little tasks will build up, and suddenly you forget why you're doing them. Or the conditions have changed and it's not worth doing them anymore. They may not be providing the value that they once used to. So you have to go through and make sure that you're reducing the drag on your business as much as possible so that you can keep moving. Jo: Yes. I had two more extra ones there. You mentioned the things that we do that perhaps we don't need to do anymore. If people are outsourcing, if you have virtual assistants, if you are paying for some kind of service outside your own time, sometimes you can have that going and then when you think, do I need that anymore? So I know some people still do pay for turning posts into social media or making book trailers. That's a good one. Or there's things that people are paying for, and then you might realise that you don't need that service anymore, or you don't need everything that that social media manager is doing anymore. So realistically looking at the benefits of what you're getting. Tracy: Yes, constant review. Jo: Yes. Constant review. Then the other thing I was thinking is a mindset drag. So right now, as we're recording this, in the author community, there's this witch hunting going on around AI usage. Tracy: Yes. Jo: It's the latest thing that's causing massive drama. I feel like it's almost mindset drag to get dragged into some of this drama, and it saps the energy. That can really pull on your boat, on your solar boat. Tracy: Well, actually, I've found that, and this is all part of the indie author mindset, and it's also part of the anti-enshittification process too. I did a lot of research on AI. I did a lot of reading. I listened to a lot of different discussions about it, and then I formed my own policy. What's my policy for AI? What's my policy around AI and its use and so forth? I find that once I had developed that policy for myself, suddenly there's not as much mental drag with all the AI discussions and the witch hunts and all the drama that's going on around it, because I know where I'm sitting and I'm quite comfortable with my position. So I think for a lot of people, it can become very emotional and draining if you still haven't figured out where you sit on the spectrum of AI use. But that's actually how I tackled it, because I was getting very tired of all the dramas. It is draining, and it worries you. So I deliberately went out and did a lot of research and reading, and figured out where I stood, and that made a huge difference for me. Jo: Yes. And again, that's something to look at on your schedule. So maybe in a year's time you re-look at things again and change your decision. I think the same thing with the traditional versus self-publishing versus wide versus KU, and you could just go on. There are pros and cons in every single direction, right? At the end of the day, it's almost the decision fatigue that's stopping you. Or you could say, again, our solar boat has to go in a particular direction. You can't go in every direction at the same time. You just have to make a decision, right? Tracy: Yes. I think being as informed as possible about the industry is one of the big ones. I've spent a lot of time doing a lot of reading, not just about indie publishing over the last few years, but everything to do with publishing and also everything to do with business, because we are in business. That's a bit of a cliché, that a lot of indie authors, their eyes just glaze over when they hear that you're in business. There are aspects of running a business that we just don't get taught as indie authors or as creatives that I think we should be teaching each other or getting each other to learn, because it's basic business survival. Things like pricing, that is an enormously complex business topic, pricing. Most of us are, “Well, what's everyone else doing? Okay, I'll do that.” That's how they make their decisions. There's a lot more to it than that, and it's very complex. We don't have to get a PhD in business management, but I think a little bit more awareness about basic business principles would serve all of us much better. Jo: Yes, there's always so much to learn, but I actually think you've done a really good job with your books. I mean, The Indie Author Survival Guide is a great place to start. They're super, super useful. I do want to talk about—as we come to an end—you've been doing this a long time, as have I, and we've both got some battle scars along the way. You do end your books with hopeful realism, which I like. Now, I'm definitely more of an optimist than you, but I feel like hopeful realism is a good place. So how can people cultivate that feeling of hopeful realism around the business? Tracy: I don't know. Are you more of an optimist than me? Anyway. Well, let's see, because for me, all the book writing and all the research and all the reading that I've been doing over the last few years have given me back a lot of optimism that I didn't have. As I was saying, it was feeling as though I couldn't do anything right. So learning that it wasn't just me that's the problem gave me back my confidence. So that's where the hopeful realism and the optimism came in. So hopeful realism, okay, it comes from understanding, from agency, and from choice. If you understand the industry as it actually exists, not the way you wish it did, and you understand the forces acting on your business and where you sit within them, that helps enormously. Just having that knowledge there, you can see what's going on, you understand what's going on. It's not all a mystery, and you're not scratching your head wondering what to do next. Because of that understanding, you get agency. You're not helpless. When circumstances change, you can respond. You can make decisions instead of simply having things happen to you, and all of that gives you choice. You can go out and research and find out what your options are, and you can choose the best option for you. If that doesn't work, you can go and try something else. So you've got a lot of choices, and you've got things that you can do. You're not helpless. So hopeful realism, I think, is pretty optimistic. Jo: Brilliant. So where can people find you and your books online? Tracy: If you're interested in my nonfiction, the best place to find me is at The Productive Indie Fiction Writer. If you want to find out more about my fiction, the best place to find that is to go to StoriesRulePress.com. My three pen names are there, and also Mark, my husband, who is a writer as well. And shortly, I think, another member of the family's going to be joining us as well. So it's a very family affair on Stories Rule Press. Jo: Well, thanks so much for your time, Tracy. That was great. Tracy: Thank you very much. I'm thrilled I was able to come back and talk again. Thanks, Joanna. The post How To Redesign Your Author Business For The Environment That Actually Exists, With Tracy Cooper-Posey first appeared on The Creative Penn.

333 / What mindsets and practical strategies can transform setbacks into growth for writers—and what really defines success in a creative career? A.B. Jackson shares how he successfully pivoted from music marketing to writing and publishing fiction and non-fiction. He unpacks the lessons learned from both industries and how he leverages community and personal growth.Changing limiting beliefs and redefining successLessons learned from the music industryBuilding authentic connections with readersManaging criticism and unhelpful adviceCrafting your own marketing approach✨ This week's sponsor is Vellum: https://www.tryvellum.com/wish

At MahoganyBooks' Black Books Matter Festival, moderator Nikesha Elise Williams, author of The Seven Daughters of Dupree, speaks with indie authors T.L. Price and Sundiata Ramin about why they chose self-publishing and how it requires running a business. Price, an attorney and mother of three, began writing urban romantasy and paranormal romance to increase representation of Black men in fantasy and to publish quickly without a traditional gatekeeper; she stresses treating writing like a job with set hours, budgeting, professional covers, multiple editors, and learning the industry. Ramin, author of a Chuck Brown biography and a Go-Go Museum curator, describes using his bookstore, design, and marketing background to produce a high-quality book, meet a tight timeline, and distribute through major channels. Both discuss building audiences, using social media, and connecting with Black readers, while audience Q&A covers tips for young writers, marketing poetry, research and worldbuilding, and finding mentorship through author networks.Takeaways:Self-publishing necessitates a professional approach; authors must treat their craft as a business and set dedicated work hours.Indie authors have the opportunity to represent marginalized voices in genres traditionally dominated by other demographics, fostering greater inclusivity.Building a loyal fan base is crucial; authors often find that their readership extends beyond initial expectations, reaching global audiences.Effective marketing strategies, including professional editing, eye-catching covers, and budget management, are essential for indie authors to achieve success in the competitive literary marketplace.

Olivia Gaines is an award-winning Indie author.  She also leads a Facebook group called “Journaling Lovers.”  That group is 70,000 members strong, and Olivia asks those group members to “focus on the moment of connection” as they journal.  In this episode of The Learning Vibes Podcast, you'll hear Olivia talk about her writing process.  She also will help you expand your thinking about what a journal can be in your life as you pursue artisanship and lifelong learning.  

My guest this episode is David Barbur, a former law enforcement officer who now writes wilderness mysteries inspired by his interests in hiking, tracking, survival skills, and the natural world. Since 2017, he has published a novel every year while balancing writing with a full-time job and family. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. About the Host Howard Lovy is an author, developmental editor, and writing coach with a long career in journalism and publishing. He works with writers at many stages of their careers, with a focus on helping them develop their ideas and strengthen their work while preserving their unique voices. He lives in Northern Michigan. About the Guest David Barbur lives in the foothills of the Cascade Mountains. He can often be found wandering the forest with a longbow in his hand, tracking animals and trying to figure out what happens next in his latest story. His latest release, Time of Ashes, is the seventh Tye Caine Wilderness Mystery. You can find him on his website.

Tara from Author Support joins the D2D Team to answer author questions and bust common myths about publishing with Draft2Digital. //Draft2Digital is where you grow your Indie Author Career// Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog • Promote your books with our Universal Book Links from Books2Read: https://books2read.com Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

The publishing industry is getting serious about AI authorship, and one major publishing CEO has some surprising thoughts on AI detectors and proving who actually wrote a book. Lulu is rolling out a dead-simple new direct-sales tool, while Dibbly Create finally adds manuscript imports. Plus, Get Authentic Book Reviews and Book Bounty launch new features for authors, along with more updates in the Rapid-Fire Newsflash. Catch up on the latest Self-Publishing News for August 20, 2026.  Publisher Rocket - https://DaleLinks.com/PublisherRocket (affiliate link)  Publishers Weekly: Brian Murray Addresses AI Authorship Issues - https://www.publishersweekly.com/pw/by-topic/digital/copyright/article/101002-brian-murray-calls-for-industrywide-solutions-to-issues-around-ai-authorship.html Jane Friedman: After Editing Two AI-Assisted Manuscripts, I Rewrote My Client Agreement - https://janefriedman.com/after-editing-two-ai-assisted-manuscripts-i-rewrote-my-client-agreement/ Lulu: Single-Click Selling Option Waitlist - https://lulu-press.myklpages.com/l/Yvt5xc Lulu Publishing: How to Set Up a Lulu Buy Button for Direct Sales | Complete Tutorial - https://youtu.be/OslwjE5oUSg?si=BIMoMmd2ZAoqT1C- Dibbly Create - https://DaleLinks.com/DibblyCreate (affiliate link)  Authentic Book Reviews - https://GetAuthenticBookReviews.com Book Bounty - https://DaleLinks.com/BookBounty (affiliate link)  Rapid-Fire Newsflash  Voice by INAudio - https://www.voicesbyinaudio.com/ Spoken Multi-Cast™ Deep Dive Webinar - https://www.spoken.press/magicmodewebinar Dale L. Roberts: How to Build an Author Website With No Tech Skills | Tertulia for Authors - https://www.youtube.com/live/ofmFpEP6tnA?si=PprfosdkMKV2ZVqv ProWritingAid: Creative Nudge - https://prowritingaid.com/features/creative-nudges?afid=6615 (affiliate link) ProWritingAid: Is Your Manuscript Really Ready to Publish? - https://prowritingaid.com/ready-to-publish/sign-up Women in Publishing Summit: The Marketing Power of Book Covers: From Market Research to Promotion - https://womeninpublishingsummit.com/event/marketing-power-book-covers-miblart/ The Indy Author Podcast: What Draft2Digital's New Fees Mean for Indie Authors with Kris Austin - #349 - https://www.youtube.com/watch?v=mzutAVKlYxc&list=PLDnpWFQZeQuYxOVgBG8u9DUO-aIjphmG_&index=2 Draft2Digital: YouTube for Authors - https://www.youtube.com/live/T71o5yHGKhY?si=g_QuOp3_hLnn9iVH   Subscribe to my email newsletter - https://DaleLinks.com/SignUp Join Channel Memberships - https://DaleLinks.com/Memberships Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@dalelroberts My Books - https://DaleLinks.com/MyBooks  Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

In this episode, we delve into new data from Edison Research that found U.S. fiction audiobook listeners prefer Spoken's multi-cast AI narration to that of human narrators. The study surveyed over 1,000 fiction audiobook listeners who blind-tested human narration against Spoken's Multi-Cast™ AI narration. To help us understand the data, we're joined by Phil Marshall, founder of Spoken, and Megan Lazovick, vice president at Edison Research.  In this episode we discuss:  • The methodology behind the research  • The key results — favorability, engagement, and listener sentiment before and after  • Whether listener willingness to try AI narration was measurably impacted  • When to consider human narration vs. AI narration  • What this means for authors and publishers considering AI narration //Draft2Digital is where you grow your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

Indie author, SR Stacy, drops by for a yarn about her books, Bette Donovan and the Battle for Wyoming and Life in the Quiet. Guest Website: Srstacy.com Support the Rings Of Adventure Kickstarter: https://www.kickstarter.com/projects/rvb1/rings-of-adventure-anthology Podcast Website: thetrueandthefictional.com Contact the show: thetrueandthefictional@gmail.com Support the show: Buymeacoffee.com/sttatf Buy Merch: Jabryden.printify.me   Follow us on the socials: FB: Facebook.com/storiesthetrueandthefictional IG: @stories_podcast X: @stories_ttatf Youtube: https://www.youtube.com/channel/UCzIXhRcUvPPAzpCL-_a9N4w   Dropbear/logo designed by Mike Crumbs: Cartooncrumbs.com   Sponsor 1: Rebecca Cassells Buy her books on Amazon: https://www.amazon.com/.../e/B08WCH6RHG/ X: RACassells_auth IG: Rebecca.cassells.92 FB: Facebook.com/RebeccacassellsbooksTikTok: @rebeccacassellsauthor   Sponsor 2: J.A. Bryden  Website: Jabryden.com Socials: @jabryden   Indie Book Award Winners 2025:   Janelle Schiecke: Socials: J_Schiecke Buy her books: https://www.amazon.com.au/stores/author/B0CCXHKVGH/allbooks?_encoding=UTF8&ref_=aufs_ap_ahdr_dsk_ab&pd_rd_w=XSV9m&content-id=amzn1.sym.b4344408-bcb0-46d7-b9b0-ac31160009fa&pf_rd_p=b4344408-bcb0-46d7-b9b0-ac31160009fa&pf_rd_r=358-0097934-1431222&pd_rd_wg=8hy1R&pd_rd_r=f0f7368c-365a-4c1c-8cc2-4a75595b0f92   Alexander Rob: Socials: @TheStarwald Website: Alexanderrob.com   #indieauthorpodcast #meettheauthor #books #indiebooks #booktube

Matty Dalrymple talks with Kris Austin about WHAT DRAFT2DIGITAL'S NEW FEES MEAN FOR INDIE AUTHORS, including how the new $20 activation fee and $12 annual maintenance fee are designed to break the business model of scammers and bad actors; why AI-generated spam pushed Draft2Digital and retailers to act; why Amazon distribution is now invite-only; how print-on-demand change tokens and the 90-day rule work; why the maintenance fee is waived for authors earning over $100 a year; and the new Bookshop.org partnership that lets indie bookstores sell indie ebooks. Interview video at https://tinyurl.com/TIA349YT Show notes at https://theindyauthor.substack.com/ (subscribers get exclusive content and benefits) If you find the information in this episode useful, please consider supporting The Indy Author! https://substack.com/@mattydalrymple https://www.patreon.com/theindyauthor https://www.buymeacoffee.com/mattydalrymple https://theindyauthor.substack.com/ Kris Austin is the co-founder and CEO of Draft2Digital, one of the world's largest digital publishing and distribution platforms for self-published authors and independent publishers. Since its founding in 2012, Draft2Digital has grown to support over 300,000 authors from around the globe who have collectively released over 1 million titles. Matty Dalrymple is the author of the Lizzy Ballard Thrillers, beginning with ROCK PAPER SCISSORS; the Ann Kinnear Suspense Novels, beginning with THE SENSE OF DEATH; and the Ann Kinnear Suspense Shorts. She is a member of International Thriller Writers and Sisters in Crime. More at mattydalrymple.com. Matty also writes, speaks, and consults on the writing craft and the publishing voyage, and shares what she's learned on THE INDY AUTHOR PODCAST. She writes nonfiction books for authors; her articles have appeared in Writer's Digest magazine; and she is a Partner Member of the Alliance of Independent Authors. More at theindyauthor.com. She also guides professionals in building their presence through a sideline or second act through her platform From Expertise to Authority. More at theindyauthor.com/authority.

My guest this episode is Linda L. Garnett, a gothic supernatural thriller author who came to fiction after seven years in independent music journalism. We talk about how that experience shaped her approach to publishing, marketing, and building an audience, as well as the writing process that helped her turn years of unfinished manuscripts into a professional author career. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. About the Host Howard Lovy is an author, developmental editor, and writing coach with a long career in journalism and publishing. He works with writers at many stages of their careers, with a focus on helping them develop their ideas and strengthen their work while preserving their unique voices. He lives in Northern Michigan. About the Guest Linda L. Garnett writes gothic supernatural thrillers for readers who want to be emotionally wrecked at 3 a.m. Her debut novel, Red Falls, reached No. 1 in New Releases in Occult Suspense and climbed to No. 7 on Amazon's Best Sellers list in the category, earning 4.8 stars from early readers. It was named to the 2026 Shelley Book Awards longlist for paranormal fiction. Linda writes dark, atmospheric fiction in which the ordinary unravels and something unspoken takes hold. When she's not writing about small-town secrets, she's probably building playlists for books that don't exist yet or researching obscure vampire folklore. The second book in the Veritate Triumphat trilogy, Red Falls: Bloodlines, is forthcoming. You can find Linda on her website, download her free Red Falls bundle, find her books on Amazon, or visit her links and social media page.  

Sometimes discovery writing leads to dead ends, character inconsistency, or stories that wander off track. USA TODAY Bestselling Author Paul Austin Ardoin joins us with tips to help pantsers looking for practical tools to strengthen their stories without losing what makes them discovery writers. //Draft2Digital is where you grow your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

Episode # 129 Dark Fantasy, Black Authors, and a Toxic Hottie or Two with Cheryl Hodges of The Obsidian ArchivePart of noseyAF's 31 Days of Black Business series

Crime writer Angela C Nurse returns to The Write Place to talk about a major change in her writing career, signing with Vinci Books after several years building her readership as an independent author.Angela is the author of the Rowan McFarlane Detective Mysteries and the DI Ravenscroft & Professor Laing crime series. In this episode, we talk about why Angela decided the time was right to hand over some of the business and marketing side of publishing, what it feels like to give up a little control after years of doing everything herself, and why she still remains a passionate advocate for indie publishing.We also get into the realities of selling books, Amazon advertising, covers and genre expectations, book fairs and the challenge indie authors face getting their books into physical bookshops.Angela also tells me about the Mysterious Murders Short Story Competition, which she co-founded with Jeroen van Rotterdam in memory of writer Anja Boersma. This year writers are challenged to create a locked-room murder mystery of up to 3,000 words, with £3,000 going to the winner. Entries close on 30 September 2026.We also chat about new ideas arriving at inconvenient moments, writing more than one book at a time, what Angela would tell her younger self and what comes next for both of her crime series.About Angela C NurseAngela C Nurse is a Scottish crime writer and creative writing coach, and the author of the Rowan McFarlane Detective Mysteries and the DI Ravenscroft & Professor Laing series. After building her career independently, Angela signed with Vinci Books in 2026 for her existing backlist and future books in her first two series.Find Angela and her booksWebsite and newsletter:https://www.angelacnurse.com/Angela's books on Amazon UK:https://www.amazon.co.uk/stores/author/B0957J7JL5Mysterious Murders Short Story Competition:https://www.mysteriousmurders.com/

Author Nation is the world's largest indie author conference, built around a simple belief: successful authors are built through community, strategy, and consistent action.  But Author Nation is more than a four-day Vegas Convention; it's a community meant to help authors build sustainable, prosperous creative careers in the golden age of content creation.  In this episode, you'll learn:  • The mission and philosophy behind Author Nation  • The importance in community building for authors  • What makes Author Nation stand out from other author conventions //Draft2Digital is where you grow your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

Everyone dreams about launch week.The book is finally out. Readers are excited. Reviews start rolling in. Maybe you even imagine yourself relaxing with a cup of coffee while you watch the sales come in.Reality?You're refreshing dashboards. Opening support tickets. Chasing approvals. Answering emails. Wondering why one format is live while another has vanished into the publishing void.Sound familiar?I share the lessons I learned during the launch of Simply Dag—and why a chaotic launch week doesn't mean your book is doomed.Whether you're preparing to publish your first book or you're already an experienced indie author, this practical survival guide will help you navigate the emotional roller coaster that almost nobody talks about.In this episode, you'll learn:• Why something almost always goes wrong during launch week—and why that's normal.• How to keep logistics from crushing your confidence.• The hidden customer-service side of self-publishing.• Why readers notice far less than you think they do.• How to protect your creativity when you're buried in emails, approvals, and technical issues.• Why launch week is only the beginning—not the finish line.Publishing independently is one of the most rewarding things you'll ever do—but it can also test your patience in ways you never expected.If you're an indie author, this is the episode I wish someone had made for me before my own launch week.Subscribe for more conversations about writing, creativity, introversion, and building a meaningful creative life—one book at a time.***For insider information & spilled tea, please subscribe to my weekly newsletter, The Unicorn Dispatch, here: https://sara-causey.kit.com/2d8b7742ddSara's award-winning biography of Dag, Decoding the Unicorn, can be found on Amazon: https://www.amazon.com/Decoding-Unicorn-New-Look-Hammarskj%C3%B6ld-ebook/dp/B0DSCS5PZTSimply Dag: The Private Man in a Public—and Dangerous—Office is now available in ebook and print anywhere Amazon books are sold: https://a.co/d/06kuNST9The exclusive audiobook experience is available here: https://sara-ija-shop.fourthwall.com/products/simply-dag-audiobook

Welcome back everyone! Apologies, apologies, and apologies a thousand times over, but the ever-late Novel Spirits gang delivers yet another episode and another Battle of the Genres!!! As promised, this time it's a SciFi battle, where Halo: The Rubicon Protocol by Kelly Gay (Presented by Michael) takes on Autonomous by Analee Lewitz (presented by Jacob). Grab your drinks, your books, gather around, and mind the shenanigans. As always, we are bound to dive deep into lore and analysis for your viewing and/or listening pleasure.   Halo: The Rubicon Protocol - https://www.amazon.com/dp/1982147881?lv=shuf&channelId=500&plpRedirect=mhFallback Autonomous - https://www.amazon.com/dp/1250174686?lv=shuf&channelId=500&plpRedirect=mhFallback Drink of the night - https://www.bacardi.com/us/en/ 0-0-8 Studios - https://linktr.ee/Zero0Eight   Be sure to like and subscribe. Novel Spirits is brought on by 0-0-8 Studios, and there are many projects on the horizon. Stay tuned for the latest and greatest, our monthly vids, and claim your chance to win some cool merch. Cheers!

My guest this episode is Julie Day, an autistic author and advocate from London who writes children's books featuring autistic characters finding confidence — the kind of books she never had growing up undiagnosed. Her path to indie publishing began with a recurring dream she had to write down, and it carried her through a late Asperger's diagnosis and a life-threatening heart illness she turned into a book to help others. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. About the Host Howard Lovy is an author, developmental editor, and writing coach with a long career in journalism and publishing. He works with writers at many stages of their careers, with a focus on helping them develop their ideas and strengthen their work while preserving their unique voices. He lives in Northern Michigan. About the Guest Julie Day is an autistic author and advocate who mainly writes children's books featuring autistic characters finding confidence, as well as articles about autism, and creates videos about autism and being autistic. She also writes memoir-style guides about a heart condition and autism, and adult mysteries featuring a character with a heart condition. You can find her on her website, Instagram, and YouTube.

Substack for indie authors: where to start, what to post, and how to grow. Sinem Günel of Write • Build • Scale joins the D2D Self Publishing Insiders podcast to give you the playbook — from setting up your publication to landing your first subscribers and building a readership that follows you from book to book. //Draft2Digital is where you grow your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

327 / How can you make one piece of content do more for you? What does it take to juggle fiction, nonfiction, and podcasting? Matty Dalrymple shares tips on how she builds an audience on multiple platforms, collaborates on nonfiction projects, and streamlines her business strategies.Streamlining social media to focus on meaningful engagementLeveraging Substack for podcasting and community buildingCollaboration tips for co-authoring nonfictionThe mindset shift from scattered efforts to strategic synergy✨ This week's sponsor is Bookfunnel: https://bookfunnel.com

A major traditional publisher is making a surprising move toward indie authors. We also cover a KDP payment change, new details about Audible's royalty model, and fresh opportunities for book promotion and AI discoverability. Plus, the Rapid-Fire Newsflash features author resources, timely discounts, and more publishing updates. Dibbly Create - https://DaleLinks.com/DibblyCreate (affiliate link) KDP Community: EUR Check Payments Changing in August 2026 - https://www.kdpcommunity.com/s/article/EUR-Check-Payments-Changing-in-August-2026?language=en_US ACX: Suggested Price - https://help.acx.com/s/article/suggested-price PublishDrive - https://DaleLinks.com/PublishDrive (affiliate link) Draft2Digital: The Draft2Digital Promotions Team - https://draft2digital.com/blog/the-draft2digital-promotions-team/ Publishers Weekly: Pocket Books Relaunched as Home for Self-Published Authors - https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/100756-pocket-books-relaunched-as-home-for-self-published-authors.html ALLi: How to Make Your Books Discoverable by AI, with Orna Ross and Rob Prime - https://selfpublishingadvice.org/podcast-how-to-make-your-books-discoverable-by-ai/ ALLi's Community Hub: SelfPubConnect - https://selfpubconnect.mn.co/ The Alliance of Independent Authors - https://DaleLinks.com/ALLi (affiliate link) Rapid-Fire Newsflash IngramSpark: A Definitive List of Writing Contests and Book Awards for 2026-2027 - https://www.ingramspark.com/blog/2025-book-awards-contests-for-indie-authors Authors Guild: Do Authors Need an LLC or S-Corporation? - https://authorsguild.org/resource/do-authors-need-an-llc-or-s-corporation/  Gemsy (the book review exchange platform) - https://DaleLinks.com/Gemsy (affiliate link) Use DALESUMMER50 for 50% off the annual plan (good till August 20, 2026) The Indy Author Podcast: Book Marketing on a Budget with Kevin Hall - Ep. 345 - https://youtu.be/tb7U7_15jzk?si=oBYwzp3hgpqw3WAG  The Smashwords Summer/Winter Sale - https://www.smashwords.com/shelves/promos The Self-Publishing with Dale Series (on Smashwords) - https://www.smashwords.com/books/byseries/113712   Subscribe to my email newsletter - https://DaleLinks.com/SignUp Join Channel Memberships - https://DaleLinks.com/Memberships Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@dalelroberts My Books - https://DaleLinks.com/MyBooks Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

The Draft2Digital team discusses the Smashwords Summer/Winter Sale and how authors can get the most out of our Smashwords Sales as marketing opportunities.  //Draft2Digital is where you grow your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

My guest this episode is Michelle M. Pillow, a bestselling romance author who has published more than one hundred books during a career spanning more than twenty years. She talks about her early love of reading, the unexpected path that led her to indie publishing, the fictional worlds she has built, and the challenge of managing a large backlist while staying connected to her readers. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. Bookstore You can find Michelle M. Pillow's books in the Indie Author Bookstore. About the Host Howard Lovy is an author, developmental editor, and writing coach with a long career in journalism and publishing. He works with writers at many stages of their careers, with a focus on helping them develop their ideas and strengthen their work while preserving their unique voices. He lives in Northern Michigan. About the Guest Michelle M. Pillow is a New York Times and USA Today bestselling author who has published more than one hundred novels over a career spanning more than twenty years. She writes romance, fantasy, science fiction, mystery, and paranormal women's fiction. She is best known for her Qurilixen World and Warlocks MacGregor series. You can find Michelle M. Pillow on Facebook, TikTok, and Instagram, visit her website, or view her ALLi author profile.

Tikiri Herath is the award-winning author who went from working in federal intelligence to writing her own worlds of suspenseful thrillers. Changing careers can be an intimidating prospect, but Tikiri took a new path and built a thriving author business along the way. This week, we'll discuss: • Pivoting mid-career from corporate work to full time novelist. • Running indie author-dom as a business. • Writing thrillers with strong female leads. //Draft2Digital is where you grow your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

In this episode, Becky concludes her series on the Ultimate Audiobook Launch Strategy. Moving beyond the initial setup, Becky dives into how authors can move from "selling" to "storytelling" by activating their existing audience ecosystem. Learn how to leverage your current following—from friends and family to mailing lists and social media—to build genuine momentum. Becky shares actionable strategies for marketing your audiobook without being a "bullhorn," including: Activating Your Ecosystem: Using newsletters, guest blogging, speaking engagements, and podcast interviews to share the "behind-the-scenes" journey of your production. Building Strategic Partnerships: How to collaborate with aligned communities, non-profits, and niche groups (like book clubs or advocacy organizations) using targeted discount codes. The Power of Storytelling: Moving away from hard sales by sharing the emotional impact and accessibility benefits of your audio content. Maintaining Momentum: Strategies for post-launch engagement, including responding to listener reflections and hosting live events. The AMPlify Advantage: A deep dive into why launching on AMPlify Audiobooks provides higher royalties, direct listener connection, and unique tools like "Marketing Quests"—gamified, step-by-step guides designed to take the guesswork out of your marketing journey. Whether you are a new author or an established creator, this episode provides the roadmap to stop whispering into the void and start building a thriving community around your voice. AMPlify Audiobooks: AmplifyAudiobooks.com Watch the video of this episode! Connect with us: If you found this episode helpful, please subscribe and share it with a fellow author or book lover! #AudiobookMarketing #AuthorTips #AudiobookLaunch #AMPlifyAudiobooks #SelfPublishing #PodcastForAuthors #Storytelling #BookMarketing

In this week's episode, we share nine tips and tricks to help indie authors manage their files. Since I now have 174 novels, file management has become important! This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: JULYSKULL The coupon code is valid through July 27, 2026. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 311 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July 10th, 2026. Today we are discussing file management tips for indie authors. Before we get into that, we'll have Coupon of the Week and an update on my current writing, publishing, and audiobook projects. First up, let's do Coupon of the Week. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store. That coupon code is JULYSKULL. As always, the coupon code and the links to the appropriate pages in my Payhip store will be available in the show notes for this episode. This coupon code is valid through July the 27th, 2026. So if you need a new ebook for this summer, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. As I mentioned last week, Blade of Thieves is now out. You can get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, Bookshop.org, and my own Payhip store. It is selling well and people seem to be enjoying it, so thank you all for that. Now that Blade of Thieves is out, my next main project is Cloak of Frost, which will be the 15th book in the Cloak Mage urban fantasy series. As of this recording, I am 52,000 words into it. I'm thinking the rough draft will be about 100,000 words. So if all goes well, I hope to have the book out in August. My secondary project is Blade of Visions, the sequel to Blade of Thieves, and I am 4,000 words into that. Once Cloak of Frost is finished, Blade of Visions will become my new main project. In audiobook news, recording is done for Dragon-Mage, the sixth book in the Rivah series, and that will be excellently narrated by Leanne Woodward. I just have to proof/listen to that and then we can submit it to QA and then it should be showing up on the audiobook stories in a few weeks. Recording has started on Cloak of Worlds, which will be [recorded by] Hollis McCarthy, and Blade of Thieves, which will be [recorded by] Brad Wills. So look for more news and updates about that in the coming weeks. So that is where I'm at with current writing, publishing, and audiobook projects. 00:02:16 Main Topic of the Week: File Organization for Writers So let's move on to our main topic this week, file organization tips for writers. One of the inspirations for this episode was an episode of the sitcom Community, which is quite funny. In the episode, the college is making a movie based on a legal loophole because they have some archival footage of a suddenly popular actor. One of the characters, Jeff, becomes concerned that people aren't treating the movie as seriously as they would deserve. So he steals the laptop with the movie and sets out to edit it himself. However, Jeff doesn't know anything about editing a movie, so he watches a YouTube tutorial about how to edit videos. The first lesson is "Step 1: How to properly organize your files." Jeff rages that no, he just wants to learn how to edit movies. While realizing that proper file organization is vital in the age of digital video editing, maintaining a good file structure isn't quite as rigid for authors and writers as it would be for video editors. However, even though many people consider file structure to be old-fashioned or pointless in the age of Google Docs and AI, in my years working in IT, I found that people wasted many hours trying to find files unnecessarily. For example, I always flinch a little bit when I see someone whose desktop is just a wall of misplaced icons and thousands of documents stacked upon each other. I used to do tech support for someone who had the most amazing gift for the most unhelpful and un-useful file names, often with misspelled words. He would get very frustrated and angry that he couldn't find anything because he hadn't labeled files properly with good file names. Better file structures and file naming conventions would have saved them all that stress and time. It's not wise to have all your files stacked up on your desktop and hope for the best. As you grow as a writer, files suddenly become much more complicated than one single draft in a word processing file. There needs to be organization for audiobook files, cover art, marketing materials, research, and much more. Blade of Thieves was my 174th book. So if you think about it, that means I have 174 separate book files on my computer. Many of them have audiobooks. They all have cover art. The audiobooks have cover art, to say nothing of the hundreds of short stories I've written and all of that needs to be organized properly so I can find it when I need it to. So today we're going to talk about setting up and organizing file structures for your writing work. First of all, what do I mean by file structures? In traditional computing, files like Word documents and Excel spreadsheets are organized in folders. How you navigate through the folder structure on your computer or server to find the files is called a path. Much like with a real path on a hiking trail, you want the path to find a file in a folder to be as clear from junk and confusion as possible. Good file and folder naming is like setting up signs on that hiking trail to help you find the way. Setting up your folders and files correctly makes them easier to use, find, and share with others. So let's go through some tips on how to properly organize your writing files and save yourself much stress and hassle of trying to find things. #1: Make a plan before you begin. Instead of borrowing someone else's file structure, take some time to think about how you use your writing files every day. Do you have a lot of project files for each book like book research, cover ideas, mood boards, and so on? Do you do most of your writing collaboratively? Think about your working style, the amount of files you have, and what kind of files you have that need organizing. It helps to plan for flexibility and growth in the future as the amount of files you have grows. For example, if someone currently runs only ads on Amazon but wants to add other companies like Facebook or BookBub, it'd be messier to add files from those projects if everything in their advertising folder was all Amazon documents with no sub-folder for Amazon. Making an Amazon sub-folder right away in your advertising folder prevents confusion as you start to add other companies into your advertising strategy. What you design should be realistic and as simple to use as possible. Are you someone who makes grand and complicated plans, but then sees them fall by the wayside after a couple of weeks? Many people are. Good organization is something where it's easy to let the perfect be the enemy of the possible. If you design overly complicated file and folder structures and naming conventions that you can't remember without a 20-page guide, you're not very likely to keep up with it. It's better to make something simple that it's easy to remember. Carve out the time to do this with your full attention instead of trying to do it in bits and pieces on the fly. It may take anywhere from an hour to days, depending on how many writing files you have. At the very least, set up the initial folders in one chunk of time so the organization is in place before you start moving files around. #2: Clean up before you start organizing. Get rid of duplicate and obsolete files before starting to organize other files. It will save time and make the process easier. #3: File structure is supported by good naming. Versions and drafts should be numbered to find the most recent one. Be specific. "Second draft" or "Volume one" without a book title isn't helpful if there are multiple books with that name across multiple folders. If you are using dates, be sure to include day, month, and year because in 10 years, "March ads" is not going to make much sense without the context of a year. Be consistent in how you order month, date, and year in a file because being inconsistent with it could make for mixed up dates. #4: Version control. "Rough draft THIS ONE" is not a good name to indicate that this is the latest draft and never use "final" as part of a draft or project name until it's well and truly done. On both Windows, Mac, and Linux, you get 256 characters for file names and it's a good idea to use them to be as descriptive as possible in your file names. #5: Be consistent. Don't make a folder called "Fix These File Names Later" because guess what? That date won't come. In the meantime, you'll probably get annoyed trying to find one of those files that don't have a correct name. If you're struggling with remembering to use your folder and file names, either make yourself a one-page reminder guide or take it as a sign that you might have made your structure and naming conventions too complicated. Remember that simpler is always better. #6: Document it. As with so many areas of life, proper documentation will help you remember something in the future. Write out how your folders are going to be structured, what style and formatting you will use to name the folders and files, and give yourselves some examples to jog your memory. If you're sharing the files and folders with others, make sure to share documentation with them and go over the system with them. That will save much time later since you won't have to spend so much time explaining to people where to find things in your file structure. #7: Decluttering isn't just for your college t-shirts. Schedule a regular time monthly or quarterly to declutter and fix anything in your file structure that isn't working or isn't consistent or correct. Much like organizing a drawer of shirts, things will only stay in order if you keep up with putting in and taking things out using your system. #8: It should fix, not create problems. Your first attempt at file organization may not work once you've added more files or tried it out for a while. Reflect on what is causing problems, what you would like your system to be able to do, and what you dislike about your current system. Train others who will use it. For example, differences in month/[day]/year naming conventions between countries can lead to incorrect dates if it isn't clear what date style is being used. Abbreviations should be standard to prevent confusion. For example, United States state abbreviations could follow the US Postal Service Conventions instead of writing your own abbreviations. MN would be Minnesota instead of M-I-N-N or M-I-N-N-E-S. (Though this can cause a confusion if you're not accustomed to them since, for example, in the postal codes, people often get Missouri and Minnesota mixed up.) Tip #9: Sharing isn't always caring. You can set up password protection on folders and files you don't want to share with others, especially if you're in a shared storage space. Read-only access is a way to share documents with others without worrying about them changing the files. For example, I have read-only access set for my book files so that someone working on my series bibles can download them without editing or changing the files themselves. So instead of having to make extra folders and files that are safe for someone to use without changing, I just set read-only access to those files [for that user]. Now let's take a look at some pros and cons of some typical structures. I'm going to provide examples of three possible folder structures you could use for writing and give you some of the pros and cons for each. #1: Organizing by date. In this system, the year is the first file and more specific files like quarters and months are sub-folders. This system might work best if you write based on challenges or projects such as National Novel Writing Month where each year is its own project. If you're taking writing courses, organizing by date and then by semester or course also would make sense for many people. For many writers, however, this could be a difficult way to organize because then you have to remember what year each book was written and many books are written across several years or months. If you're sharing the files with others, then you have to give them information on the history of each book project so they know which folder dates to look at, which creates extra work and most likely confusion. Like for example, off the top of my head, I could tell you that Ghost in the Forge is the sixth book in the Ghost series. However, I couldn't remember what year or month it was written in. I think it would be 2012, maybe February of 2012, but I would not be able to confirm that without looking it up, which would mean trying to find the file for Ghost in the Forge if I needed it would be a bit of a challenge. #2: Organizing by book. In this system, each book has its own folder and then other aspects like drafts, marketing materials, research, and covers are subfolders. If you don't have a large volume of books and don't have many writing adjacent activity files like research and advertising and don't share files with others, often this is a pretty straightforward way to organize your writing files. #3: Organizing by project type. In this system, the type of project is the main subfolder and sub-folders such as the books, marketing materials, covers, and series bibles would be in folders instead of being organized by individual books. For example, there would be a folder for marketing images. Instagram would be a sub-folder, and then there would be sub-folders in that folder for specific images and ads or individual books. If you have a lot of marketing images, that can be easier than trying to remember what image was for a certain book. This file organization system is more complex than just organizing by book and could be hard to keep up without some dedication. It might be unnecessarily complex for someone who only has a handful of books and only a small amount of files. As your writing adjacent activities like marketing and social media grow, it can be easier to organize this way than just by individual books. It's also much easier to share folders in a granular way using this method. For example, if you hire an assistant to help with social media posts, you can give them access to the social media marketing folders without having to give them access to the folders that have the book files and drafts in them. Now, what do I do for my own file organization system? Now, my system has partly been thought out and partly developed organically over the 15 years I've been doing this. And I found for me, since I've written so many books and series, that the best organizational principle is to run by series. My rough drafts are not super organized because once I am done with the book, I tend not to look back at the rough draft files. So usually my rough drafts are sitting in individual folders for the series like Frostborn, Dragontiarna, Blades of Ruin, and so forth. I am much more organized in the final drafts. Each individual series has its own folder and within the series, each individual book has its own folder as well. To help with keeping things in order, I usually number the folders. So for example, in Blades of Ruin, the first folder within it would be 01 Blade of Flames, then 02 Blade of Shadows, 03 Blade of Storms, and so forth. Within the individual book folders, I have the final files in ePub and PDF form for the books along with the cover images for both ebook, audiobook, and paperback. However, as I mentioned earlier in the podcast, I don't have just the book files. I also have audiobook files, advertising files, and a very large photo library from a combination of stock photos, 3D renders, and photographs I have specifically taken over the years for the purpose of using for ebook covers and advertising materials. For advertising images and materials, like I said, I found the best organizing principle for me is by series. So I generally tend to just organize them by series. So Frostborn, Sevenfold Sword, Dragontiarna, and the Andomhaim books generally have just one folder of advertising images since I can use the advertising image for both Frostborn: the Gray Knight and Sevenfold Sword: Champion. For my audiobooks, I keep those on a separate drive because they eat up a lot of space. But then I just have them organized out by book and series, which is pretty easy when I need to find something. For my stock photos, I do have those pretty well organized and again, in a separate drive, which I back up separately. I divide out the images by type. So I have a folder for castles, a folder for medieval or ancient cities, a folder for modern cities, a folder for fireballs and so forth. And so if I'm making a book cover image and I think, hmm, I want a sword, I can go into the swords folder and look at appropriate pictures of swords until I find one that would work for the project. How this [has] changed over time is I've had to become a bit more organized with the files because I started using Vellum, which generates a separate file of its own. So then I had to make sure that those were organized into proper files. I used to keep all my stock photos in just one big folder that quickly became unmanageable. So I once took two days to properly organize these stock photos. Just keeping all the rough drafts in one big folder for the series has worked pretty well for me because once I am done with the rough draft and have turned into the final draft, I just ignore the rough draft file and any changes that need to be made are obviously made to the final draft file. I also used to keep all the cover images in one folder for some reason and that was a bad idea. So then I started keeping the specific cover image in the folder with the specific book and that has worked out well. Would this be something I would recommend to someone just starting out? I think so. You can obviously get more complicated with this and my file structure is pretty simple overall, but it works for me. I can find anything I need to pretty quickly. In fact, my folder structure is deep enough I find sometimes that I get halfway down the folder structure and forget what I am looking for before I find it, which is a separate problem from folder organization. But I've stuck to this pretty consistently over the last 15 years and it's worked well for me. So I think I could recommend this to someone starting out. I'd have a folder for your rough drafts and then a folder with separate folders within it for your final drafts. Conclusion File organization is not glamorous, but as any records manager at a US government agency can tell you, it is extremely important for finding, organizing, and preserving what you create. Searching for files is not a writing adjacent activity that you want to take up your time and you definitely don't want the stress of losing something that you worked on for a long time by naming and storing it incorrectly. Finally, I want to close out with a reminder that however you set up your writing files and organizing them, they absolutely need to be backed up on a regular basis. I would recommend using a combination of cloud and local backups since they reinforce each other. If heaven forbid your house explodes and you lose your local backups, you still have your cloud backups. And if your cloud provider goes down or gets hacked or something, you still have your local backups. So no matter how you organize your files or how well organized they are, you definitely want to back them up on a very regular basis. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all of the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.  

Orna Ross, founder and director of the Alliance of Independent Authors, discusses the development and purpose of Indie Author Lab, explaining how it was created in response to changes in the indie author community—particularly the rise of AI. An ongoing monthly program designed to help serious authors address their specific challenges, it is based on Orna's Alliance of Independent Authors guidebook, Creative Self-Publishing, and focuses on four measures of success: productivity, platform, profit, and pleasure. With live monthly sessions, a community chat room, and access to resources and tools, the program is flexible enough to work for authors at any stage of their development—and will feature at AuthorNation 2026. Show Notes Indie Author Lab on Substack AuthorNation 2026 Sponsor Our Creative Self-Publishing stream is brought to you by Orna Ross's Go Creative! program—helping authors harness the power of creative flow in writing and publishing. About the Host Orna Ross launched the Alliance of Independent Authors at the London Book Fair in 2012. Her work for ALLi has seen her named as one of The Bookseller's "100 top people in publishing". She also publishes poetry, fiction, and nonfiction and is greatly excited by the democratizing, empowering potential of author-publishing. For more information about Orna, visit her website.  

Amy Award is a spicy romance author who believes that all bodies are beautiful and deserve their own love stories with Happy Ever Afters. This week, she joins us for a deep dive on building connections with fans. You'll learn:  • Why direct author-reader connection is indie authors' secret superpower • Proven strategies for turning casual readers into lifelong superfans • How Amy built a devoted community — and what you can steal from her playbook //Draft2Digital is where you start your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

In this episode I'm chatting with Stacia Lowe about how she built an author career by combining her passions for storytelling, knitting, and financial literacy while raising four sons. She discusses writing middle grade novels inspired by her family, growing a loyal readership through her newsletter, and why embracing the "slow and steady" approach has helped her build a sustainable writing business. The conversation also explores practical marketing strategies for indie authors, the importance of budgeting for publishing expenses, and how Stacia and her husband now help other writers through their publishing company.Find Stacia here: https://staciaraelowe.com/Pre-order Ezekiel's Path from Amazon.com here: https://amzn.to/4gVXOrm Pre-order Ezekiel's Path from Barnes and Noble here: https://www.barnesandnoble.com/w/ezekiels-path-adam-alva-lowe/1150449427Lowe Budget Kid's Youtube Channel: https://www.youtube.com/@lowebudgetkids/videosLowe Budget Publishing Author QuestionnaireGet on Stacia's newsletter: https://staciaraelowe.com/newsletter-join-save/ And find Stacia's books: https://staciaraelowe.com/home-2/stacia-rae-writes/Sign up for my writers' newsletter to learn more about the craft of writing, know when my workshops are and be the first to get exclusive information on my writing retreats. https://katcaldwell.com/writers-newsletterWant more information on my books, author swaps, short stories and what I'm reading? Sign up for my readers' newsletter. https://storylectory.katcaldwell.com/signup You can always ask me writing questions on instagram @author_katcaldwell

My guest this episode is Diane Hatz. Diane spent years in the music industry, working at major and indie record companies, managing a band, and co-founding a fanzine on The Who that ended up in the Rock & Roll Hall of Fame. Years later, she drew on those surreal experiences and turned them into fiction. After decades of putting off her dream of being an author, she published a four-book series in five years. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. Bookstore You can find Diane Hatz's books in the Indie Author Bookstore. About the Host Howard Lovy is an author, developmental editor, and writing coach with a long career in journalism and publishing. He works with writers at many stages of their careers, with a focus on helping them develop their ideas and strengthen their work while preserving their unique voices. He lives in Northern Michigan. About the Guest Diane Hatz is an award-winning author, organizer, and inner activist. Her debut novel, Rock Gods & Messy Monsters, earned numerous honors, including first runner-up for the 2024 Eric Hoffer Award and No. 1 Amazon Hot New Release in three categories. She has since written three additional novels, completing the Mind Monsters series. When not working on her next book, she can be found wandering the desert in New Mexico, road-tripping through the Southwest, or helping abandoned puppies find homes. You can find her on her website, subscribe to her newsletter, read her Substack, A Writer's Life, and listen to her YouTube podcast. You can also check out the Mind Monsters series on Amazon and Amazon UK, and follow her on Facebook and Instagram.

Authors want to write great books, launch them well, grow their readership, and make smart business decisions. But the problem is that indie publishing never feels simple. Launches are stressful even after dozens of books. Ads can look profitable one month and shaky the next. TikTok can sell books but demand more visibility than some authors want. NetGalley can bring reviews, but only if the right readers get the book. And while all of that is happening, writers still have to protect their creativity and avoid burning out. In this episode of Write, Wrong, Repeat, Jeff Elkins, Holly Lyne, Tom Holbrook, JP Rindfleisch, and Crys Cain talk honestly about what they're testing in their author businesses right now. They discuss launch-day anxiety, NetGalley lessons, Facebook ads, Amazon freebies, TikTok lives, faceless TikTok accounts, newsletters, reader magnets, preorders, BookVault, direct sales, and using AI tools to organize the chaos. The conversation digs into the real question underneath all the tactics: how do authors build systems that sell books without draining the joy out of writing them? Watch this episode if you're trying to figure out what's worth your time as an indie author, how other writers are experimenting with launches and marketing, and how to keep moving forward when the author business feels messy, uncertain, and very, very real.

The difficulty in life is the choice. And every choice is a crossroads.This week's Working Writer roundup covers three stories that land on the same square, plus an announcement I've been sitting on.1. Simon & Schuster relaunched Pocket Books as a home for indie and hybrid authors.One of the oldest names in American paperback publishing, rebuilt around signing successful self-published writers to print deals. Their own words: “a home for forward-thinking writers, including bestselling indie and hybrid authors looking to amplify their reach.” Translation: New York is no longer asking who has a manuscript. It's asking who has readers. The room you build around your work isn't the consolation prize anymore. It's the asset.2. The industry is counting its robots.BISG and BookNet Canada opened their 2026 “AI in the Book Industry” survey (through July 17). Last year's round found about half the industry using AI, almost entirely in the plumbing: admin, marketing, data. Not the voice. I talk about where Crossroads stands: machines in the machinery, humans in the writing, audiobooks narrated by human beings. The flood of machine-made content drowns the generic. It can't drown a voice a reader trusts.3. Fourteen thousand librarians walked into Chicago.The American Library Association held its 150th annual conference: 14,801 registrants making plans for the future of reading. The quiet answer to “nobody reads anymore,” and a reminder that the professional middle (librarians, book clubs, spiritual directors, retreat leaders) is where books actually travel.And some news of our own: starting this Friday, I'm launching a new live series with Genesis the Greykid, fine-art poet and co-owner of Home, the bar at the corner of Fourth and Market in downtown Chattanooga. A crossroads city, a bar on an intersection, and conversations about the in-betweens: the hard choices, and the constraints (time, money) we build a creative life inside. It can be beautiful.If you're a writer with a message standing at your own crossroads, that's what we build at Crossroads Publishing Group. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Romance Writers of America® (RWA) has a long history of advancing the common interests of career-focused romance writers through networking and advocacy and by increasing public awareness of the romance genre.  In this conversation you'll learn about:  • The RWA's historic mission of uplifting the romance genre  • The many ways RWA helps career-minded romance authors advance their careers  • What's in store for next month's RWA Annual Conference //Draft2Digital is where you start your Indie Author Career//   Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way. • Get started now: https://draft2digital.com/ • Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog   • Promote your books with our Universal Book Links from Books2Read: https://books2read.com   Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

In part three of our deep-dive series on mastering your audiobook launch, Becky explores how to transform a simple release into a deep, transformative experience for your listeners. Moving beyond the basics, we discuss how to leverage bonus content and strategic partnerships to build credibility and drive sales.  In this episode, you will learn about: Listener-First Bonus Content: How to use "deleted scenes," author notes, discussion guides, and even curated playlists to create a more immersive experience through platforms like AMPlify Audiobooks. The Power of Reviews: Why human-written reviews provide essential social proof and how to effectively use snippets from professional organizations to build your credibility. Podcast Guesting & Influencer Outreach: Strategies for identifying the right podcasts (even those outside the book niche!), how to prepare as a guest, and the importance of offering value—like exclusive coupon codes—rather than just a sales pitch. Creating Short-Form Content: How to repurpose podcast appearances and behind-the-scenes studio moments into engaging social media clips to maintain momentum. Whether you are a fiction author looking to escape into a new reality or a non-fiction expert aiming to solve real-world problems, this episode provides the tactical roadmap to ensure your audiobook isn't just heard, but remembered. AMPlify Audiobooks: https://www.amplifyaudiobooks.com Pro Audio Voices: https://www.proaudiovoices.com Audiobook Connection: https://audiobookconnection.com #audiobookproduction #indieauthors #audiobooklaunch #audiobookmarketing #amplifyaudiobooks #selfpublishing #AmplifyAudiobooks Watch the video of this episode

Ana Huang spent years living a double life: international relations scholar, Georgetown grad, geopolitical consultant by day, and secret romance novelist by night. She quietly uploaded chapters to Wattpad under a pen name no one in her life knew, and kept writing even as she built a conventional career that would make her immigrant parents proud. On this episode of She Pivots, Ana shares how COVID cracked her life open, how she taught herself TikTok before BookTok was even a thing, and how she built a community of millions one chapter at a time, all while still clocking in at her day job. She talks about the moment she finally told her family the truth, why she said no to major publishers when Twisted Love blew up, and what it means to bet on yourself. Her Twisted series has now sold over 25 million copies, been translated into 34 languages, and is headed to Netflix—and her new book, King of Gluttony, is out now. You can keep up with Ana Huang on her website anahuang.com, as well as on Instagram and TikTok @authoranahuang. Episode Chapters: 00:00 - Welcome to She Pivots 00:28 - Double Life to Literary Sensation 01:58 - Ana's Childhood and Cultural Identity 05:55 - Early Career and Secret Writing 12:14 - Rediscovering Writing During the Pandemic 13:38 - The Romance Genre and TikTok Success 24:24 - Self-Publishing and Traditional Offers 27:22 - Navigating Fame and Fan Expectations 31:16 - King of Gluttony and Future Plans 33:03 - From Low Point to Launch 34:51 - What Does Success Look Like Now? 36:32 - Do You Think You'll Pivot Again? 37:24 - Reflections on Ana's Writing Evolution 38:11 - Podcast Credits Be sure to subscribe so you never miss a pivot story, leave us a rating (it really helps!), and share this episode with a woman in your life who you think needs a little inspiration. She Pivots is a podcast created by host Emily Tisch Sussman to highlight influential women voices, share stories of bold career moves, and inspire women with interviews about career reinvention and how personal pivots can redefine professional success. Join our Substack community! Subscribe here for exclusive content and to connect with other pivoters: shepivots.substack.com Learn more about the inspiring women in our pivoter community by following us on instagram @ShePivotsThePodcast, and check out our website shepivotspod.com for resources and updates. She Pivots is proud to be an iHeart podcast.Support the show: https://www.shepivotsthepodcast.com/See omnystudio.com/listener for privacy information.

324 / This week we're sharing Jami's discussion with Joanna on The Creative Penn Podcast about rebuilding your writing business after a break.✨ This week's sponsor is Bookfunnel: https://bookfunnel.comWaiting to publish and business planningImpact of personal loss and griefWriting through and about griefDecision to fictionalize real experiencesBalancing therapy and storytelling in writingConcerns over reader and family reactionsRebooting an indie author businessFuture writing plans and creative change

We're running a bit behind due to a number of complications - health, tech, vacations, etc. So this month, enjoy a quick rerun of an all-time favorite episode. Nausicaä of the Valley of the Wind The boys are zipping and flying into the miasma with games expert himself, Willem Delventhal. We get into the world of Miyazaki's Nausicaa Valley of the Wind where we talk about pollution and keeping violence out of your problem solving. On top of everything we find out that Higgins is terrible at video games, but also maybe a good gauge of what a game developer is looking for. Dive on in on your glider and see what other nonsense we get into! This episode was made possible with the support of 0-0-8 Studios: https://0-0-8studios.com/ Learn from the best and start making games of your own with the Indie Game Academy: https://indiegameacademy.com - Drink of the Night: https://www.inspiredtaste.net/19516/mimosa-recipe/ - Book of the Month: https://www.amazon.com/Nausicaä-Valley-Wind-Box-Set/dp/1421550644/ref=sr_1_1?crid=3JWI26DMKDX3R&dib=eyJ2IjoiMSJ9.CwrYqQaIckUIFH_UehUxdjpWqhu3JlA7M8T0hCd10j9twILWQAEgKWRTP4kqPX2L847bCW70w-PgbiZqMY4amSV370wpJh2TC6FmXfManJ6QjsFN9pLAFmhq3n-d-p_4pBYkg_pwnr3NdY6zC4vsT8E_kLiw4-JpgaQBJprld0jPG30o2sItlWFYO0utBAlfjl3pDdDCPpAJAEN7rj7zA2XIi-OZCcBaZyoD0d7JaOU.TAztkjKkbIAACnP4cv817uObgpLMq_CvB1r17NWHPRA&dib_tag=se&keywords=nausicaa+of+the+valley+of+the+wind+manga&qid=1728684811&sprefix=nausicaa%2Caps%2C116&sr=8-1 - Game of the Month: https://www.playbalatro.com   Tell us what you been reading & drinking: 0-0-8studios.com   #podcast #podcasting #podcastlife #podcasts #comics #comicreview #comicbooks #storytelling #story #storytime #bookreview #books #magic

How do you write when your heart is broken? How do you go back into the publishing business after years away, knowing it's a very different industry to the one you left? With Jami Albright. In the intro, InAudio is now distributing audiobooks to BookShop.org; The Feedback Loop that Makes Better Writers [Author Nation Podcast]; Bones of the Deep on Goodreads. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us. 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 Jami started writing fiction at 47 and waited a year before publishing her first book Why she fictionalised her sister's terminal cancer story rather than writing a memoir The difference between writing as therapy and writing for the reader Reactivating an email newsletter after almost two years of silence Going wide with a standalone women's fiction novel after years in KU and rom-com Letting go of the frantic hustle of indie publishing and redefining what success looks like You can find Jami at JamiAlbright.com. Transcript of the interview with Jami Albright Jo: Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us. So, welcome to the show, Jami. Jami: Thank you, Joanna. I've made it. This is my first time on The Creative Penn, so I can retire tomorrow. Jo: And we were saying before the show, I really thought you had been on the show before, because over the years we've connected a lot. We met over a decade ago, didn't we? At the Smarter Artist Summit. I was like, “I'm sure you've been on the show,” and you haven't. So, yes, welcome. Jami: Thank you. You've been on our show, though. We did an interview with you a few years ago. Jo: Yes. Well, anyway, for anyone who doesn't follow your show— Tell us a bit more about you and how you got into writing and publishing. Jami: Okay. So I am the co-host of the Wish I'd Known Then Podcast for Writers. Sara Rosett and I have been doing that podcast since January 2020. Little did we know what was coming, and it really saved me, just mentally, being able to talk to people every week. I never wrote a word of fiction until I was 47. I'd never really written anything. I have really bad grammar. I tell a lot of stories, and I would make up stories, but I'd never write them down because of the grammar thing. But my reading buddy had her birthday coming up in about three months, and I thought, “You know what? I'm going to write Jennifer a book for her birthday. She doesn't care if I have bad grammar.” I just thought it would be on brand. It was so hard. I wrote myself into a corner very fast. When I told her, she said, “Well, now you have to.” So I got Writing a Romance Novel for Dummies, I read that, and I started writing what is now Running from a Rock Star. But then my computer crashed and I lost it, and I was like, “Well, I'm not a writer.” So that was fine. Then I turned 50, and I told my family, “I think the only thing I regret is not finishing that book.” Of course they were like, “Well, you need to just do it again.” I was like, “No, I had 30,000 words.” A few weeks later my daughter came in and said, “Mom, I found this flash drive in my car. I think it has your book on it.” And it was 20,000 of the 30,000 words. So I was like, “Well, it's now or never.” So I joined Romance Writers of America and got involved in a critique group, and they absolutely kicked my butt for a good six months. I think every week they were surprised I came back, because it was so brutal. I knew I didn't know anything, and they taught me to write. Six months after I joined that first critique group, I won my first contest with the first 10 pages of that book. Then I just continued on. Three years later, I published Rock Star. I was going to publish it two years later, but I went to the Smarter Artist Summit, where I met you. I was advised by Julia Cant and Sean Platt and some other people to wait—preferably to have more books written. I had the second book written when the first one came out, but it still needed to be edited. So I waited a year, learned this business, and sold plasma to pay for my edits because I was poor. It was the best decision I ever made. Going to that conference, first of all, was the best $500 I've ever spent, and waiting that year really helped me learn this business. When I published the book, I had an email list of 1,200 people before the book ever came out. None of those things would have been set up had I published right after the Smarter Artist Summit, which is what I'd thought I would do, in the summer. So waiting gave me time to get everything set up so that when I published that book, it really took off from day one. I had 1,200 people on that newsletter list who wanted that book, because I had done a preview promo. Instead of putting out the whole book, I think I put out four chapters, and then people signed up. I don't know that that works anymore. Jo: I was going to say that. We should say to people, what was that, around 2016? Jami: 2017. Things have changed. Jo: Yes, things have changed, and I think this is so important. I had a question about this, and what they were implying was things that, like you said, we learned a decade ago. Things have changed. We'll come back to how you're doing it now, but just in terms of finishing off how you got started—those books did really well, didn't they? You had a couple of years there. How many books did you do? How did that go? Because you did have real success. Jami: Yes. From 2017 until really the beginning of 2021, if you look at my sales graph and my income, it just increased, increased, increased. 2019 was my very best year, but 2020 was only slightly lower as far as book sales and income. I only put out a book a year after the second book. The second book came out about six months after the first one, and after that it was about every nine months to a year that I put a book out. Everyone said you can't make money doing that, but I did. I think those books are very tropey. They're very hooky. That helped. I also think the timing of those books was really good. Rom-com was really coming up, and my rom-com is pretty wacky, but it's also really emotional too. If I get any critiques about them it's usually that “this book was way more emotional than I expected, and I was looking for something a little lighter.” They're just really wacky. They're rom-coms. Wacky circumstances. Small town, so there's all these small-town people. I just think it was a good time to release those. Those were good years. I miss those years. Jo: It's a good lesson, because it's not always up and to the right, is it? We're going to come back and revisit that. So then the pandemic hit, and on a more personal level, over the last few years, you've had a deeply difficult time that has led to The Summer That Changed Us, your latest book. So talk a bit about what's happened, why this book, and also why fictionalise it rather than write a memoir? I had that question. Jami: Okay. So 2021, my income was dropping, but it was still okay. I was still making more than enough that—thank God I don't have to make all the money in our household—but there was a level that I wanted to. At the end of 2021, my sister, who was the fourth of five sisters, had lived with cancer—non-smoker's lung cancer—for 10 years. She had the kind that, if you had a certain mutation, there were medications that worked amazingly well. Until they didn't, and then they put you on another class of that medication. So for 10 years, that's what she did. She missed work maybe three times in 10 years. People who met her never knew she had cancer unless they knew us. She just never acted like she had cancer. We would have to say, “Remember, you have cancer.” At the end of 2021, they ran out of that class of drugs. There were some being tested, but none had been approved. When she was diagnosed, she was diagnosed with stage four lung cancer. You don't survive very long having stage four lung cancer with no medication. So I saw the writing on the wall pretty much at the end of 2021, but of course I was very hopeful that they could do something. By May of 2022, it was clear things were not going well. In July of 2022, she got a six-to-twelve-week diagnosis. She just went in one day thinking she was about to get radiation, not knowing anything, and they were like, “No, we can't do radiation, and you should get your affairs in order because you have six to twelve weeks to live.” Jo: Oh. Jami: People who've been through it know this feeling. It's like being hit by a wrecking ball. It just knocks everything off your axis. Your whole world implodes into this one moment, this person that you love. I live four hours away from my family. They all still live in the same small town. I was in Dallas at my daughter's at the time, and they live about 30 miles outside of Dallas. So I went to my mom's, and I stayed there. I was there for almost six months, if you count the time I was back and forth, because she was not doing great but she was still okay. She had always rallied and come back. But once she got the diagnosis, I stayed. She would go home, but she would come back to my mom's during the day, because her husband worked. She was a teacher, so she was off during the summer. I was just there, and we all just took care of her. When she decided to go on hospice, she wanted to be at my mom's. She didn't want to be at home—they lived out in the country. She wanted to be at my mom's, so we set her up in the living room. We're redneck country people. We bring our crazy people in, our sick people, just out for everybody to see. She was just in the middle of the living room in her hospital bed, and the world just revolved around that hospital bed. Once that happened, once I knew at the end of 2021 that things were not going to go well—I really did not believe she would die. But she died a month after she went on hospice in October of 2022. That whole year, I was useless. I could not write. I couldn't think of anything to write. I write funny. How do you write funny when your heart's broken? I couldn't do it. After she died, I knew it would take a while. I knew it would maybe even be a year. But as the weeks turned into months and the months turned into years, I haven't written—except for her obituary—I've not written a word since she died until I started writing this book a year ago. I started it on April 19th. Jo: I mean, the stories of grief—there seems to be no way of escaping whatever it ends up being. You didn't choose your response. Your deep grief was just there, and you couldn't write. I feel like sometimes people just try and force it. It sounds like that's what you needed, and you have done that. So what then gave you the impetus to finally write—and to choose fiction? Jami: I didn't write memoir. I did think about doing a memoir, but I don't read memoir, and I don't know how to write it. I was already behind the eight ball, trying to write a book at all because it had been forever. I don't need to learn how to write something completely different. Plus, it just felt too close to write the memoir. I had been in Mexico City with my daughter, who has an event planning company, and we were there scouting locations for one of her events. Janet Margot lives in Mexico City, so I reached out, and we had dinner. We were talking, and she had had two big losses about the same time that my sister passed away. So we were talking about how difficult it is afterwards, just getting your head back into a space of being creative at all. She said, “You really should write this book. You should tell this story. It hits everything: middle-aged women dealing with middle-age things. You've got your parents that you were dealing with, and then your sister. You should write this story.” I said, “No, thank you. I lived it. I don't want to write it.” But it just wouldn't go away. I couldn't figure out how I would tell it. Whose point of view? I couldn't do it from the dying sister's point of view because I didn't think I could be authentic. I was afraid to tell it from multiple POVs because the book has a lot of characters in it. My family is gigantic—my immediate family, my sisters, husbands, nieces and nephews, my kids, my mom and dad—there are 35 of us. Almost all of those are in and out of my mom's house all the time. So I knew I couldn't do multiple point of view. One day, I was driving home to my mom's house, and it just hit me. The whole story laid out in front of me, and that's what I did. The first draft was pretty much just a retelling of what happened to us. I added some fictional elements, but I just wanted to get the story out. It was hard. I started Adderall on April 19th of 2025—I know that, because that's the day I started this book. I do call this the book that Adderall wrote, because I could sit and focus for three or four hours, which I'd never really been able to do. I would come to Starbucks and I would sit and write this book, and I would cry sitting in Starbucks, like a crazy person. People would walk by and slide a napkin onto the table and just keep walking, because I'm sitting there crying like crazy. I was so superstitious, and things were working so well, that I was afraid not to come and write at Starbucks. Staying at home, I think, would have been really hard. I would maybe have sunk into a depression had I done this at home. So I just wrote the whole book at Starbucks. After I wrote the first draft, I went back in and made it more fictional. But a lot of the book—especially her stuff—is a lot of what happened. She was just crazy. I tell a story in the book that, this is the absolute truth, this happened. She was in college, and she had convinced my younger sister to go to a honky-tonk club because they were having a Miss Honky-Tonk contest. Before she could get up on stage to compete as Miss Honky-Tonk, she got in a fight with some girl, and the girl hit her in the head with a bottle and split her head open. She was bleeding. My youngest sister was like, “We've got to go to the ER.” And she just refused, because there was a $300 cash prize for winning, and she needed it to make rent. So she borrowed a towel from the bartender, wrapped it around her head, competed with that bloody towel on her head, and won that stupid contest. That story in and of itself was my sister. Everything about her is in that story. So a lot of the stories in there happened to her in one way or another. What happens to June in the book happened to my sister. Jo: This is interesting, because the same thing memoir writers face is something perhaps you face: how much of the writing is therapy and how much is for the reader? You said you sat there crying. Absolutely, writing for therapy is very important—but when you come to edit, there might be things that your therapy side of you is like, “That's so important to me.” How do you kill your darlings when you're editing your sister's life? Jami: That was hard. I had to take out a lot of what was in the first draft, mostly the stories. Once she came home on hospice, it was just a steady stream of people coming in, and everybody had a story about her. What I found in editing was that Hope, the main character, was mostly a spectator in those scenes instead of being actively part of them. So I had to take those out, because they didn't serve the purpose of the book. I committed early on to: while I wanted to tell the story, I did not want it to be self-indulgent. I did not want it to be a therapy session that I sold to people as a story. Because of that, I think that really helped. I really did think about that as I was revising. I sent it to a developmental editor, and I don't know how great she was, but she gave me some really good advice about a couple of things. One was, “There's just not enough conflict in this book. You say that Hope and the father have this really contentious relationship, yet we don't see it. There's a little bit of it here and there, but you're not really digging into that.” It's hard, because while the rest of the world doesn't know, my family knows that this is a lot of our story. I just had to let that go and not worry about what my family thought. They had all given me permission. I'd sort of said, “I want to do this. Are you guys okay with that?” I talked to her husband, and everybody was okay with me doing it. But I couldn't worry about what they were going to think. I would repeat to myself: if they want to tell this story, they can write their own book. I'm writing what I saw and telling a fictionalised story that will hopefully honour her, but also help other people feel like they're being seen, and also be entertaining. If you're going to write a book, it needs to be somewhat entertaining. Jo: I don't think you can help yourself. You're funny. Jami: Yes. The book is really funny. I tell people that and they're like, “Hmm, really?” And I'm like, “It is really funny.” But it's also really sad. Jo: Well, I think that's the truth—to defend myself. There is a lot of humour in grief. There is death and dying, and it's a human condition. Jami: It is a human condition, yep. Jo: There's comedy in all of the human condition. That's just the way it is, right? I heard you mention on an interview, I can't remember where it was, that you feel very connected to this book, and you're worried that people judging it or giving it a bad review might feel like an insult to your sister. How are you dealing with these kinds of fears about how to separate ourselves from our books? Jami: I've been in therapy—like, literal therapy—for that, because I felt like that would be hard. So far, I've only gotten a few reviews back. They've all been good reviews. I haven't had anyone say they hate it. I just have had to separate myself. It's not personal. Reviews are never personal. People not liking your book is never personal. That's just a mindset. I've had to change my mind about that. Knowing that's a pitfall I could fall into, I really keep it top of mind. My family knows that's an issue, so they know they have to pull me out of that hole if I drop in. So that's really how I've handled it so far. We'll see. Jo: Maybe it's time as well. You're almost back to the “book is your baby” situation. As the years pass, the book almost becomes separate, doesn't it? How you feel about your first bride book is probably like, “It's not even me anymore.” Jami: Right. I learned early that your book isn't really your baby. Once you publish it, it's your product. So that has never been very hard for me. I still hate bad reviews, and I take them personally like everybody else does, if I let myself. But ultimately, this is a book that I'm putting out for entertainment. Yes, it's very personal. Yes, it means a lot to me. But if people don't like it, it isn't because they don't like my dead sister. They just don't like my writing. Jo: It's tough, but it's good to talk about, because this is something many people feel. My memoir Pilgrimage—it's not the same at all—but I was just so scared of judgment. The fear of judgment. What people would think of me. That's kind of different, but— It's this question of how it'll land. The reality is, not many people read these books anyway. Jami: Well, I have worried about how it would land, but mostly I worry about how it would land with the people I love. My mom read it last week. I was there while she was reading it. That was no fun. She laughed, but it was devastating to her. She's like, “It's great, and I hate it.” Because it is so raw and real to her still—well, to all of us. That's where I worry, how it's going to land with them. But again, I've had to let that go. I had to let it go during the writing, because if I worried about that, then I would not have told an honest story. That was another thing—I didn't want it to be self-indulgent, and I wanted it to be honest. As honest as I could make it, even to the point of making people uncomfortable. There's a line. Once you cross it, there's no getting you back after that. So I walked that line really carefully, because I did want it to be honest about how I felt, how other people I know who've been through something like this feel. Also, just relationships. Because when you're in a big family like my sisters and I—we adore each other, but we can also go toe-to-toe real fast. It can get ugly, because we know each other really well. We're also a little bit redneck, so we don't pull any punches. Your sisters are always the most honest people in your life. I wanted that to be true in this book too—both sides of that story. Jo: Let's circle back to the business stuff and some of the things we talked about, because obviously this has been a really difficult time. There was no way to deal with it in any other way, but your business has changed. You had these great few years, good sales, and then you had other priorities. So how are you rebooting the business? Lots of people end up taking a few years out for whatever reason. How are you rebooting the business to try and sell some books? Jami: To be honest, I have the remnants of a business. I have tried over the last four years to run some ads to get the Bride's books going, but here's something that's very interesting, and if somebody can tell me why this happened, I would love to hear it. These books that have sold so many books—I mean, so many books—I could not give them away. It didn't matter what I did. I changed covers, I changed blurbs, I put them on sale, I took them off sale, I ran ads. Ads wouldn't really move the needle. I know that at a certain point, when you haven't published and your books get pushed down in the algorithm, that is an uphill battle. But it was almost like, one day they just fell off, and once they started falling, I could not get them back. I just couldn't. So that I didn't make myself crazy—because also during this time, I was just trying to keep my head above water—when I would deal with my books or go into my dashboard, I would feel horrible. I was already feeling horrible, so I didn't need to feel more horrible. So I just sort of let them go after a certain point. I've now started running some Facebook ads. I have one Facebook ad that's working really well, knock on wood, right now for my first Bride's book. The problem is, this book and my Bride's books are different. The voice and the tone are the same, but they're really different in a lot of ways. They're the same in a lot of ways. This book doesn't have any sex; the other books don't have anybody dying. But some of the things are really similar. So I may have some crossover. For whatever reason, this ad is working. My book one is ranked better than it's been ranked in forever—really good. I'm not spending a ton of money to do it. So I don't know what changed. I don't know if I'll ever know. I've revised my newsletter, and that's worked well. I still have around a 35 to 40% open rate on a newsletter that I didn't send out for almost two years. I was sending it out, but then I kind of stopped, and then I started again. Jo: I was going to ask you about that, because I often get people emailing me. They're like, “I have a really old newsletter from several years ago. I haven't emailed them for years.” So what did you say in that first email? Like, “Hey, I'm back”? Jami: I mean, I'm just like, “Remember me?” It really was kind of like that. Just, “I'm back. You guys know life has happened. I'm sure you understand. If you're still here, thank you so much. I have been writing. I have this book that I think some of you will really love.” That's really how it was. From the first email, even that first email had a higher open rate. I think it was close to 45%. I had not sent out a newsletter in two years literally. Jo: People were like, “What happened?” Jami: They're like, “Oh, she didn't die. That was her sister, not her.” But I've just been really fortunate. They've been really encouraging. Every time I send one out, I get really encouraging emails back. So I've sent out about the book. The majority of my readers are KU readers because my books are in KU. But this book is going wide. One of the things I'm doing because I have been a little concerned about… Janet Margot does a lot of Amazon ads stuff and she knows a lot about Amazon. We've talked a lot about whether I should use my real name, my pen name, or come up with another name. Should I worry about my readers buying the book and messing up my Also Boughts? All of those things, because my readers are romance readers. Some of them read women's fiction, but for the most part, they're romance readers. I've decided to stick with Jami Albright and not worry about it. There are just things you can't control, so I've had to hold everything with a really open hand with this book. I am offering the book on my website. I'm selling it at $7.99—I chose a high price point, because I just feel like, to sit with the other books that I want it to sit with, I need that price point. So I'm offering it on my website, starting at the end of this week, for $5. If they're KU readers and they don't buy books, but they want the book, they can get it for $5 on my website, which I think is reasonable. Jo: Mm. Absolutely. Jami: If that's too much for them, I understand and I get it. Time, things are hard right now, and if they can't do that, it's going to be in libraries, so they can request it at their library. But right now that's the plan. Hopefully that helps with the Also Boughts a little bit too. Even though, again, I just can't worry about those things. As a gift to my readers, I want to do this for them as well—give them a discount. Jo: And obviously this is a standalone, right? This is not— Jami: Yes, it is. Jo: Again, a bit like memoir, all the book marketing we talk about in fiction is “write a series.” It's much easier. So it is difficult to market a standalone in general. And this is something that happened, so it is a standalone situation. So do you feel like you're back in terms of writing? Have you got plans for more books, or is this a business for you going forward? Do you feel like you want to re-enter this whole world? Jami: I do. I have an idea for a book similar to this one—not in the same kind of genre, I mean, of women's fiction, kind of midlife fiction stuff. I have an idea. I had nothing for months and months and months, and a couple of months ago, this idea kind of came to me. I was like, “Oh, that's not bad.” So I'm mulling it over—I do a lot of mulling—and that's the next book I think I will write. I don't know that I'll write rom-coms again. Not because I don't love them. I do, and I love my rom-coms. But I'm just different. You do not go through something like this and come out on the other side the same. I don't know that I could carry an entire rom-com through without it being even more emotional than mine are now. So for right now, I'm going to write another one of these kinds of books where it's got a lot of emotion, family dynamic, tension and dynamics. Jo: That's great. I do feel like once you've written the book that was waiting—your sister's book—then more things arrive, and it's great to hear that that is arriving for you. And of course, we change. One of the nice things about writing for the long term and building more of a name brand is that you change, and your readers either follow you or they don't, but it's your life. So I think that's a good reason to have one pen name. I obviously have two, but my fiction pen name I've written all kinds of genres under. Why else would we keep doing this? I don't want to write the same book over and over again. Jami: Right. Believe me, I've had to eat a lot of crow over the last four years, and it's tasty with ketchup. I have decided that a lot of the stuff I said is true: about you write in one genre, you give the people exactly what they want, and you give it to them over and over again. I believe all of that. I still believe those things. It's just that I don't know that I'm capable of doing that right now. Also, I'm older. I am about doing the things that bring me joy and are not a drudgery. I want to say this, because I miss the success. I miss who I thought I was during that time. I miss the recognition. I'll freely admit it. I miss being the person doing the thing that everybody said couldn't be done. “You can't make money with one book a year.” Well, watch me. And I did. I miss that. What I don't miss, and I've had to be really, really honest with myself, which has been difficult—I don't miss the anxiety that came with that. There was a lot of franticness. I think that if you are in a lot of groups, you see that franticness. I've had to step back, like I've had to step back, and then go back into these groups, you hear authors and see authors, and there's just this frantic sense that we're losing everything, and we have to hold on so tight to everything. I was like that. I checked my ads constantly. I checked my dashboard constantly. My mom used to say, “This should be fun.” I'm like, “Mom, it's a business. It's not fun.” But I recognise that I loved that so much that I held onto it so tight. I don't want to go back to that. I don't have the energy for that. Since this all happened, I've gained four more grandchildren than I had. I have six grandchildren now. I want to spend time with them. I want to spend time with my adult children. I want to spend time with my mom and dad. So I can't be frantic about my sales—are they going up, are they dropping?—and give emotionally to the people I love in my life. If the last four years have taught me anything, it is that the one thing you can never get back is time. You can never get it back, and that is so important to me right now. With this book—and one of the reasons I wanted to talk to you when we were talking about when I would do it—I wanted to do it before it came out, because I've already won. Writing this book, writing a book that honours the bravest person I've ever known and doing the second-hardest thing that I've ever had to do, is the win. That's the win. Whatever happens with this book afterwards is just what happens with this book afterwards. It doesn't change who I am, and you told me that when we were in Vegas two years ago. That conversation really changed a lot for me, because you said, “You are a successful author.” I was still trying to come up with a plan to be a successful author again, and you were like, “You are a successful author. You've had success. That makes you a successful author. You don't have to chase that.” That changed so much of my thinking. If I could leave listeners with anything, it is that we need to recognise the things we can't control and just deal with the things we can control. That's kind of how my sister lived. She could not control her cancer, but she could control how she responded to it and how she went forward. I think a lot of times, when bad things happen, we want to make sense of them. We want a reason for them. And a lot of times there's just no reason. There's no reason my sister died. There's no reason she left two kids and a husband devastated and a family that just has a giant hole in it. There's no reason for that. What defines us is not figuring out why that happened. It's what we do with that going forward. I think that's important for me to remember when I start getting caught up in all the franticness of this business. Jo: Yes. Or not, as the case may be. You can just let the book be what it is. And I do feel like these deeper books, they're more slow burn. You wrote books that ran, ran like the bride. Now we're not running like the bride. Jami: I'm tired. I don't run unless a wild animal's chasing me. Jo: Exactly. Look, we're out of time, but just tell people, if they haven't listened, a bit about your podcast, Wish I'd Known Then with Sara Rosett. Tell people what they can find over on that podcast and why you're still doing it. You've been doing it throughout the whole time. While not writing, you've still been podcasting. Jami: It absolutely saved my life. It's kept me in this business. While I haven't been publishing, I still know what's going on. I know about direct sales, I know about what's happening behind the scenes, with Facebook ads. I've kept in touch with those things because of our podcast. It's an interview podcast like yours, but we talk to people about what they wish they'd known about indie publishing. Most people have some certain thing that they've been working on or doing, and we talk to them a little bit about that too. We ask the same questions every week to every guest, and it's so interesting how different the answers are, and yet how similar they are. I think that helps when you're going through it and you're like, “God, I must be the only one feeling this way.” But you tune into a podcast, and you hear week after week, “Oh, no, there are other people feeling the same way I'm feeling, or struggling with the same things I'm struggling with.” Hopefully we give people things to shoot for and to aspire to. We have some amazing guests. They've all been really gracious and really honest. I don't know if it's the questions, or just because Sara and I are our style, but they're really honest with us when they answer the questions. Jo: It's a great show. I recommend it a lot. Jami: Thank you. Jo: Where can people find you and your books online? Jami: You can find me at JamiAlbright.com—that's J-A-M-I-Albright.com. I'm on all the socials as Jami Albright Author. My books are on Amazon right now, but this book is actually now on all the retailers. So that's where you can find me. Jo: Brilliant. Well, thanks so much for your time, Jami. That was great. Jami: It was an honour. Thank you so much.The post Writing Through Grief And Rebooting an Indie Author Business With Jami Albright first appeared on The Creative Penn.

How is AI transforming accessibility for indie authors — and why should you care even if you consider yourself able-bodied? What happens when the tools designed to help people with disabilities end up making everyone's creative business better? Jeff Adams, accessibility expert and romance author, explores how AI is opening doors that were previously closed. In the intro, Spotify Audiobook Innovations; The Economics of Convention Life [The Indy Author]; Friction in your Author Business [Self-Publishing with ALLi]. 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 Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. 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 ending a long-running podcast made space for more writing — and how to know when it's time to let go of a good thing What accessibility really means for indie authors and why your digital content might be excluding part of your audience How AI agents like Claude Cowork are removing physical and cognitive barriers for authors with disabilities, chronic pain, or limited energy The culture of shame around AI use in the writing community and why blanket anti-AI statements can be ableist Practical tools including NotebookLM, ElevenReader, and ChatGPT for marketing copy, metadata management, and multimodal research Exciting futures in personalised reading, real-time translation, and AI browser agents that could change how everyone interacts online You can find Jeff at JeffAdamsWrites.com. Jeff also now has a SubStack at contentforeveryone.substack.com Transcript of the interview with Jeff Adams Jo: Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. Welcome back to the show, Jeff. Jeff: Thanks so much, Jo. It's good to be back. Jo: It is. You were last on the show in March 2023, so over three years ago now. Give us a bit of an update on your writing and publishing business and what it looks like at the moment. Jeff: Sure. I think the biggest thing that happened is that my husband Will, who is also a writer, we ended the Big Gay Fiction Podcast at the end of 2024, after 470-something episodes. It was basically time to do that. So we both focused on writing from that point. In 2025 we had some of our biggest successes in getting writing out into the world. I refound my groove—my difficulty in writing went away finally. We talked a little bit about that back in 2023 too. Will started a new pen name and started producing again, and it was really good to be able to move in that direction. Jo: Was this the hockey romance that really hit at the right time? Jeff: You know, I wish I could have capitalised more on Heated Rivalry when it came out, but I did get hockey books out, and I think I did get to ride that wave a little bit there too. Jo: Yes, and if people don't know about that, that was a super popular streaming series. Was that based on a book? Jeff: It was, yes. Rachel Reid was the author of that book and that series that then Jacob Tierney optioned and made into what fairly turned into a global phenomenon at the end of 2025. Jo: Yes, absolutely. Although I particularly liked Red, White and Royal Blue. That was the one I liked. Not so much into hockey. But anyway, I just wanted to ask you about the Big Gay Fiction Podcast. As you say, you did hundreds of episodes over many years. You and I met over podcasting. You've had lots of connections with people. You ended it, and I know you struggled with ending it, but it sounds like it went really well for you. So maybe you could talk a bit about— How do you know when it's time to end something—a good thing rather than something bad? Does that make more space for writing, essentially? Jeff: It absolutely did make more space for writing for both of us, in particular for me because I have a day job. I balance everything on the creative side with the day job. Will and I had been talking about it for over a year. It just was like, it's really time. After nine years, getting to that 470 mark, we thought about trying to get to 10 years and we thought about, if not 10, then getting to 500 and ending on a milestone. As we looked at everything in our creative business, it was like, this is fun, we enjoy it, but we're not getting as much out of it as we might be if we were actually also writing books, which we also really want to do. It became a time thing and what was the best use of the time. We absolutely miss it occasionally. The whole Heated Rivalry thing, I would've loved to have had episodes to talk about that on, but in the long run, it was worth it. Jo: I mean, one of the things with a podcast, particularly around fiction, was that it was a marketing angle for your fiction. This show is a marketing angle mainly for my nonfiction. So what did you replace the podcast with, in terms of book marketing? Jeff: It was really stepped-up email marketing. I'd always had a list. Will started a list, of course, as he started his new pen name. So it was really turning on that, focusing on that, getting some email marketing with a Bargain Booksy and a Fussy Librarian and a BookBub occasionally to do that work. To be honest, even though we covered things in our genre that if you like what we're talking about, you should like our books, there was never as much of a connection there as you'd want there to be. Even from that book marketing angle, these other things that we can do, it's also a better spend of the money to get those types of promos than it was to continue running the show. Jo: Yes, that is interesting. I mean, obviously I think about podcasting a lot since I have this one, and I put Books and Travel on a hiatus and that was meant to help my fiction and definitely didn't help my fiction sales. But I want to bring it back again because I love doing it. Do you have this hankering sometimes? Do you think you'd ever do the podcast again? Because you are also quite into all the technical stuff and all that. Jeff: It's possible. I've toyed with the idea of doing a short accessibility podcast geared towards creatives, tilting to the same audience that Content for Everyone does. Then I come back and look at the time—is my time better served writing new fiction or perhaps starting a Substack, which I also toy with the idea of, for accessibility stuff? So it bounces around in my head to do another show, but I haven't really decided to jump on that yet. Jo: Yes, and I think that waiting is really good. As you say, you quit a big thing and you don't have to rush to fill it again. I love that you guys are writing more books. So I wanted us to talk about that up front because I know people who listen to this show—I encourage people to start podcasts if you want to, but equally it can take a lot of time. So that's fantastic. Now, you mentioned accessibility, and I feel like the word can be quite difficult for people. So let's just start with a definition. What is accessibility? Why do you care and why should we care? Jeff: So accessibility is really about making sure that whatever the thing is, whether it's something out in the physical world or in the online world, that everybody has access to it. Access to the information, access to getting into a building or being able to cross the street appropriately, whatever that is—that the accessibility of the thing is high. So that regardless of who is approaching it, they can interact with whatever the thing is. If we put that into the digital world, it's about making sure that text on a screen can be perceived by anybody, whether they're trying to read it visually or if they're trying to read it through a screen reader or through a braille monitor. Whatever that is, they need to be able to interact with it, get the information they need, do all the functions of whatever it is on the screen. Check out on Amazon, check out at their favourite e-commerce place, be able to get the products in their cart, check out, et cetera. For creatives, it's about the things that we do: the websites that we build for ourselves, the e-commerce platforms that we use, our email marketing, our social media posts. Making all of that as accessible as we can so that we're not perhaps missing a part of our audience or our prospective audience from being able to engage with our work and in turn, hopefully, buy our books and enjoy our books and become a fan. This became important to me because of my day job. I hadn't really considered this—like, I think most people don't—until I started working at UsableNet. It's going to be 15 years I've been at that company come this autumn, and I really started to see the impacts because UsableNet is all about accessibility on the digital front. I really started to learn, being a project manager for them, what all of that meant and how it impacted people who couldn't buy something online, couldn't book a hotel room, couldn't book an airline ticket. It just really became something I got passionate about. I ended up writing the book because I realised that nobody talks to creatives about this. Nobody tells the independent author what they should do to help make their digital stuff accessible so that they don't miss people. I never expected my day job to interact with my creative side so much, but this certainly has over the last few years. Jo: I mean, has it got better? Like we said, you were on here three years ago. We did talk about some of the things around EPUB formats and taking off DRM and what we need to do on our websites—labelling images, for example, and that kind of thing. Do you think accessibility has gotten better? Jeff: I think the awareness of it has improved, both within the creative community and in the broader web ecosphere, that the awareness is better. There's so much knowledge that needs to go into creating something that is accessible. Sometimes there's so much that you have to think about with colours and alt tags on images and all the little bits and pieces, if it doesn't really come to muscle memory, it's easy for it to fall off. There's a survey that's done by WebAIM every year about the top one million homepages out in the universe, and they surveyed those for just the things that an automated scan can detect, which is a small portion of overall accessibility, and the number of errors across that top million actually ticked up this year. Even though there's all these laws around the world—people get sued all the time in the US—the number of errors ticked up for the first time in a few years. So I think the awareness is up, but I think being able to take action on it and make the time to take action on it isn't where it needs to be. Jo: So last time you gave us all those tips. I'll refer people back to that and also to your book Content for Everyone, which has got loads of great stuff in. I wanted to talk to you for this show because I was sitting watching Claude Cowork—now I use Claude Code a lot more—but updating 140 titles on IngramSpark, where me clicking things and there's like 15 clicks per record on IngramSpark updates for pricing, is an absolute nightmare. I was watching the AI do the work and I realised this isn't just saving me time, it's actually saving my wrist and my arm from repetitive strain injury. That's when I thought about this accessibility thing. As you mentioned, for example being physically accessible into a building, say someone's in a wheelchair, they can't necessarily get into a building if there's no ramp. I was thinking that for many years, being an indie author, being a writer online, there's also been these physical barriers because there's a lot of plumbing and clicking for us. So I wondered, starting with an attitude around a shift in who this is opening up to— How is AI starting to help people with these accessibility issues? Jeff: Yes, there's so much opportunity around this. We should note, just to timestamp this, that we're talking on 14th April 2026, because who knows what will change, even in an hour from now. I think Cowork was one of the first things that we saw, and that's only been out since the very top of this year. Being able to do actual agentic tasks. Other things have sort of gotten there, but Cowork really opened it up. You mentioned the repetitive stress that you would've had clicking all of those forms on IngramSpark across 140 books. But there's that type of stress, chronic pain, cognitive drain for somebody who may have some cognitive disability and trying to work through that form. The cognitive energy just might drain out and maybe knock them out for several days after trying to get through that, or the tasks take them multiple days to do. Someone who has lower vision, someone who's trying to work through that form with a screen reader—all of that draws energy, draws focus. Now we've got something where, with plain language, we could say something like: here's all my pricing information, I've logged into IngramSpark, go update these books. Obviously the prompt's going to be a little more than that, but in broad terms, that's what we're going to tell it. Jo: Hmm. Jeff: And being able to have it go through and do the thing. If it gets stuck, have it come back and say, “Hey, I've got trouble with this. Please help me.” That can just free up so much of the drains that people can have—the things that can take them out of doing the part of the work that they need to do for an author business. They can go write the book through whatever process you're going to use to do that, rather than getting caught up in something like having to update all those books on IngramSpark. Jo: You mentioned writing the book there. I have this real sense of being an able-bodied indie author in terms of my computer use and my ability to write a whole book, a 70,000-word thriller that I write regularly. We're all special in some way, but I do have a reasonably normal brain where I can do this work without too much strain. It's hard work, but I can do it. I meet people who are now using AI to help them write, to help them organise their work—maybe someone has dyslexia or ADHD or cognitive issues or pain—there's just so many things that I take for granted that don't affect me. I hear from people who, at this point in time in the community, are almost shamed for using AI to write. So I wanted to bring this up to discuss it under the terms of accessibility. Do you have any thoughts on that? Jeff: I have real difficulty with people who will say anything in the broad range of, “I don't need to use this thing, and therefore you should not either.” Which is adjacent to indie anti-AI speak that there is out there. Certainly we're living right now at probably the highest point that it's ever been, where more and more there's a sentiment towards not using AI for whatever the reason is. I totally respect that people can have concerns about the environment and about energy use and water use, et cetera. Not to mention all the other things that are on the more difficult side of AI. To shame someone who may not be able to put their story out there without the use of that AI, whichever one they're using, or to shame them because they're using AI to run part of their business—updating IngramSpark, doing other things like that—I think it can come down to there being some ableism there. Ther is some privilege behind that too, where they're just like, “I don't need this, and you shouldn't have it either.” I want to give people just a sliver of an idea of what this can mean for someone who is disabled and what AI can unlock for them. There is a person on LinkedIn that I follow whose name is Hannah Desmond. She's an ADHD coach and a former software developer, and very recently she posted this on LinkedIn. This is a paraphrase of what she said, but: having something that can meet you where you are and help you bridge that gap is what I think I have found so helpful about using AI. Here's what I keep coming back to. Without that support, I wasn't more motivated or more capable. I was just stuck. That's the bit that gets lost. We've been taught that struggling is how you know you're doing it properly. So when something reduces the struggle, it can feel wrong—even when it's the thing that actually makes the work possible. Because there's a difference between avoiding thinking and being able to think at all. I think that rounds it up. She's talking about her time as a software developer, but you can apply that to any realm of AI when we're thinking about trying to shame someone for why they may be using it. We may not know that they have a disability because we don't always share that part of ourselves. So I really feel strongly about that and how we are in this culture of shame. Jo: Yes. It drives me up the wall, actually. But I will also say: you don't have to have a disability or accessibility issues in order to use AI in whatever way you personally decide is okay—talking to the listeners now. I think Orna Ross from the Alliance of Independent Authors says it well, which is you should have your own AI policy. So you personally decide where your lines are, how it helps you, what you want to keep for you, and what you want help with. I was also thinking in terms of accessibility around money. Again, for many of us, professional cover design, professional editing, professional human-level translation, these are things that are pretty pricey for many people. So again, this makes it more accessible. One of the reasons we got into the indie way and being indie authors was to try and remove the barriers to entry to people who have been excluded from the environment of publishing. So, yes, it is really hard to talk about this, and yet that's why I wanted to talk about it, because— There's so many variables for each individual and there's no situation that's the same, really, is there? Jeff: No, not at all. The things that I may need to do my work in the most efficient way possible is different from the way that you're going to work, is different than the way my husband's going to work, is different than every other person and the way that they're going to work. Which is why any kind of blanket statement about “I don't need something and therefore you shouldn't need it either” can just be so problematic, because we have no idea what someone else is going through. Either it's a permanent part of their lives or maybe it's something that is happening temporarily with them where they might need to leverage other tools. Jo: Yes. Talking about that temporary, I think I really got the first sense of this when I had COVID the first time, which was really bad. I remember I was so sick, the only thing I could do was listen to an audiobook. I couldn't think, I couldn't read. It was really probably months of not having my brain back. Then the other thing that's happened as I age, as women age, is menopause kicks in and the brain fog is a real thing. I've heard from other people too who've said having Claude or whoever, an AI tool, to help with the brain fog is so important because otherwise I just wouldn't be able to gather my thoughts. Again, as you said— Even if we don't need these things now, it's quite likely we're going to need them at some point, given ageing, given the potential for injury and disease. I mean, we don't escape this alive, do we? Jeff: Yes, that's a great point because unless we're extremely lucky as individuals, we're all likely to have some sort of a disability in our lives at some point. I know for me, as I age and my eyes get more and more tired after being in front of a screen all day for work, and then whatever creative stuff I do in the afternoon on a book—when it comes near bedtime and I do want to read, I probably want to do that with an audiobook, much more audio, especially for any long reading project. That can also be like, if I have a long document or a long article to read, I am likely to give it to ElevenReader, let it load itself up, and then listen to it, because I take the information in better than trying to follow words across a screen. Jo: Yes. Jonathan, my husband, now also listens to a lot of academic papers on ElevenReader. Most of us will know it as where we publish some audiobooks from ElevenLabs, or you can also publish other things there. So it is super useful to think about what we can do with ElevenReader. Another thing that I found really useful recently is NotebookLM. On NotebookLM, there is a free tier. You can put various things in there and then create a custom audio. So this is something I've been doing as part of research. You can put in, say, 10 YouTube videos or some PDFs or your book or whatever, and then you can create a custom audio. Then I'll go for a walk and I'll listen to the custom audio, and then I'll go back and look at the detail of what it was. It gives me the framework of whatever I'm thinking about on a broader level, and then I can come back to the details. So again, it's this multimodal approach that can help us manage our energy, I guess. Jeff: And it's all about the managing of the energy, I think, too. That is a great way to think about the accessibility of it all. You mentioned a great use there for NotebookLM. That could also be putting your book in there and having it help you build a world bible or something like that. Or building marketing materials off of that. There's a lot of things now that NotebookLM can do in terms of helping you create FAQs maybe for a newsletter or for your website, and building video stuff off of the material that it has. So there's a lot of options there, and ever-growing options that can be useful for someone to manage any number of the things that they may need in their creative business. Jo: Yes. In fact, talking about Claude, there are a lot of Claude plugins now, skills and integrations. Shopify just released a Claude plugin and many of us now have Shopify stores. I have a lot of products with a lot of different variations and the metadata. There's so much metadata. And again, I'm just so pleased now that I can work with Cowork and get it to actually update directly into Shopify. In fact, coming back, you mentioned updating alt tags earlier. That's something again that AI could help you update—the back list of your alt tags on a website. I've now got my Cowork doing EPUBs so I could finally update all my EPUBs with back matter and all of this kind of thing. So I feel like perhaps we could go beyond accessibility to talk about amplification. All the things that we didn't do because it was too tiring and we just couldn't be bothered, or it would just be way too much work, that now it's opened up as a possibility because of these tools. Jeff: Absolutely. I mean, you look at a backlist as large as yours and the things that you're now able to do. I didn't know that Claude had a Shopify plugin. So the abilities that we have now to maybe do things in the business that we hadn't before. One of the things I've been working with Claude on is rewriting my website and creating a more proper website for Will. I'm really making sure that it is not only SEO prepared but also GEO prepared, with all the metadata and all the backend code schema that it needs so that LLMs can find me, can understand what I do, can understand the books, branch out to the other areas that it needs to. Doing that through WordPress would've been so much more difficult, even with Claude, that to be able to rewrite the site in a way that is going to let me manage it better so that I will do it on a more consistent basis. Whatever that thing is, we're now able to do these things. That could be updating keywords in Amazon or making sure we're aligned across all of the sales platforms that we might be on and things like that, that Claude can do and do well. Jo: Yes, I think marketing is just the killer app really for people, isn't it? I think most authors do not enjoy marketing. I find Claude better for creative work, for strategic work, for doing work through Cowork or Code, but— ChatGPT with marketing copy is very, very good. So I've actually been using that as we record this. I've got a Kickstarter launching next week, so I've been getting it to do ad copy and social media copy and all that kind of thing. This is stuff when you have to produce—give me 20 taglines, give me 20 hooks, give me another 20 and another 20. I mean, we just cannot do it as humans, right? Jeff: Yes, I have found GPT wildly helpful. I mentioned trying to get Bargain Booksy and Fussy Librarian promos. Jo: Mm. Jeff: And you have to give it the marketing hook, and it can't just be the blurb that's on Amazon—it's got to be something fresh, and they each have slightly different requirements. Having GPT—here's the blurb, give me a dozen different options—and then I may take pieces of all of them and create one of my own. But it reworks that much faster than my brain was ever going to try to find the right thing I want to give to Bargain Booksy. Jo: Yes, you are right. Or it says write this in 300 characters or less. Jeff: Yes. Jo: I do exactly the same. That kind of transformative work can be really good. In fact, there was somebody I know who has been rampantly anti-AI for years and then said, “Would this help me? I have to do a synopsis for an agent, so I've got this 100,000-word book and it needs to be a 10-page synopsis. How would I do that with AI?” So I was encouraging her to take each chapter and ask it to summarise the chapter, and of course read through it and everything. But I mean, doing a synopsis once you've actually written a book—that can be super useful. So I think what we're saying is— There are levels of need in terms of both the author and the audience. Then there are levels of your personal use from one end of the spectrum to the other in terms of how far you want to go in every area of the business. And in that way, it's just different for everyone. Jeff: Yes, and I think getting to that mindset shift that we were talking about a little bit—it can be so easy to dip your toes in. That one author came to you and said, “Do you think it could do this?” And I think that's the beginning exploratory area for perhaps anyone. People are going to hear us talk about this and it might inspire them to go try something that we've talked about. But these things, whether it's Claude or GPT or Gemini or whichever one it is, you can come to it and say, “I'm an author, I have X, Y, Z going on in my life”—whether that's a disability, whether that's a time constraint because you have a day job and maybe you have kids and a family that need your attention—”I have these time constraints, I want to do X, Y, and Z in my business. How can you help me with that?” It's going to tell you what it can do to help you with that. I would even say, if you have the ability to have multiples of these, you could ask the same question to GPT and Claude, and they're going to give you similar answers in some instances, but they may also have different ones because of the abilities that the different platforms have around these things as well. That can help you make that mindset shift of, “Well, now I see that it can do that. Could it also do this?” And then ask it if it could do that. Because I know for me, Jo, I've taken so much from you and your journey with Cowork that it's like, “Oh, she did that. I wonder if I could do this.” And all of that piles on top of itself. Then eventually I think your brain starts to think on its own, “Oh, I have to do this task. Can Claude maybe do this for me? Let's go find out.” Jo: Yes, and if it couldn't do it for you yesterday, you never know, it might be able to do it tomorrow. Jeff: Right? Because I haven't tested yet its new ability to actually use your computer. Jo: Mm. Jeff: And I'm curious what that might open up. Because one of the things that I've seen that I wish it would do is be able to take the EPUB that's on my drive and actually put it into a platform I'm trying to upload to. Cowork on its own hasn't been able to cross that barrier, but I wonder if with computer use added to that, if it could. Like, “here's the EPUB, upload that over there,” be able to pick it from the file picker, essentially. Jo: Yes. I think, well, a little tip for everyone: I wouldn't give access to your entire file system to the AI. Jeff: That's a good point too. Jo: Yes. I have a Claude folder in my drive and it only has access there. So if you put files in that drive, it might be able to do that. But I know what you mean. I have been using it to help me publish things in German on KDP. Now I can use the browser, so you can actually do that. In terms of uploading the actual file, I know what you mean. These things will change. As we record this, again middle of April, we are almost about to get the next models being Mythos, which might be Claude 4.7 Opus, or also ChatGPT has a new model coming, and these models are getting very powerful. With every shift they can do more things. So as you say, the very first thing to do is ask it, “I want to do this—what are my options?” And some of them, for example, doing an AI-narrated audiobook, ChatGPT and Claude don't do that. You want ElevenLabs or one of the other services for that, but they can tell you what your options are. So that's one thing, but I wondered if you have any thoughts on the gaps that you are seeing. You mentioned one there around file uploads, but— What do you hope might come and some of the things that might be exciting if they arrive? Because you never know, they might be here already. Jeff: There's certainly some movement in some areas. One of the things I'll share is, in March I was at the 2026 CSUN Assistive Technology Conference—CSUN is California State University, Northridge—and they've run this conference for some 40 years now. One of the sessions I went to was from Tara Maisel—I hope I'm pronouncing her last name right. She's a senior project manager in books accessibility at Amazon, and she was doing a session specifically on readability. She had all kinds of statistics and information about what goes into making something readable. One of the things she talked about with AI was the future of personalised reading. If you think about the Kindle app, for example, there's a lot of settings you can make there—font size, colours, brightness, text spacing. There's a lot of tools in there. She was pointing out that potentially readers don't even know what they actually need for the optimised visual reading experience. She sees a world where AI can perhaps do an analysis of your reading behaviour and then help you find the optimal settings. Maybe even multiple optimal settings for, say, if you were reading in a room that had daylight versus at bedtime, and the ways you might shift it. I was almost thinking of this like when you're at the optometrist and they're like, “Which lens is better—this one or that one?” Jo: Oh, sometimes that is very hard. Jeff: Yes. It's that AI could step you through that a little bit to help you find that optimal reading experience in that moment. And then it might even notice, potentially, if you're changing something in the way that you're moving through a page, that it might flag to say, “Hey, do we need to adjust something?” Some other areas that I think are really exciting, for everyone and perhaps particularly for people who are disabled and needing the support of some assistive technology, is what we're seeing in the browsers. OpenAI's Operator has been out for quite a while now, since sometime I think autumn of last year. Perplexity Comet has been around even longer. Then we've got browser extensions from Gemini and Claude that are available, that can let you just type natural language. You know, “Please go find for me jeans in this size that are on sale on this website. Find me the best price for blue jeans on this site and this size,” and it'll just go do it. Which can certainly speed things up for people in the disabled community to find things quickly, to spend time navigating less, and maybe ending up with the AI coming back and saying, “I found these five things. Which one would you like me to buy for you?” Or, “I found this one thing that you do need and it's waiting for you in your shopping cart.” The ability for that on the horizon is an amazing jump from an accessibility point of view. But really it's one of those things that accessibility will then help everyone because we can all just shop that way, if we choose to. These are early days for these browsers and these extensions. The other side of it comes back to basic web accessibility too, because I've seen these types of activities not work so well on a site that may not actually be accessible on its own. A great example is something I ran into with Claude Cowork about a month ago. I was testing to see if it could help me navigate and get things uploaded together for a site where I wanted to upload books, knowing again that it's not going to upload the actual file, but it could fill in the metadata from my master database of metadata stuff. There were areas on the site that it actually couldn't hit the button, because the site itself was also not functional to a screen reader. So there are gaps there. It's early days, but I really see that as an interesting future that'll really help people with disabilities—but again, help everybody too, just manage time better. Jo: I know exactly what you mean there. I've done some collaborative work with Claude Code when it's like, “I can't click the button,” and I'm like, well, I'll click the button—you fill in everything else. Jeff: Exactly. Jo: It's actually quite a funny situation. But goodness, coming back to IngramSpark again—these things need APIs. We need better functions. It's funny because I think a lot of traditional publishers have these APIs or backend upload things that you can do. I'm like, well, we need to get to that with these systems. But I think things will change. Another thing that I think has also shifted is the use of voice. Voice for dictation—it used to be with dictation that you would have to say “comma,” “open quote,” “new line,” and all of that. And you'd also have to make sense. Whereas now I feel like you can just dictate a whole load of things to these AIs and then say, “Tidy that up,” and they will do a lot more than the old situation. So I think voice will also help. Also automatic translation. I don't know if you know this about X, and if you're on X anymore, but just this week they've made it multi-language. So I can read tweets by people who've posted in another language in English. I can read something from Korean or read something that someone French has posted and it gets translated. It has made a huge difference to the content I'm seeing, which is fascinating because I don't think we've ever had this kind of automatic “everything is translated into your language” situation. It's really got me thinking about how [automatic translation] might work for eBooks or other things if the rights are there. I don't know. Have you seen stuff like that? Jeff: There's so much available now with voice and the ability to not have to speak all the other stuff that went with it—comma, full stop, next line. It was a little mind-bending sometimes, trying to think about quote marks and all that stuff. And now it's so good. Different platforms do it to different degrees of ability. Even being able to speak your prompts into the very platforms themselves without having to type all of it. Chronic pain comes to mind, any kind of mobility thing—all the typing would be a drain or maybe even impossible. So the voice ability is so powerful there and unlocks more things. At the same time, those translation abilities—I believe AirPods now have the ability, if you've got the right stuff on your phone, that you could be talking to somebody, they may speak back to you in a language you don't speak, but your AirPods will give it to you in your language. Jo: Hmm. Jeff: Google has, I believe, a live captioning app that you can use. I think there's even a split screen—I don't know if that's available now or something in their future—where you could put the phone on the table and tell it who's looking at what side of the screen, and it'll put the language that I need on my side and the language the other person needs on the other. So there continues to be such a shift in how we're being able to translate stuff that really opens up communication and can open up our books to so many more people. I'm very interested to see—I haven't pulled the trigger on this yet—but how Amazon's auto-translation rolls out and how that's received in terms of the accessibility around our books and being able to put it in someone's hands who doesn't speak—I think it's only English to other languages right now—but who doesn't speak the language it was written in but wants to read that book. We could never, as indies, or really even big five publishers, wouldn't have the money to create custom translations everywhere. But if the AI can help do that and spread those books around so that everybody could have the story they want to read, I think that's such a win for the reading audience. Jo: Yes, I think it's so exciting to think what might be coming, and that's what I want to stay on the side of on the AI discussion. There's enough negativity out there and you can get that information somewhere else, but for me I want us to stay on the positive side of how this helps both the author and the reader. And hopefully the community, to create more and read more and enjoy being human more. Right? Because I find that I do get out more and listen to stuff, or I'm out walking instead of at my desk, and I mean, that's what it's about. I'm pretty excited about the future. How about you? Jeff: I am. I think there are, quite honestly, some scary things that could be out there in the future. I mean, there's been a lot of talk about what Mythos is capable of. But on the other side of it, there are all these advances. I also look back at Google and AlphaFold and what DeepMind was able to do there for science. There's more of that stuff out there, and individually for each of us, spending a little bit of time—and I do have to say, I think you need to spend time on a paid plan because the free stuff doesn't give you the idea of what these platforms are actually capable of. So if you only drop in, even briefly, to experiment on one of the $20-a-month plans and give it your situation, ask it what it can do for you, I think you'll see where, on a personal level, AI will help you unlock some things. It can help you move some things to the next level in your business that for whatever reason you haven't been able to do. You don't have to use it for everything. You may decide that it's still not for you for whatever reason, and that's fine. But I think there's so much to explore here and to let your curiosity run for a little bit to see what's possible and what you might unlock with it. Jo: Brilliant. So where can people find you and your books and everything you do online? Jeff: So pretty much everything lives at JeffAdamsWrites.com. Jo: Well, thanks so much for your time, Jeff. That was great. Jeff: I loved it, Jo. Thanks for having me..The post Accessibility And AI: How New Tools Are Opening Doors For Indie Authors With Jeff Adams first appeared on The Creative Penn.