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What's the difference between a bundle, a box set, an anthology, and a collection? How can being part of an anthology be creatively interesting and useful for marketing? With Jamie Ferguson In the intro, Amazon Kindle increases the 70% royalty share; audiobook marketing tips (Voices by InAudio); The Builder's Creed [Seth Godin]; Future Vision XPrize; Researching the dark side of travel [Anna Sayburn Lane]; Photos from Bruges @jfpennauthor; Bones of the Deep: A Thriller – J.F. Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. 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 The difference between bundles, box sets, anthologies, and collections Why a multi-author project means lots of people promoting the same book, not just you How to find and pitch for anthology opportunities, and what editors look for in a contributor Contracts, rights, and royalty splits explained for short fiction Why Kickstarter and special print editions are changing the anthology game Inkwren, the publishing management tool Jamie built for backlists and anthologies You can find Jamie at JamieFerguson.com. Transcript of the interview ith Jamie Ferguson Jo: Jamie Ferguson is a fiction and short story author, editor, and publisher, with over 20 anthologies and multiple ebook bundles through her own press. Her latest book for authors is Bundle Up! A Practical Guide to Anthologies and Box Sets That Sell. Just for context too, one of my short stories, “The Dark Queen”, is in the Amazing Monster Tales: Into the Briny Deep anthology. So I'm excited to talk about this today. Welcome to the show, Jamie. Jamie: Thanks for having me, Jo. Jo: Lots to talk about. But first up— Tell us a bit more about you and how you got into writing and self-publishing. Jamie: Well, I wanted to be a writer since I was at least six, maybe before then. So it was just something I always wanted to do, but I always did it on the side. I had a year, many years ago, where I was really busy with work, and I just felt like I didn't write anything the entire year, and I thought, “I'm going to give it up.” Then the next year—that was 2011—I started seeing more about self-publishing, and that really invigorated me and made me feel like, “No, why am I giving up something I've wanted to do since before I went to school?” So I got back into a novel I had worked on years before. I went to a writing workshop with Dean Wesley Smith up in Oregon, back in the day, and then I had my energy back. I've been writing ever since. Still on the side, unfortunately, but someday. Jo: Hopefully! Tell us a bit more about what kind of genres you write. Because balancing your own books with also doing these anthologies and things is quite difficult. Jamie: Yes, it definitely is. I'd say I primarily write contemporary fantasy, but I'll write anything in any genre if I'm really excited about it. I also have a soft spot for Westerns. They take a little more time because I like to research all the facts, but those are really fun to write. Creating anthologies on your own is actually quite a bit of work. One of the things I also do is work with two other authors, DeAnna Knippling and Tami Veldura, and create more anthologies with them. That's really fun because then we can each take a different piece. There's also always somebody to talk to, as opposed to doing it on your own. Jo: Let's start with the terminology, because I definitely struggled with this, and I think people still do. We've got bundles, we've got box sets, we've got anthologies, we've got collections—and are these in ebook, audiobook, or print? Can you start by explaining what all of these words actually mean? Jamie: Yes. In my book I actually use the term “multi-author collection” or “multi-author project”, because there are so many different permutations and it does get confusing. From my perspective, I think of a bundle as a collection. It could be a collection of ebooks. Technically it could be a collection of print books, although people generally use “box set” for that—but then a box set can also be a box set that's all ebooks. An anthology, I usually use for something that's a collection of short stories where there's an editor who's actually edited all the stories. I have had stories in anthologies where somebody didn't edit them, and they would technically be called a curator. So it is definitely confusing. I have not done anything with audio collections, but that certainly is another area that I actually think is pretty interesting. Jo: I also think that a single author… so I've done a short story collection, but an anthology is multiple authors. Is that right? Jamie: Yes. Jo: I think when I came into the indie space, there were a lot more multi-author… we all called them box sets back in the day, when it was just ebooks, right? And now we can actually do boxed sets with boxes through things like BookVault. So it feels like the term “box set” has also gone out of fashion. So if people listening are thinking of doing any of this, you do have to figure out what is the thing you might be signing up for. So let's talk about the multi-author projects, as that's where you specialise. What are the benefits for an author to be involved in a multi-author anthology project? Jamie: The biggest benefit is that you are one of multiple people promoting the same project, whether it's print or ebook or whatever. If I put out a short story collection on my own, I'm the one promoting it, and maybe I can get a couple of other people to write about it, but it's really just me. If I'm part of an anthology with 15 other authors, that's 15 other people who are promoting the same project. That's more newsletters, more Facebook posts, maybe something on their Patreons, whatever it is. You get more synergy, and you get more touch points with potential readers. Then hopefully that translates into sales as well. So that's definitely the biggest part of it—the promotion. Then I also personally really enjoy these types of collections because it's just fun to work with other people. There's a nice energy when everybody's like, “Oh, I put this in my newsletter, and I put this here, and I put this here,” and you feel like you're part of something bigger than just your own piece. Jo: What about the creative benefits? Especially with short stories, often people will write them for a collection or for an anthology project. Jamie: Yes. I've definitely written some stories that I never would have thought I'd write, because somebody I knew asked if I would be interested in being in their collection—whether it's an ebook bundle or a print anthology. So at least for me, that's been really fun. One of the ones that stands out is that I was asked to be in a dinosaur collection once, and I was like, “I don't write dinosaur stories.” And then I did. I set a dinosaur story in London, and it was really fun to write, and I never would have come up with that in a million years. Jo: Let's say we've got 12 authors. They've all written short stories, and now it's in this anthology. But what is the market for these kinds of things? Have you found that there is a readership for short story anthologies that carries over to the author's longer work? Jamie: There is. I like to think of it as: if I have a story in a collection or an anthology—whether it's one I'm editing or somebody else is editing—that's one more place for people to find me. A lot of times anthologies will take reprints as well, like your story. “The Dark Queen”—that was a reprint. We asked if you'd be interested in participating in the Amazing Monster Tales series. And I actually really like printing stories again that have already been published, because there are a lot of stories out there that can be hard to find. Or if it's an older book. I have one author I've known for, like, 30 years. I reprinted one of her stories that was originally published in, I think, 1999, and the anthology it was in was out of print. You couldn't find it, and it was a fantastic story. So it's fun to be able to give new life to those stories and give them more opportunities, and also just have more ways for people to find you. Jo: Yes, I definitely think it's a long game. I don't think appearing in a short story anthology in one particular month is going to mean that your whole back collection just sells, right? Jamie: No, definitely not. It's more about avenues to be found. I know there have been some anthologies that have made quite a bit of money, but in general you're probably not going to make as much money, but you will have those extra places for people to find you. Jo: I always feel like yes, there is maybe a small amount of money, but it is more about almost a marketing thing in itself. So let's say an author is listening and they're like, “Do you know, this sounds like a great idea.” How can they pitch for things like this? How do they find out about opportunities, or get noticed to be asked? And what are the expectations for them? Jamie: The biggest thing is networking. There used to be a couple of opportunities where you could make people aware that you had stories that you were interested in potentially having picked up for something. I'm not aware of anything like that now. When I create a collection, I have a mailing list that I send out, and it includes authors I've published before. It includes a couple of extra people who somehow found my mailing list. And I'll publish, like, “Here's what I'm doing.” There are also authors I've met at writing workshops. I've been able to read some of their work, I'll approach them and say, “Hey, I really liked such and such a story. Would you be interested in writing for this?” Then there are a couple of other websites, like Duotrope, and places that advertise markets and calls for submissions. Jo: Yes, I've found them also on small presses that do these kinds of projects. They often put up one call for submission a month or something, and you can write for their particular thing. In general, the short story markets are the places to keep an eye on. Jamie: Yes, definitely. Jo: If an author wants to pitch to have their story as part of an anthology, do you want to know things like platform, or is it just the story itself? Jamie: I personally look at the author's platform. I do make exceptions—there are actually two authors I've worked with a couple of times who don't have websites. They are people I know personally and they are very, very good writers, so I'll make an exception for things like that. But otherwise, if somebody submitted a story to me and I didn't know that person, I would check out their website, I would check out their social media, I would see what else they had done. Part of what you're doing when you're creating a collection is thinking not just about how you, as the person organising this, will promote the collection, but how the authors who are participating will help promote it as well. If it's somebody who has a lot of fans, even if they're not very active on social media, that can help a lot too. There are a lot of different factors, though. Jo: So then talk us through the project timeline. How long do things take, and what sort of involvement do the authors have along the way? Because it's a lot to juggle. Jamie: Yes, it is a lot to juggle. I can give you an example with the Monster Tales series. We'll come up with an idea, and we also like to try to get the artwork done early on in the process. We don't need it that soon, but it's really great to have that taken care of. We'll contact authors. I think for this one we used my mailing list, but we've also contacted a number of people individually that we know who write the style of stories we like. Then, as the submissions come in, we usually wait until we have a nice chunk of them to start going through, and then we'll pick some right away. Sometimes it'll be like, “Oh my gosh, of course we want this story,” and we'll wait to fill out the other slots. Then we'll negotiate sometimes. Sometimes it's like, “I want this story.” “Well, I want this other story.” And we have to figure out how the word count works. Once we finalise the stories, then usually what happens with that anthology is that DeAnna—who is a very, very good editor—will make the first editing pass, and then I'll make the second. And now Tami's involved, so Tami will make the third, and then we'll iterate. Once all three of us have gone through the first time, then we'll send the story back to the author for edits. So the most the author has to do for most of the process is just wait for us to edit their story, and then work on their edits and get them back. Then, once we get closer to launch, we'll give them information about what we're going to do. For example, we're going to launch the next issue with a Kickstarter. So our authors know that we have a Kickstarter coming, and we'll give them more information as we get closer to the actual launch date. Jo: So how long might an author expect before their work is out there? Jamie: It really varies. I've had some collections published very quickly—let's say a couple of months. Some have taken longer just because somebody ends up having some life issue and things get delayed. So I'd say ideally it would be more like three to nine months. Jo: Yes, I think… depending on the— Jamie: —collection and the complexity. Jo: Yes, exactly. Jo: And you did mention word count there. Just give us a range of what word count you like to get. Jamie: So these days I'm shooting for between 75,000 and 80,000 for the total word count for a collection. That includes the stories, but it also includes the opening, the introduction. For one we're working on now, we're going to have some interstitials, where we have little bits of things we're going to write in between each story. So that's the overall size of the collection. I'll keep track of the word count as the stories come in, and then as we edit the stories, sometimes they grow, sometimes they shrink. Sometimes that's a big enough difference where we're like, “Okay, we need one more story to fill it in.” But that's the target. Jo: And how much for each individual story? Jamie: That varies. I've done a bunch of different things. These days, what I'm advertising is between 3,000 and 8,000 words. I also always tell people: if you're outside this range on either side, just check with me, and if it's something that's really an excellent fit for the book, I'll make an exception. The one that's coming out, I think we have a 1,500- or 2,000-word story that was just amazingly perfect for what we wanted. There was another story, actually I think it was the issue that you were in, that was at least 12,000 words, but it also was a perfect fit for the theme. So I will make exceptions, but within reason. I wouldn't put a novella inside an anthology, because then you'd have a 22,000-word story next to a 3,000-word story, and I personally feel like that's really jarring for the reader. You don't want to go from something super short to something super long. It just doesn't feel like it flows well to me. Jo: No, absolutely. Jo: We'll come back to the making of it because you mentioned some really interesting things there. But just on the contractual side—a lot of indie authors don't necessarily do any publishing contracts for their work, unless it's signing the terms and conditions when uploading on Amazon or Kobo. So tell us a bit about the contract side. What rights are we talking about here? Any red lines in contracts around this kind of thing? Jamie: For contracts, I would recommend people read Kristine Kathryn Rusch's posts on this. She is way more informed about this than I ever will be, so when I have questions, I'll look at her posts. I've asked her a couple of questions. What we're doing for the Amazing Monster Tales… this is the first time that I've actually had authors sign contracts. Prior to this, I've used PubShare, which handles royalty splits and all of that, and that was really great. We want to do direct sales and Kickstarters and have lots of other options. So we did put together a contract this time. I'd have to pull it up, but I think we asked for first worldwide rights in English—I'm getting the terminology wrong here—but that was basically it. Jo: Or, I guess, reprint rights if the story's already been licensed. Jamie: Correct. We have two contract templates, one for original stories and one for reprints. We made sure to make that distinction, because it is definitely a distinction. In the book by Kristine Kathryn Rusch—it's called Closing the Deal… on Your Terms—I highly recommend that for anybody interested in learning more about contracts. Jo: Yes, that's great. And just for people listening: when you said you didn't have contracts before, you just used PubShare. So in that way, the author still retained the rights and you just split the royalties—it was more of a co-writing thing. Jamie: Correct. When you publish stories through PubShare, the author signs an agreement with PubShare, and then I, as the editor or organiser, would also sign a separate agreement. So each of us has an agreement with PubShare. We don't have agreements with each other, if that makes sense. Jo: Yes, so it's very different to move into Kickstarter. So tell us about what you're now moving into. Jamie: Well, Kickstarters are a new world for me personally. I have many friends who have had Kickstarters. I've supported Kickstarters. I watch them. But it's something where I'm very happy to have two partners who have done Kickstarters before. I'm not sure how many Tami's done—I think Tami's done the most at this point. So this is all new to me. But it's very exciting. At this point we have a backlist, so part of the plan, for the Monster series, is to offer issues one through four as part of the rewards when we launch issue number five. That's really exciting, because I never had a backlist like that before. Jo: Yes, and in fact the money is in the backlist, as ever, and those add-ons or bundles as part of Kickstarter are great. So are you going to do special print editions, or is it digital only? Jamie: We are talking about special print editions. You mentioned BookVault earlier—we've been looking at BookVault. Our other anthology series that hasn't come out yet will also launch with a Kickstarter. It's dragon-themed, and Tami actually did the cover work, which is beautiful. BookVault just gives you so many options that we never had before, so I'm very excited about that. Jo: Yes, I think it's a really good idea. I did gorgeous hardbacks for my solo author collection, so I think it's a great idea. So from the publisher side, let's come back to that. You've mentioned you have to write things like an introduction and interstitials, and you're trying to balance the stories. What are some of the other things that people might think about if they want to organise their own anthologies? Jamie: Oh gosh, where to start? There's the basic setting up of the anthology, so you have to define the table of contents. You might get a bunch of stories that are really awesome, and you might have to tell somebody who has a wonderful story—and maybe even who's a good friend of yours—that you're going to pass on it because their story doesn't fit with all the other stories. Every time I have to do that, I feel kind of bad. But being on this side, it's really interesting to see how you can tell which stories fit together and which don't. There's also the editing process, which can be a lot of work. Part of what I like about working with Tami and DeAnna is that DeAnna really loves editing. I feel like I'm a good editor, and I can do it, but for me it's more of a job. For DeAnna, she loves it, so she does the bulk of the editing, which is great. When I do it on my own, I feel like it's a task I have to do. There's lots of cat-herding. Sometimes people take a while to get their edits back. Sometimes they have life events, and you have to delay things because you're waiting on them. There are all the little tiny pieces of organising things—like, if you're reprinting stories, you need to make sure you get the copyright attribution correct. A lot of times I'll have to go and look up where something was originally published. An author might say, “Oh, it was published in this year,” and I'm like, “Okay, actually it was published in this other year, by this other publication first.” So I'm trying to be organised there. henT one of the things that very infrequently—I think it's only happened to me twice—every once in a while, you're in the middle of editing a story and you have to pass on it, even though you've already accepted it, because the editorial vision and the author vision for the story are not the same, and you can't reconcile that. Jo: I think that's really interesting, because so much of what you're talking about there—you mentioned vision—it's almost taste. You're saying which stories fit. It's not just a case of, I don't know, a pirate anthology and then picking 10 stories about pirates, right? You seem to be thinking about this in a more artistic way. So can you talk a bit more about that? How do you decide on a theme, and then how do you know that a story doesn't fit? Jamie: In the beginning, I was not this selective. In the beginning I'd say, for example, “Hey, I'm putting out a collection about fairies. Give me a fairy story,” and that was it. As I've edited the stories, it's become easier to see how things fit. So, for example, if I have 10 stories in an anthology and I have an 11th story, and they have different tones—let's say the 11th story is really funny and all the other stories are very serious—then that would be a fit thing. That's not necessarily taste; it's just that you don't want one funny story if everything else is really dark and scary or serious. As far as picking a theme, the theme could be very broad. With this dragon anthology we're working on, we decided we wanted it to be called A Hoard of Books. So the theme was: has to have dragons, has to have books, and that's pretty much it. And then we were like, “Let's just see what we get.” We were very surprised at what we got. We thought we'd have more serious stories, and it turned out most of them were very light-hearted and really fun. And we're like, “You know what? That actually changes the way we're looking at the whole series,” because we did not expect that. With the monster series, we'll pick a theme. So, for example, the next issue is Monsters in Love, and for those it's more like, let's just see what happens. Sometimes I'll have a more specific theme. The next anthology I'm publishing on my own is called Fairy Bargains, and I wanted people to obviously have fairies, but I wanted there to be something related to the mythology and lore of having a bargain with a fairy—and there's a lot of stuff about that. So for some things like that, when I put out a call, I'll provide information. I might say, “Here's a link to a Wikipedia article. Here's some mythology that might be helpful for you,” just because I want things to stick a little bit more to the theme itself. Whereas with Monsters in Love, there's a very wide range of stories, and that was very fun to work through. Jo: Oh, yes. There's a lot of monster, on the spicy side as well. But were you doing a clean Monsters in Love, as opposed to in lust? Jamie: Yes, this is a clean one. That's pretty funny. But boy, when you give authors the room for these types of things, you get all kinds of stories, and it is super fun to work with those collections. Jo: As you're talking, I definitely want to do more short stories. It's really interesting, because you can actually generally get paid more for a first print—first print rights on a short story—but I often want to just publish it myself. Then I was really happy to be in yours, because it was a reprint anyway. So I was like, well, there's absolutely nothing to lose if it goes in as a reprint. So these things can be really interesting. Talking of the finance from your side of things: you have a small press and you're doing this publishing yourself, but you're paying all these authors and doing a lot of work. So how does it work as the publisher, in terms of these anthologies, financially? Jamie: With the ones we've published so far, because we've gone through PubShare, it's been a royalty split. As the editors, we would take a percentage, and then we pay for the artwork, and of course all of our time. I think what we were doing there was saying 70% of the royalties would be split equally between all of the authors and the stories. So, for example, if I had a story as well, I would get part of the author split—the same percentage as everybody else in the collection—in addition to the editor split. For what we're doing now, we've changed this a little bit, and I believe we said 60% goes to the authors, and then we're going to keep a share of the proceeds for the business because we want to be able to pay for the artwork out of the business account. We want to pay for advertising, whatever we need to do—like setting up our store, or if we wanted to invest in anything, we want to be able to do that as the business, as opposed to it just being us doing this on our own. We're just trying to treat it a little bit differently. Jo: And I know it's so much work—a crazy amount of work. How many anthologies and books do you have to do in a year to make it worthwhile financially? Jamie: Oh, I don't know. I would say, unless you get an opportunity—like, for example, to have an anthology in a story bundle or something like that—you may not break even. But if you're going to do this, do it more for the marketing, do it more because you enjoy it. Now, going forward, I think that will change, because we are looking at Kickstarters, we are looking at direct sales. We're very motivated to try to make this more of a business thing than a fun side project. So, ask me in a year. Jo: Yes, hopefully more. I do think Kickstarter is great for short stories. I actually buy quite a few collections on Kickstarter. I think they're actually really hard to discover through, say, Amazon—it's a place that is quite hard to identify short stories. Whereas I've found I've bought collections on Kickstarter because there's so much more of a sales page—there's so much more rich media that tells me how I'm going to feel about the stuff. I've bought short story anthologies and collections from people I don't know. So I think it's a really good thing to do. There is an audience there. Jamie: Yes, definitely. And it does feel like the anthologies on Amazon don't sell as well—you don't make as much as you used to. I've been doing this for, well, gosh, 10 years now, and I feel like the sales numbers on Amazon in the past year were noticeably lower than they would have been six or eight years ago. So I am very excited about Kickstarter. Plus, Kickstarter just feels really fun. You're not just throwing your book up; you also have all the extra stuff with the page, you have the rewards, and it just feels really exciting. Jo: No, I agree. I really love it. I didn't do it for a long time, and now I just love it. Jo: So, staying with the publisher side of things— Any practical formatting and production tips? Because in these types of projects, all kinds of people just send you different stuff. Jamie: I have a style guide. So whether it's me or it's the group project, once all the edits are complete, I'll do a formatting pass, and I'll make sure I use curly quotes and the same em dash format and everything, just so everything in the book is formatted the same way. Every once in a while there's an author who has something particular that they want, and I can work around that, and that's fine. I also work with a lot of Canadian authors, and I'll let them keep their Canadian spellings. I don't think everybody does that, but I feel like that's their voice in a way, so I don't correct those. I might check some things there. I think the formatting is important—it makes things look better if everything has the same style. Then I use Vellum, which makes things really easy. I love Vellum. Because I publish so many authors at this point, I have a Vellum file where I store their biographies and their links, so when I publish a new anthology I'll just go grab, say, Jo's “about the author” page from that collection and put it into the new file. Then I also track when the last time was that I checked with the author about their biography. If it's been more than a year, I'll check in with them and say, “Hey, do you have an updated biography you want me to use? Here are your links—do you have any different links now?” So that makes it a lot easier from the formatting standpoint. Jo: And you mentioned Vellum—having done box sets on Vellum, you can just drag a whole book in there if you want to do a three-book box set, or three short stories, whatever. It's much easier to just drag things in, and it makes it easier to format. So I would say to people: you don't need to worry too much about that. There are lots of things that can help you. But even with doing the print stuff for the Kickstarter—people have opinions, don't they? So in terms of authors' opinions and managing—you mentioned herding cats—how do you manage all of that side of things? Jamie: I haven't actually had a lot of trouble with that. The authors I've worked with seem to feel like they gave me their story, and then once the edits are out of the way… I haven't had anybody have any issues with the covers. Usually they love the covers, especially for the Monster series. So, no problems there. Jo: Oh, that's good. Well, I would say a tip would be to make sure you're communicating, if you're somebody who's organising. So talk a bit about communication. Jamie: Communication is very important. What I try to do is send regular updates, especially if I'm in the middle of edits or working on something and I'm not ready to launch. I'll send an update email out to the authors and just say, “Here's what's going on, here's what the plan is.” Or if the plan has to change, if the launch date has to change for some reason, I'll let the authors know about that. Actually, with the upcoming Monsters in Love issue, we were originally not going to do a Kickstarter. That was a late decision, so I contacted all the authors and said, “We've changed our plans. We're going to launch this with a Kickstarter. Please confirm that you're okay with this.” One author was not comfortable with the Kickstarter idea, so he pulled his story, and then we found a replacement story for that. But I just feel like the communication piece is really essential. It's really important for the authors to know what's going on. Jo: Yes, absolutely. So, we've talked about how marketing is a good thing, in terms of there being lots of people marketing. How are you effectively marketing these kinds of books, as the premise is quite different to a single author project? Jamie: Right. There's the usual—write a release post, write posts on social. I do additional things, so I'll publish what I call a story spotlight for each story in the anthology. That's just where I talk a little bit about the story, I provide an excerpt, and then I provide the author's bio and links to find them. Those are really great, because they're very quick to put together. The hardest part is getting a short excerpt that shows enough about the story to be engaging. But that really isn't that much time, either. Then those are also nicely evergreen. I've actually searched for authors before, when I'm trying to research them for an interview, and I've found my own spotlight posts and my own interview posts with authors come up at the top of the list, which is kind of funny. I also do interviews with as many of the authors in a collection as are willing to participate. Sometimes people just don't have the time—I don't make this required—but I usually get 80 to 90% of the authors participating. So, for example, this year I'm in a couple of bundles on StoryBundle, and I'm doing interviews for people there. It's also really fun, and you're not paying for advertising—you're just creating something that the authors are excited about and they want to share. So it promotes the collection, but it also promotes the author, which I find really nice. It's a nice networking thing too, and I'm happy if someone wants to interview me. It's like free publicity for each person, in addition to the collection. Jo: I love that you've used the word “fun” quite a lot, which I find amazing. You're obviously a super collaborative person. I've co-written a number of books— I've been part of some collections, and I really think that there are two personalities. One is like me, where we really love the creation stuff and the publishing stuff, but we're hyper-controlling. And then someone like you—you're very collaborative, and you're doing such a great job. To people listening, I would say: if you're more like me, don't organise an anthology. What you want is Jamie, or somebody who actually finds it fun to organise a big group of authors. Jamie: Yes. It is definitely interesting working with other partners in this, because when I publish an anthology on my own, I make all the decisions. I pick the artwork, I pick the theme, I do everything, I decide the table of contents. But when you're working with other people, you do need to negotiate. So we've had a couple of times where it's like, “I want this story.” “Well, I want this other story, I don't like the story that you want.” And so we have to barter, in a way. Aside from that, it is nice, because you get to split up the tasks. I could focus on things like the organising—I do the Vellum files, I do the final cover and everything. For the Kickstarters, actually, Tami's got more expertise, so Tami's going to be working on the Kickstarters for our collections together. If I had to do all this on my own, it's a ton of work. It's a ton of work. So it is nice to split it up. Jo: And of course, one of the things is managing so many moving parts—and you've actually built a tool to manage all this. So tell us a bit about that tool, and how it might be useful for people with big backlists as well as anthologies. Jamie: I built what I think of as a publishing management application. The original idea is that, for years and years, I wanted a software tool that would do catalogue management, because I was managing my own catalogue, and I was also managing—at this point I've published at least 20 anthologies, so that's a lot of authors. Then last summer, I had an author who I'd published a number of times, who was going to, I think, WorldCon, and she asked if I could give her covers for five anthologies she'd been in, so that she could make some promotional material. I was like, “Oh, sure, I can do that.” And then I was like, “Well, wait a second—is this in Notion?”—because I started trying to use Notion last year—”or is it in a spreadsheet?” It turned out her information was in, like, three different places, and I had to work to pull it together. And then I was like, “You know what? That's it. I'm just going to finally write this application.” So Inkwren manages your stories. As an author, I can manage my stories—I can track which are published, which are drafts, which are just ideas. I can track my publications. From the publisher standpoint, it's really helpful, because I can track each anthology I've published and what I'm working on. I can track the edits, I can track the contracts. I can upload contract templates—so we talked earlier about the original and reprint contract templates that I use. I upload those, and they have placeholders in them. When I generate the actual contract, the author's name will replace the placeholder—I'll have the text “author name” in the contract template, and it'll get replaced by, like, “Joanna Penn” or whatever. So that saves a lot of time. Then I also added in task tracking, because I started to feel like, well, now all my stuff is in one place, but my tasks are somewhere else. So now I can associate tasks with a publication. For example, for the book I'm working on right now, I know which tasks I need to do for the cover, and which for the interior, and everything. I have a template of tasks. Then I can also track tasks related to promotions. For example, the story bundle I'm promoting right now, I have a task for each interview I'm doing with the authors, and I have a calendar view. I can see when I'm going to publish them and know that they're all spread out. It saves me so much time, and it's so much easier. Jo: I do think building tools when you actually need the tool yourself is very useful. Just say the name again, and spell it out for people. Jamie: It's Inkwren. My own personal publishing company is Blackbird Publishing, and I wanted something related to birds and writing. So I came up with Inkwren, which is I-N-K-W-R-E-N, and it's just inkwren.com. Jo: And it is available for other people to potentially buy and use? Jamie: Yes, it is. Jo: Well, I think that's super useful, because it's very hard when people are starting out and they think, “Oh, I've only got one book—why would I need any kind of tool to manage it?” But over the years, your backlist grows, especially with short stories. So I love that you've built this, and there's probably more that you can add over time as you expand the business yourself. So much potential. So we are at the end. Where can people find you and your books and everything you do online? Jamie: My author website is JamieFerguson.com. And then, obviously, I mentioned Inkwren earlier. My publishing company is BlackbirdPublishing.com. And then the projects I'm doing with Tami and DeAnna—we have a couple of websites, but the easiest way to find us is our press, which is BorogrovePress.com. Jo: Fantastic. Well, thanks so much for your time, Jamie. That was great. Jamie: Thanks, Joanna.The post Bundles, Box Sets and Anthologies With Jamie Ferguson first appeared on The Creative Penn.

We are so excited to share with the you the FIRST episode of Fitzlife Unfiltered on YOU TUBE!You can watch here: www.fitzlife.caYou can also watch and subscribe on You Tube here: https://youtu.be/BMTrrFsrhWsIt's been a long time coming and we can't wait for you to watch, listen, or enjoy it in whatever capacity you can join us. Thank you.We'd also like to introduce you to Kyle, you will hear his voice from time to time, he is not only a friend, but an incredibly talented business and production person and his company Agency1 and his contact info are in the show notes.  He's also here to take my side on most issues. ;)In this episode we really just wanted to share why we wanted to do this version of the Podcast and also we talk about our relationship, our businesses, and how we continue to navigate those roles.  There are often times in our relationship where we have to ask each other first at the start of a conversation, “Is this a marriage convo or a business convo?”  Because we are married, and when you are partnered with each other, you sometimes have to separate the two.You don't want to be “coached” by your partner, so we try to be transparent and open with each other.  Inevitably, the lines get blurred, and it's just important to recognize what is happening and no the intent is always to solve the problem and improve communication.This was really fun.  It was definitely a different vibe for Kim and I with the camera's on, I think it provides for a more engaged conversation.Please tag us in your stories, leave  review, and let us know your thoughts on the video version!Thank you so much!Kim & Jamie--------------------------------------------------For episodes #1 to #138, you can find the audio versions here: https://podcasts.apple.com/ca/podcast/fitzlife-unfiltered-with-kim-jamie-fitzpatrickWebsite: www.fitzlife.caSIGN UP FOR WORKSHOPS, RETREATS, AND APPLY TO WORK WITH KIM & JAMIE: bit.ly/WorkWithKimFitzpatrickSHOP OUR CLEAN AND NON-TOXIC WELLNESS SITE:

Dr. Heidi Brocke is a Toxic Relationship Awareness & Healing Specialist. After spending 14 years in an extremely emotionally and narcissistically abusive relationship she broke the chains and turned her past into her passion; She left her 24 years career in healthcare to use her life experience and education to be the person she needed when she herself was trapped in the darkness of an unhealthy relationship to provide hope, healing, and freedom to those whose lives have been affected by toxic relationships, emotional abuse, and narcissistic behaviors.   Heidi shares her story with Jamie as well as strategies for women who are also affected by toxic relationships.   For more from Jamie For more from Jamie Scrimgeour visit www.jamiescrimgeour.com Follow along on Instagram: www.instagram.com/jamiescrimgeour Follow along on Facebook: www.facebook.com/scrimgeourjamie   Join The KICK-ASS Stepmom Community (formerly Exclusive Stepmom Community) www.jamiescrimgeour.com/membership Download The Secret To Improving Your Stepfamily Life: www.jamiescrimgeour.com/freeguide Book A Call With Jamie: www.jamiescrimgeour.com/coaching Join Redefine Stepmotherhood: www.jamiescrimgeour.com/mastermind     For more from Heidi: https://coachingwithdrheidi.com/ https://www.instagram.com/coachingwithdrheidi/   https://www.facebook.com/coachingwithdrheidi/   RESOURCES: The Toxic Profile Analysis - https://coachingwithdrheidi.com/toxicity-analysis The Break-Free Toxic Relationship Program - https://coachingwithdrheidi.com/break-free-from-toxic-relationships-healing-program   Thanks To Our Sponsors: This episode is sponsored by Better Help. Get 10% off your first month at www.betterhelp.com/stepmom   Cozy Earth - www.cozyearth.com COZYJAMIE40 for 40% off

Jamie was introduced to the world of construction and design at a young age thanks to his father, a former general contractor and draftsman. He, along with Scott Payne, founded Farmer Payne Architects in 2017.Listen in as Jamie speaks on his experience as a relatively young architect in his mid-30s catering to an ultra-high-net-worth clientele in Wyoming. He gives his thoughts on what draws people to Jackson Hole and how he designs his homes according to the unique lifestyle needs of his clients.Jamie discusses his journey in the world of construction and design from the lessons his own father had taught him, how he navigated the Global Financial Crisis during his early career, to how these varied experiences allowed him and his team to thrive amid the pandemic.Finally, Jamie shares his long-term vision for Farmer Payne and his approach to building sustainable homes that will last generations.Topics Discussed:[03:54] Learning the trades with his father[06:59] The allure of Jackson Hole[14:48] Meeting Scott Payne and opening additional offices in Idaho and Louisiana[16:26] Farmer Payne's commitment to quality[22:31] The importance of having strong relationships with your trade partners[23:58] Launching the firm in 2017[27:34] Getting through the 2008 financial crisis[31:54] How Jamie built his credibility as an architect in his 30s[39:37] How architecture has changed since Jamie started in the field[46:17] Jamie's vision for Farmer Payne[51:36] Rethinking longevity in homes[56:29] Sustainability in today's window designs and technologies[58:20] Jamie's ideal clientConnect with Farmer Payne Architects:Website - https://farmerpaynearchitects.com/Instagram - https://www.instagram.com/farmerpaynearchitects/Facebook - https://www.facebook.com/FarmerPayneArchitects/Houzz - https://www.houzz.com/professionals/architects-and-building-designers/farmer-payne-architects-pfvwus-pf~914477296? Connect with Build Magazine:Website - https://rebrand.ly/bmwebInstagram - https://rebrand.ly/bmigwebFacebook - https://rebrand.ly/bmfbwebKey Quotes by Jamie:For every month you live in Jackson Hole, you need a new set of toys because there is so much to do. That lifestyle and authentic outdoor connection is what people are really after, and Jackson has it all.Relationships are so important. Depending on whether it's an engineer, designer, or subcontractor, those personal relationships where you can dial them up on your phone are pivotal.As an architect, you continue to build your skills throughout your entire career.

Jamie Michelson is President and CEO of SMZ Advertising, a Detroit-based agency that started in 1929, producing and distributing jeweler artwork ad kits. These ad packages, delivered as a monthly subscription service, provided graphics to promote and showcase jewelry and were used in catalogs and newspaper advertisements.  Early advertising, Jamie says, “was much more informational” than today. As advertising evolved, information had to be packaged with some entertainment and hooks to get people's attention. The agency adapted and grew through that transitional period. Today, at 92 years old, the still independent, family-owned full-service agency focuses on communications, planning and strategy, research, design, advertising heavily, retail, events, mobile, social, and “moving our clients' businesses forward.” Jamie says, “All that history doesn't mean we know everything. It teaches you to question everything.” He then describes his agency as “a team of around 40 people” . . . with “new ideas, new media, new ways of communicating” – “quietly making noise with purpose” – to keep the focus on the client. Initially, Jamie wanted no part of his family's business. A few internships changed his mind. Today two of his sisters run groups of accounts in the agency. Jamie's third sister, the fourth sibling, went to law school and serves as a federal judge.  In this interview, Jamie discusses in depth the mindsets, tools, attitudes, and strategies SMZ has used to survive so many years and how an agency changes as it is passed down through the generations. Jamie says the first generation, the founders, the creators, tend to stay involved. The second generation had to wrest control from the founders. The transition from second to third generation has been much smoother. The long-term plan is to keep the agency going as a legacy business. Jamie says the agency business can be all-consuming. He has found it important to take time from day-to-day client servicing “to think about the future, the visioning, the structure, the governance, all that.” A second tip he offers is that companies need to codify and write down their values. Driving out to his employees' homes to deliver packages of information made Jamie aware of some of his employees' beastly commutes. He says his intention going forward is to be flexible . . . in a number of ways. That flexibility has probably contributed greatly to his agency's “long life.” Jamie can be reached on his agency's website at: smz.com, where visitors can find the agency's blog, and Jamie's Generation Excellence podcast, which explores generational family businesses. SMZ Advertising is also on all of the social platforms. Transcript Follows: ROB: Welcome to the Marketing Agency Leadership Podcast. I'm your host, Rob Kischuk, and I am joined today by Jamie Michelson. He is the President and CEO of SMZ Advertising based in Troy, Michigan. Welcome to the podcast, Jamie. JAMIE: Thank you for having me, Rob. I'm really looking forward to our conversation. ROB: It's exciting to have you here. Why don't you start us off with an introduction to SMZ? Tell us about the firm and any key metrics, any key focuses, key verticals. Go for it.  JAMIE: People like to talk about the elevator pitch; our agency is located on the first floor of the building, so it's more of a “walk in the door” pitch. I guess I would start with very few things survive 92 years, let alone biologically or in business. It's something to remember, something to know. At SMZ Advertising, we're proud of that length of time of operation. I'm proud of our long-term and enduring relationships with our clients. But it's kind of like all that history doesn't mean we know everything. It teaches you to question everything. We say we remain an independent, family-owned, creatively driven, full-service – and we like to go, “accent on the full” – agency doing work in communications, planning and strategy, research, design, advertising (heavily), retail, events, mobile, social, and more. We're a team of around 40 people, moving our clients' businesses and then ours forward. New ideas, new media, new ways of communicating. Our theme for our agency, if you will, our own headline, is what we call “quietly making noise with purpose.” There's a tension between quiet and noise. Really, it's about the spotlight shining on our clients and being humble about ourselves and very focused on them. ROB: How does that propagate out to a client campaign? Does that echo into their campaigns, where there's a “speak softly and carry a big stick” mentality in that as well? Or do they get to be a little bit more boisterous? JAMIE: There's all these books out there about filtering through the noise, avoid the noise, ignore the noise. Yet we are trying to make appropriate levels of noise, and strategic noise. I feel that our approach to it – and this goes back to roots – I'm part of a third generation of a family business where there's a strong belief in likeability. You do business with brands you like and people you like. And it's not namby-pamby likeability; it's not love or “lovemarks,” but it's just that someone likes you and they might buy what you're selling. So, we want people to really like the work we're doing and the brand and the business. Especially with so much choice and so much competition. ROB: We don't normally jump so quicky to the origin story here, but 92 years is a little bit of something. We are talking about quite a long time ago. We are talking about a Great Depression era business. What is the background here? Was it always something we would call an ad agency, or was it even something different in that regard? JAMIE: It's a great question. It's a pretty neat story. Clearly, the world doesn't look like it did in 1929. We're faster and global and colorful and we know a lot more. But the origin was a gentleman who was my grandfather and a partner. When you talk to newer agencies, oftentimes it's a partnership. A couple people have a dream, a vision. One's a business guy, one's an artist or creative. Their early work was what we would today call ad kits. It was the artwork for jewelers. Jewelry stores, jewelry retailers around North America. There was no digital way to distribute that. There wasn't even FedEx to deliver it. It wasn't even Slicks, for those who go back to those in the early print/design ways. It was packages that were sent with art that became print, catalogue, even newspaper, and that got them into some jewelers as retailers and the roots of a retail agency. This is a Detroit-based company. It was actually, weirdly, software as a service. It was subscription as a service. These people were buying this package each month so they could promote and showcase jewelry. And along came layaway and credit and these innovations in retail and business that they were a part of, and then moving that into outdoor and radio and the whole explosion of media. ROB: Wow. Thinking about that, how are you distributing what goes into outdoor advertising on potentially a distributed basis? It's more about a package and a solution than it is about hours and the hour trap. JAMIE: They talked about getting that package out, because it was very calendar-driven, time-driven. Sleeping around the agency on cots and stuff to make the deadlines. Again, what's old is new. But the idea that in the earlier roots of advertising, stuff was much more informational, and then you started to get into the beginning of having to package that information with some entertainment, some other hooks to get people to pay attention to it. It was really an agency that followed that journey. I think what it says is – as you talk about COVID years and difficult times the agency's gone through, there's certainly some level of resilience in the company that starts in 1929, hits the Great Depression, the stock market crash, world wars, other follow-on wars – there were pandemics, even, in that 90-some years. You don't assume, “We're going to make it because we've been there,” but there's something woven into – with brands, we talk about DNA a lot. I think because we're from Detroit and it's Motown and whatever, we talk about soul. There's something in the soul of this agency and its people. It's hard to describe and find, but it makes us proud of what we did and charging forward. ROB: When in your upbringing did you become distinctly aware of the business and what it was? I don't know if you knew it as something your grandfather was involved in, or your dad. When did you start to figure out what it was? JAMIE: Agency people, we have this role of you do business with who you do business with. If you have a product, you have a service, you support that. Whether they did some work for Pepsi-Cola bottlers or a potato chip company or a restaurant brand, you're using those clients' products. One of the cornerstone accounts of the agency in my childhood years was Big Boy Restaurants in what would've been their heyday. There were a lot of Sunday night family dinners at the Big Boy, even to the point of my father and his partner, who are the second generation, owning a Big Boy restaurant. I'd get to be back in the kitchen as a high schooler and experience it close-hand. But with that, I was not running into this business. I grew up around it at the kitchen table and that dinner table at restaurants. “Okay, my grandfather did it, my father did it.” When you're a teenager, typical is rebellion. You're going to do the other thing. I wasn't disinterested, because I understood – I went and studied finance; I was going to be an investment banker, the whole Wall Street thing. I'm still passionate about business. But I didn't really want things to do with this business until I experienced it firsthand with some internships and through college years and different parts of the business. Back to that soul thing. It's definitely in my blood. It's just absorption. [laughs] So I worked since college at basically three different agencies, independent agencies for the most part. Never client side. A little bit, one weird little thing. But my whole career. That's what I know, and I'm still fired up about it. ROB: Did you have siblings that also looked to get involved, did get involved, chose to actually rebel? What is that dynamic? JAMIE: I have three sisters, so we have four children in the third generation. Two of my sisters are involved in the business, run groups of accounts, and have been very involved with the agency and each had their own path or track into it. And then my third sister, the fourth sibling, went to law school and to a law firm and is a federal judge. That's what's fun. We refer to her as the black sheep. ROB: [laughs] The woman who is a federal judge. JAMIE: [laughs] Exactly. ROB: That sketchy business, right? JAMIE: Yeah. She's good counsel to the agency because she's sure learned to ask probing and challenging questions. ROB: I think there's probably an interesting season here. It's interesting that you chose to spend some time getting experience in other businesses. Clearly, the agency had to change. The whole firm went in and out of the golden age of advertising, the kind of Mad Men. How has the firm navigated these shifts of adding services, keeping a sense of identity – that balance of not getting overwhelmed with the shiny and becoming a social media influencer agency exclusively, but also not being mired in – you're not just broadcasting car dealerships, either. JAMIE: I think about that all the time, the path. They talk about sins of omission/commission, those things you didn't do or you passed on those things you did do. We talk a lot about those decisions we made or moves we made where you do them and then you go, “We should've done this sooner” versus “Why did we do this at all?” The things that we've done were good moves for the most part. Not a lot of giant blowout mistakes, disasters. I remember stringing phone line to plug into a computer to go through modem sounds, to be on AOL, to have earliest of site stuff. Our URL is SMZ.com, so to have a three-letter URL says you were in it early. But not necessarily going on all things digital. A lot of it has been your clients take you, smoothly or kicking and screaming, into some of these new spaces and areas, or you do it the same way with them. I think we've been open-minded all the time to experiment and try. It's always changing, like you said, and there's going to be that next new thing. Don't get so enamored with the shiny, but don't get to the “This is how we do it” or “It was better then” or “God, I wish it would slow down and not change.” I refer to myself – you gave my formal title, CEO/President or whatever. I talk about being Chief Agitator. I've got to keep the place and myself shaken up a little bit so that we don't rest and settle. ROB: Was SMZ a longer name at one point? JAMIE: The original company was Simons Michelson Company, SM Co. Simons Michelson Zieve for the gentleman, son-in-law of one of the founders, my father's partner, second gen. And then that got shortened to SMZ, I think for the poor person who had to answer the phone at the front desk all the time, saying that over and over and over again. [laughs] ROB: What did that transition of you coming into the business – you had some experience from other places; I guess your dad was in charge. What did that transition of generations look like? JAMIE: The transition from the first generation – and I'm a big student and have a podcast I do called Generation Excellence where I'm focused on other generational businesses and the follow-ons, G2, G3, G4. Not just because HBO does Succession and it's super dramatic, but it's a fertile area. The first generation, they're the founders, the creators. Those two guys worked, and that's what they did. They didn't really retire. They kept involved. The second gen had to wrest control from them a little bit. You're talking about guys now in their seventies, eighties, whatever it was. The transition from second gen to this third generation was much smoother. I give my father, Jim Michelson, incredible credit because it is a very hard thing to be in that command chair, be the president, running an agency, and then give away both authority and responsibility and not backtrack. Not jump back in, try to fix stuff if you don't like how it is. You're giving up control and letting others go make those mistakes you talked about, make those new moves. He did that and really set a model for me that I have memorized. As we figure out whatever's next after me – because that's the plan, the infinite game, keep this going as a legacy business – to be able to do that that same way. ROB: I interned once upon a time at Chick-fil-A corporate. I was there under the Truett Cathy regime. Truett was there for forever, and then his son Dan comes in, and the window for Dan was much shorter. They've transitioned off to the third generation now. It seemed much faster. He seemed very happy to transition it sooner than maybe he did. I don't know if you've looked at what they did and what they're thinking. JAMIE: It's a multiparty thing. And then you've got the people who work for the agency, and they're watching how this goes. You have the clients. It adds a layer on top of any other business when you add this family dynamic to it. We do have now as a company a formal written policy that next generation family members need to have some successful work experience outside the business, because it is really nice to be able to do what you do not just as a son/daughter of someone who created a business, but on your own merits. Make your own way. ROB: It's funny you bring up Succession. I didn't think about it as you talked about having these four siblings – JAMIE: It is much less dramatic within our walls and halls. ROB: But also interesting because you have three siblings. Presumably at least some of you have kids. We're on video; I can see a picture behind you of a couple of fresh faces. JAMIE: Yeah, a couple of young adult daughters working out there in the business world in both geography of where they want to be, areas they want to be in – my one daughter works out in Portland, Oregon. She's been five years at Nike. She's an engineer. She's very much involved in sourcing, manufacturing product at scale. So different than what a more boutique agency does where everything is bespoke and one-offs and ideas that you can't touch. For a lot of businesses, a lot of our clients are marketing the invisible. My other daughter is a business consultant, so more in our space at one of the consulting firms as she finishes business school this year. They're making their way. Again, grew up around it at the dinner table, and they know some things. It's really helpful to have that perspective of what they're going through. Use of social media, use of digital tools, how they communicate, remote work – every bit of those things as a mini focus group, really. ROB: Do you even have maybe some nieces or nephews that are also in that leadership pool for the next generation? JAMIE: Yeah, what they call the “cousins' consortium” in family business land. The next oldest would be my nephew, who's 20. He's in film school. Very talented creative. I think looking to go more out West and be involved in the movie business. It's still a bit of a journey for him to even join us. So, we have some things to figure out in our transitioning future, which is one of the things that excites me about the coming years of the business part of the business. ROB: Yeah, absolutely. You've done some transition, you'll see some transition. When you think about your history with SMZ, what are some things you think about as lessons you might tell on to the next generation about maybe what you'd do differently or what they should think about? JAMIE: We meet probably not regularly – you know that old expression, work on the business/in the business. The agency business can be all-consuming. Your list of things to do can be so filled with serving your clients, and you have to work to take that time to think about the future, the visioning, the structure, the governance, all that. We try to take some time to do that. In a recent meeting, I had a quote up on the screen from Tallulah Bankhead, an old Hollywood actress. She said, “If I had to live my life again, I'd make the same mistakes, only sooner.” The definite advice I'd give or the thing I've learned is, businesses that are longstanding like ours and legacy, when they started out, there wasn't all this content and advice for startups and podcasts and videos. They were just running a business through the Depression and then going on. The agency definitely had values, and they are woven into the place. It took us a long time. It was really only recently that we codified those values in writing, where they're on the wall, where they're on a sheet, where you share them with everybody at the agency and use that more as how we operate, how we hire, how we put that in front of our clients. That's not a new idea, that businesses are based on their values, and that as good marketers, you don't just pick the same six buzzword values that every business has. But to do that work, to have them be really true to who you are – you mentioned Chick-fil-A. They're a business that I think their values and their approach – and somewhat controversial sometimes – are so much a part of how they operate and who they are. ROB: Is there anything in particular that's happened – you could argue that for some portion of the firm, the values were intrinsic. A lot of firms starting from scratch, the values may be absent. You've seen this need to move the values from intrinsic to explicit. What do you think may have changed in your time there and your time in business – is that a necessity now? Has something changed? Or is it just a better way that we understand now to make them more explicit? JAMIE: Many of us in business have had the good fortune to go to seminars, webinars, conferences. You go to those and there's a moment, something hot for a moment, you come back, you bring it up all charged up, and then it fades off.  But I did, a few years ago, attend – Family Business has a conference called Transitions. They do it once or twice a year. You're immersed for a few days with other – these are not all marketing firms. These are just businesses that have that test of time thing to them. The title of their thing was “Values-Based Businesses Are Valuable Businesses.” Example after example was brought up of how these different businesses had used what was true to the values that they were all about to help them not just operate, but grow – whether it was Bigelow Tea, down to the detail of the person whose name is on the teabag inside the box that packaged your product. Kind of like some of the car manufacturers where there's someone who signs the engine, or one of the parts inside, or the steelworkers sign the last beam highest up. Just to be much more explicit about it. ROB: Sure. JAMIE: You see people react well to it and be involved in that process. ROB: Yeah, that involvement in the process is so key for ownership, for carrying forward. Earlier, you talked about remote distributed work. How has that played into SMZ at this point? How do you think it plays into SMZ moving forward? October 2021, some folks are never going back to the office. Some people are already back in the office full-time. How are you thinking about that dynamic right now? JAMIE: It's certainly front, middle, back of mind a lot of the time. I'll start with our feeling that our physical office we've always felt is a competitive advantage. It's a great box. It's colorful, it's alive, it's well-designed, it's functional. We like being there. We like working with clients being there. Great. At the same time, we've had some creative people who have worked remotely for 15, 20, 30 years and interacting with people at the agency. We've had others who have had all kinds of different flexible schedules and been accommodating that and learning from that. So at least for us, it wasn't a full 180 or whatever, like maybe for many other businesses. We're so open right now to the idea of how this is going to work, listening to our people, and using it to hire and fill new positions – which we're able to do. It's hard, but hybrid – my next car will probably be a hybrid. We talk about hybrid a lot in other categories and stuff that mashes together. One of the things that was eye-opening to me was one day I took some packages and delivered them, driveway deliveries, to almost the entire employee list. My wife helped map it out on a map thing. A few of the people I got to, that commute for them, the most outlying spots, the time that they get back if they can have a few of those days where they're not having to come into the office and can work from home – that's life-changing. So, we're going to embrace it. We went back mid-July to three days in, two days remote, everybody in on Wednesdays, and we had to revert back a little bit to an all-optional in the office mode. So, there's always somebody in each day, but it's small groups. ROB: It seems like the most important thing is to have an intentionality about it. Some of that's going to be aligned to the culture and the place where you are. It seems to me that somebody around Detroit can work virtual for anyone, but they've chosen to be there. I think there's an extent to which if you're in digital marketing, if you're in Detroit, you've chosen to be there. JAMIE: Correct. ROB: So, giving people more reasons to be there and to enjoy why they're there is meaningful and life-giving. JAMIE: I'm glad you brought up Detroit. We're a proud Detroit-based business. That's our roots, physically in the city for 50-some years in operation. A bunch of clients that are Detroit downtown-based, or the whole city. We love our region. Nationally or internationally, it gets some press reviews that aren't fair and accurate. It's a great place to live and work. So, there's that spirit that people have here about our hometown, and we want to have people from here work here and be connected to here. At the same time, this place is still a community that makes a lot of stuff. Manufactures and builds. Those operations, you can't do that from your kitchen table. You've got to go to those buildings and warehouses. It's still 30% of people that have this luxury of remote or this tech work, and everybody else has to go to the hospital, go to the school, go to the manufacturing facility, go to the supermarket, do those jobs. That's going on around us. We're part of that. We'll figure it out. The biggest part for me is – we're having this meeting right now. It's virtual. If it were physically in the conference room with a couple clients and you were in there with them, Rob, I might just walk by – our place is a lot of an aquarium. It's got a lot of glass boxes. [laughs] You can see in most everywhere. Pretty transparent. You see these meetings going on and you can stick your head in and say hi, and you can see clients and you can see people. That's the biggest miss for me, those little, quick – you just don't know those things are going on. Not to disrupt them or interrupt them, but just to wave. Just to see that that meeting's going on. It's actually uplifting. You see those meetings going on and go, “They don't need me in there. They're doing great in there.” [laughs]  ROB: It's meaningful for you, it's meaningful for them. It's meaningful for the client. I don't know if there's going to be a client situation – JAMIE: Clients love getting away and going to the agency. We've got a dog running around or somebody's dog running around. It's just a different environment. ROB: It's going to be hard for them to get on a plane to go to an agency. At some scale, yes, but mostly no.  JAMIE: It's taking a while. It's really productions or major things that our people are getting on a plane or those people where, again, you have to be somewhere, versus it would be nice to be there. ROB: Jamie, when you think about what's coming up next for SMZ and for the marketing landscape that you're in the middle of, what are you excited about? What's next? JAMIE: We talk about that history and we use that number 92. What got us driven a little bit more a year and a half ago was we embraced a program called EOS, if you're familiar with it. Entrepreneurial Operating System. We used that. That 100-year milestone is a pretty neat concept/sound. What are we going to smell like, look like, feel like when we get there? I'm really excited about being this smart, steady, scrappy, creative – still creative; I think ideas still matter – growing agency, celebrating that in the right way. Not just “We made it” and it's a moment, but that whole year should be something, and that should be a stepping stone to what's next. So that excites me. I mentioned before, mapping out, going to visit people who work for the agency. That's what we do for clients. We ask them that question all the time. “Where are you trying to go? What are you trying to be? How do we get there?” We don't always do it as well for ourselves as marketing firms. So doing that work and doing that visioning. And when you do that and you have goals and you write it down and say how you're going to get there, you tend to not only get there, you tend to get there faster and even a little better. The other thing that excites me is I was really caught up or hung up with the trend – and it was real, and we faced it. Clients were in-housing a lot of stuff. This whole great reshuffle of everything that's going on from where ships are to where chips are to where people are is upsetting that, too, for in-house operations. I think it's going to yield opportunity for, as your podcast is for, marketing leadership and marketing firms of all shapes and sizes. They're like, “I can't get the people to do this,” so now they've got to go back to outsourcing and finding folks to help. We'll certainly going to be there and do that. I hope I'm right on that. ROB: That's definitely a tricky wave. Sometimes it's even very client-specific. I'm usually in Atlanta, and to an extent, the fabled Coca-Cola company is perpetually on one end of the pendulum or the other on in-house, out-of-house. Certainly, macro trends also impact that. JAMIE: Yeah, there's that whole thing of get closer to the data. I get that. But when you said growing up around agencies, or my sense of it, that concept of being – we talk about being partnerships or even beyond a partnership with clients, stakeholders and very involved, but still objective outsiders at the same time. That combination can be powerful for client operations. We think we age well with the client relationships. We learn more and we get better. ROB: Jamie, you mentioned a little bit earlier on the digital real estate, but when people want to find you and find SMZ, where should they go to find you? JAMIE: It starts with smz.com, which is our website. That also houses our blog and the podcast I do called Generation Excellence, which is for those who are really interested in that very niche-y space of generational family businesses. And then SMZ Advertising is on all of the social platforms, sharing stories of our people, our clients, our work, a little thought leadership, little bit of our fun and things that we do to stay connected, which is a big effort right now inside of work and outside of work. I guess that would probably be about it. I welcome anyone who wants to reach out to me via the email address on the site, or call me. I'm open to talk about this business. I'm very fortunate to steward a unique and special place, and I want to put my energies against it being successful, but I love helping others. ROB: Definitely. Congratulations on being 92 going on 100 as a firm. That is exciting. JAMIE: For those who can't see me, the firm's 92. I'm a little bit younger than that. ROB: [laughs] Yeah. We'll see what a 100-year-old SMZ looks like. We'll look forward to that. Jamie, I wish you and the team the best. Thank you for coming on the podcast. JAMIE: I thank you for having me on this. I like that you blend the individual story and the business story, because they are intertwined and interconnected. ROB: In this kind of firm, absolutely. They're inseparable. JAMIE: Yep. Thanks, Rob. ROB: Thanks, Jamie. Be well. Thank you for listening. The Marketing Agency Leadership Podcast is presented by Converge. Converge helps digital marketing agencies and brands automate their reporting so they can be more profitable, accurate, and responsive. To learn more about how Converge can automate your marketing reporting, email info@convergehq.com, or visit us on the web at convergehq.com.

Todd: OK. Jamie. We're back.Jamie: OK.Todd: Jamie, you're a businessman.Jamie: Sometimes.Todd: OK, so...Jamie: Not his week.Todd: Not this week! OK. We're going to talk about globalization.Jamie: OK.Todd: What do you think about globalization?Jamie: Globalization! I'm not really sure, I have a clear definition of what globalization is, but if globalization is several nations trading on the open, or semi-regular basis then I think globalization is a relatively positive thing.Todd: Yeah!Jamie: For, certainly for the countries that are involved in the, in the business that is going on between the nations that are obviously involved with that business.Todd: Yeah. OK. Great. So do you think it makes the world a better place?Jamie: Yeah, the world a better place? No, I don't think it makes the world a better place. I think it's just good for the countries that are directly and indirectly involved with the business that is going on between countries.Todd: OK. Great. Thanks a lot.Jamie: My pleasure.

Todd: OK. Jamie. We're back.Jamie: OK.Todd: Jamie, you're a businessman.Jamie: Sometimes.Todd: OK, so...Jamie: Not his week.Todd: Not this week! OK. We're going to talk about globalization.Jamie: OK.Todd: What do you think about globalization?Jamie: Globalization! I'm not really sure, I have a clear definition of what globalization is, but if globalization is several nations trading on the open, or semi-regular basis then I think globalization is a relatively positive thing.Todd: Yeah!Jamie: For, certainly for the countries that are involved in the, in the business that is going on between the nations that are obviously involved with that business.Todd: Yeah. OK. Great. So do you think it makes the world a better place?Jamie: Yeah, the world a better place? No, I don't think it makes the world a better place. I think it's just good for the countries that are directly and indirectly involved with the business that is going on between countries.Todd: OK. Great. Thanks a lot.Jamie: My pleasure.

Todd: OK. Jamie. We're back.Jamie: OK.Todd: Jamie, you're a businessman.Jamie: Sometimes.Todd: OK, so...Jamie: Not his week.Todd: Not this week! OK. We're going to talk about globalization.Jamie: OK.Todd: What do you think about globalization?Jamie: Globalization! I'm not really sure, I have a clear definition of what globalization is, but if globalization is several nations trading on the open, or semi-regular basis then I think globalization is a relatively positive thing.Todd: Yeah!Jamie: For, certainly for the countries that are involved in the, in the business that is going on between the nations that are obviously involved with that business.Todd: Yeah. OK. Great. So do you think it makes the world a better place?Jamie: Yeah, the world a better place? No, I don't think it makes the world a better place. I think it's just good for the countries that are directly and indirectly involved with the business that is going on between countries.Todd: OK. Great. Thanks a lot.Jamie: My pleasure.

Robert and Caleb are pumped to bring you another episode! Tune in as we learn God's grand plan for the universe, how God displays His character to us, and God's ultimate will: bringing glory to himself. Additionally you get a bonus question for free: "If you run at the speed of sound, could you hear your music?" Don't forget, if you have a question you'd like answered, leave us a comment in the reviews or text this number: 417-894-3827 Music provided by Monstercat: Justin OH feat. Jamie - For a Minute Glacier - Ubi https://youtube.com/monstercat https://youtube.com/monstercatinstinct --- Send in a voice message: https://anchor.fm/wt5/message

Welcome to EDM Radio Show, the weekly radio show by Kefrod. I present to your attention the best EDM tracks of the week! Listen premiere of my radio show on NoiseFM! Every Friday at 10:00pm Moscow time and 19:00GMT!: noisefm.ru Listen to the other of the episodes on PromoDJ: promodj.com/kefrod Follow the EDM Radio Show podcast: Soundcloud: soundcloud.com/kefrod-music ApplePodcasts: podcasts.apple.com/ru/podcast/… MixCloud: mixcloud.com/kefrodmusic And subscribe: Instagram: instagram.com/kefrodmusic 1. Going Deeper & RITN - Into You [GENERATION HEX] 2. Siks - Your Love [GENERATION HEX] Tune Of The Week: 3. Sander van Doorn x Lucas & Steve - The World [SPINNIN'] 4. MOTi x BODYWORX — The Squat Song [ZEROCOOL] 5. Patrick Moreno & IGNITION (CA) ft. Alex Holmes - Feel The Power [MAXXIMIZE (SPINNIN')] 6. Dave Ruthwell & Mr. Sid & Zensa - Bassline [TURNITUP MUZIK] Smash Of The Week: 7. #1 Olly James & David Shane - Battlefield [REVEALED] 8. #2 KEVU & Roy Dest - Dead or Alive [MAXXIMIZE (SPINNIN')] Future Anthem: 9. TBR & SMH - Atlantis [NIK COOPER] 10. Maddix - Electric [REVEALED] Smash Of The Week: 11. #3 Stefan Bors & OUTRAGE & REOS - Our Life [NIK COOPER] Trance & Progressive: 12. Swanky Tunes vs. Jac & Harri - Own The Night [REVEALED] 13. Astroblast & Krripton - Reflection [CALIDAD] 14. Alexander Popov & Kitone - Elements [ARMADA] 15. SaberZ - The Launch [REVEALED] Future Anthem: 16. GHOSTER - Belong [BARONG FAMILY] 17. Brennan Heart - Outcasts (Toneshifterz & Code Black Remix) [WE R] 18. Justin OH ft. Jamie - For a Minute [MONSTERCAT]

Phil’s guest on this episode of the IT Career Energizer podcast is Jamie Maguire. He has a keen interest in web development, code, machine learning, psychology, business, and start-ups. Jamie has been writing code since he was a kid, often typing out magazine code listings and then changing the code to see how they behaved.   He’s currently a Microsoft .NET Senior Developer, a Microsoft AI Most Valuable Professional and a STEM ambassador.   In this episode, Phil and Jamie Maguire discuss how working on a social media API eventually led to his working in AI. Jamie demonstrates that the barrier to entry to the AI field has now all but disappeared and how anyone can now get involved in that field.   Jamie explains how he copes with the frenetic rate of change within the IT industry. They also talk about how a research project led to Twitter, then Microsoft picking up on what he had to offer.   KEY TAKEAWAYS: (6.33) TOP CAREER TIP Find ways to learn fast. Apply what you learn and adapt if you need to. In today’s job market this is essential. There is a lot of disruption tech that means things are now changing really fast.   (7.38) WORST CAREER MOMENT At one stage in Jamie’s career, he was working in a highly politicised environment, trying to complete his master’s degree, a research project and cope with a serious family situation.   It was awful, but, it taught him that with enough grit and determination, you can get through anything. He also learned the importance of looking after your health and making time for yourself to disconnect, no matter what.     (10.42) CAREER HIGHLIGHT  Jamie entered the side project he was building into Twitter’s Promote initiative and they liked it. He was invited to the States and asked to demo it. Unfortunately, he did not win, but he did get access to some of their private and beta APIs. In time, what started out as a side project, led to him winning the MVP award in AI.   It taught him the importance of sharing what you know and that putting your work out there is the best way to get noticed.   (14.42) THE FUTURE OF CAREERS IN I.T AI is definitely hot, right now. It is now much easier to break into the field. Gradually, it is becoming easier for you to just pull what you need off the shelf, for example, through Cognitive Services or IBM Watson.   For very little money you can build a product, document what you are doing and get noticed. When you do that you automatically end up with a great portfolio.   (17.15) THE REVEAL What first attracted you to a career in I.T.? – Hacking games for the Spectrum was what ignited Jamie’s passion for coding and all things I.T. What’s the best career advice you received? – Evolve and adapt quickly. What’s the worst career advice you received? – Just smash it into production. Terrible advice, you have to test stuff no matter what the time constraints are. What would you do if you started your career now? – Jamie would start a blog immediately instead of waiting like he did. What are your current career objectives? – Showing developers how they can integrate AI into what they are doing and finding innovative ways to use AI on big social platforms. What’s your number one non-technical skill? Being able to take a step back, think about all the moving parts, identify the key components and spot the patterns. Jamie has two other very important skills that he also talks about. How do you keep your own career energized? – Following other developers on Twitter and seeking out development initiatives. Doing this sparks all kinds of ideas. What do you do away from technology? – Jamie is very much a family man. He also goes to the gym 3 or 4 times a week and disconnects completely from tech, at least once a month.   (25.43) FINAL CAREER TIP Get a domain name and use it to share your thoughts and what it is you are doing. Ignore what everyone else is doing and just run your own race, everyone has something to contribute.   BEST MOMENTS (7.00) – Jamie - “Get comfortable with learning new skills. In today’s job market, it is essential that you do.” (9.36) – Jamie - “When all hell’s breaking loose, keep a cool head, create your own stability and take care of your health.” (15.39) – Jamie - “For very little money, anyone can build a product, document what they are doing and get noticed.” (18.39) – Phil - “Keep your mind open to alternatives, to different ways of thinking about the same problem.” (28.50) – Jamie - “Get a domain name, share what you are doing and what your thoughts are.”   ABOUT THE HOST – PHIL BURGESS Phil Burgess is an independent IT consultant who has spent the last 20 years helping organisations to design, develop and implement software solutions.  Phil has always had an interest in helping others to develop and advance their careers.  And in 2017 Phil started the I.T. Career Energizer podcast to try to help as many people as possible to learn from the career advice and experiences of those that have been, and still are, on that same career journey.   CONTACT THE HOST – PHIL BURGESS Phil can be contacted through the following Social Media platforms:   Twitter: https://twitter.com/philtechcareer LinkedIn: https://uk.linkedin.com/in/philburgess Facebook: https://facebook.com/philtechcareer Instagram: https://instagram.com/philtechcareer Website: https://itcareerenergizer.com/contact   Phil is also reachable by email at phil@itcareerenergizer.com and via the podcast’s website, https://itcareerenergizer.com Join the I.T. Career Energizer Community in Facebook - https://www.facebook.com/groups/ITCareerEnergizer   ABOUT THE GUEST – JAMIE MAGUIRE Jamie Maguire has a keen interest in web development, code, machine learning, psychology, business, and start-ups.  Jamie has been writing code since he was a kid, often typing out magazine code listings and then changing the code to see how they behaved.   He’s currently a Microsoft .NET Senior Developer, a Microsoft AI Most Valuable Professional and a STEM ambassador.   CONTACT THE GUEST – JAMIE MAGUIRE Jamie Maguire can be contacted through the following Social Media platforms:   Twitter: https://www.twitter.com/jamie_maguire1 LinkedIn: https://www.linkedin.com/in/jamiemaguiredotnet/ Website: http://jamiemaguire.net    

It's nice to be paid well for providing value, doing what you love... I highly doubt many docs would disagree. However, the thought of grinding out more patient visits or adding more days, especially if you're already feeling the pressure of your ceiling caving in, is haunting. The stress, fatigue and anxiety builds just starting to think about it. Thankfully, you saw a FB ad for the next, best product or service you can add to your practice and soon you'll be free!!!! "It's a simple, turnkey system."....suuuure it is. Forget the fact it has little to do with the Core Product you're delivering, that it's costing you precious time for a minuscule return or even worse, it's eating away at your credibility...  What if there was a way to increase your revenue without seeing more visits or working more days? It's called ascension. What We Covered The 5 segments of a customer pipeline you need to know and fall in love with. What is your Core Product and why do we keep talking about it. The missing link when calculating ROI with any investment. Special Tip: What your per visit fee should be equivalent to. Specific examples for you to apply the ascension strategy in your practice. The number one pitfall to look out for after listening to the podcast. Enjoy this episode! -- Jamie For full show notes visit:  https://www.lifebydesignforchiropractors.com/ascension To learn more about the SSS visit:  https://www.lifebydesignforchiropractors.com/sss  

Have you ever wondered how can some people be so ridiculously productive? It's seems nearly impossible that they can accomplish all they do in such short time frames and still be happy, energized and excited to tackle more. That was until I met Dr. Mike Gibson. In the beginning I thought he was more alien than entrepreneur but once he revealed his secret ways and took me under his wing like a young Padawan...it all became clear. It wasn't a trick, there were no smoke and mirrors. In fact, I was kind of sad it was a simple system built on principles and habits that when applied consistently, yielded NASA level results.  It was sad for me because I realized Mike didn't have special powers and my lack of success in the realm of productivity was, well, my own darn fault. Fast forward 5 years later and I'm happy to say that more than any other area of growth, focusing on my productivity has, without exaggeration, revolutionized my life. This includes more profitability, happiness and impact. On today's episode of Life By Design For Chiropractors, Mike and I cover our top 10 ROI habits. What We Covered How Mike uses technology to stop technology from distracting him from what's most important. You'll love this paradox. How early is early? The crazy hour I choose to wake up at and what I do first. The "off the wall" ROI habit that keeps Mike attentive to continued productivity. Without attention, it's easy for anyone to slip. A night time routine that helps to maximize the far too few hours that I sleep. A "to-do" management system that ensures you don't risk losing your napkin and every to-do on your list.  Enjoy this episode! -- Jamie For full show notes click below. https://www.lifebydesignforchiropractors.com/profitability/ For more information about the Chiropractic Productivity System click below. https://www.lifebydesignforchiropractors.com/productivity      

Welcome to our first "Best of" episode of The Life By Design For Chiropractors Podcast! From time to time we revisit some of your favourite, most downloaded episodes as the material is still relevant and it obviously had struck a chord then and we know it will again. One of the cornerstones of Life By Design is the concept of requirements and strategies… A requirement is something that you (or in this case your practice) NEEDS… these are non-negotiable. An example would be oxygen… As a human you need oxygen to live. It’s required for life and no amount of wishing, hoping, and dreaming is going to change that. A strategy is a specific WAY in which you meet a requirement… there are many strategies. Let’s go back to our oxygen example. Oxygen is required BUT you can get oxygen in a variety of ways… breathing is one. But you can also use a respirator or you can get oxygen through an I.V. The point is simple… On today’s podcast we talk about the requirements for a successful practice and the most effective strategies for meeting those requirements. What We Covered What are the requirements that you NEED to fulfill in practice? A homework assignment to help you uncover your BIGGEST GAP in practice. How to start applying this concepts in your practice. Enjoy this episode! -- Jamie For full show notes visit:  https://www.lifebydesignforchiropractors.com/the-4-requirements-of-a-successful-practice/  

The new year is right around the corner and it’s approaching fast! As much as you’re probably tired and excited for an extended break (I sure hope you’re taking one), this is not the time to just shut down and shut off. I’m not saying you can’t take that path but come January, you’ll wish you didn’t. The new year is an incredible time for growth, with boundless opportunity and excitement. If you don’t use at least some of your free time wisely and plan ahead, you’ll be playing catch up from the start…again!  As with any extended pause, we can finally free some space in our mind to create and it’s this cyclical process of reflection, contemplation and only then, planning, that yields extraordinary results. On this Life By Design For Chiropractors podcast we share 12 things you must do to make this upcoming year great. It’s a mix of actions we’ve already been doing with some ideas we have yet to implement ourselves but think are wonderful concepts to put in play as soon as possible. What We Covered: The starting point for nearly every positive change you’ve ever made and will make. It was even the starting point for this podcast. How to stop the overwhelm from the massive to-do list you seem to build every year (that never gets finished). What social media activity is worth the time and energy and what is a total waste of your time. How to ensure you and your family have multiple amazing vacations in 2019. Hands down, the #1 most important character trait of successful people and the one, if you don’t already have it in place, that you really need to in 2019. Enjoy this episode! -- Jamie For full show notes visit:  https://www.lifebydesignforchiropractors.com/chiropractic-success-2019/    

In the drive to gain every advantage, it’s common for new chiropractors and docs struggling, to start their practice or make the switch to an open concept arrangement. The assumption is that the best and biggest practices (which are not one in the same) are built on an open floor plan in the check-up area. Is this true? Is the open concept practice the best approach to garner practice success? Is the open concept style even right for you? On this episode of Life By Design For Chiropractors we give you the pros and cons of the open style practice layout so you can decide if it’s right for you! What We Covered Open concept can be great, we wouldn’t have it any other way, but that doesn’t mean it’s right for you. There are plenty of successful offices with semi-open and fully closed spaces. Why do you want to operate in an open concept practice or change over to one? There’s a misconception that it’s ‘one of those things’ that busy offices do and it’s what makes them busy. Make sure your practice layout matches you and your personality and it’s not just a gimmick you think will short cut your success. Pros include: social proof, saves you repeating conversations, enables you to educate all at once, better flow, assuming you’re organized…you can serve higher volumes better, it changes the environment of your office. Cons include: it’s a potential disqualifier, patients might not feel like they can tell you uncomfortable things, it lacks privacy. How to make the change to open plan if you currently have closed rooms. Enjoy this episode! -- Jamie For full show notes visit:  http://www.lifebydesignforchiropractors.com/open-concept  

One of the very first pieces of infrastructure we either confirm is in place or start creating with all new clients we work with is a Productivity System. Why? It’s simple…before you can begin learning a Day 1 framework, building a sales process, perfecting your table talk, developing a strategic planning protocol and more, you must have the time and capacity to do the work. Within your productivity system, you will have a bunch of moving parts, requirements and strategies…there’s a good chance it’s your “email system” that’s a massive bottleneck to your success. Brendon Burchard’s quote says it all. “Remember the inbox is nothing but a convenient organizing system for other people’s agendas.” The question is how do you make your email work for you, not against you? And how can you avoid becoming a slave to your inbox and turn it into an area that supports your productivity? You’ve likely heard of the concept “Inbox Zero” before, this is nothing new. However, what you’ll learn from today’s episode will be for most. What We Covered Why most chiropractors are not more productive. When to check your email and why. How to organize your inbox in order to make zero the probable outcome at every day's end. What to do with every email that comes your way. The advantages of the zero inbox and why you'll be thanking us! Enjoy this episode of Life By Design For Chiropractors. -- Jamie For full show notes visit: http://www.lifebydesignforchiropractors.com/inbox-zero To check out the Chiropractic Productivity System visit: http://www.lifebydesignforchiropractors.com/productivity    

We ALL have stress in practice to deal with it... Some of it is out of your control and therefore should stay out of your mind but for those challenges that seem to show up far too often, it's very likely you... or your systems... or your team, well, you get the point... :-) Here is some low hanging fruit to help you get started. It won't be easy, but it is where you likely need to begin... A. Improve your understanding of 3rd Paradigm Chiropractic. Many challenges, especially handling questions at the table, start with a poor understanding of the context in which you practice chiropractic. Start with this and a large volume of your issues disappear. B. Increase your certainty. There's a reason chiropractors can say the "darnedest" things and get away with it. Imagine the incredible impact if you had certainty and you weren't saying crazy and insane things to your patients. C. Boost your self-esteem. Although this plays a big role in certainty, self-esteem is a stand alone issue. It needs to be cultivated and grown as part of a lifelong process. Once those are in place, the skills, tactics and strategies to handle your practice stress will work exponentially better. What We Covered: How to handle these stressful situations in practice... Drop outs - is there anything chiropractors hate more? Unhappy patients - what to do when something goes wrong with your VIP experience. Regulating board issues - how to handle the stress of a potential licensing issue. Staff & team challenges - do you spend your week putting out team fires. Burn out - where will the energy come from when you're exhausted? Stress at home - learn to wipe your feet at the door. Medical doctor conflicts - turn this confrontation into an opportunity. Enjoy this episode! -- Jamie For complete show notes visit: http://www.lifebydesignforchiropractors.com/stress

When it comes to business principles and chiropractic practice, for some strange reason, we’ve been taught that they should never co-exist. In most cases, it hasn’t been overt, but the end product of the message being propagated across the profession (today and in the past) has been a reminder that “service” is the most important trait to build your practice on. Any doctor who wants to build their practice with profitability as one of it’s central metrics for success is looked upon as greedy and underhanded because the “true leaders” in chiropractic are in it to serve chiropractic and the world! Of course, we’ll pretend we don’t know that many who profess to be servants would contradict their principles in a flash if it meant more cash flowing into their pockets. How about we start having the impact we’ve preached about and be profitable, all the while…sticking to our guns and delivering what we say chiropractic is along with the life enhancing benefits that come with it? How do we do that? Learn to sell. Selling? That’s blasphemous! Chiropractors shouldn’t even be talking about selling. What if someone heard us? What would they think? Today’s episode breaks the silence on selling. Let’s start the conversation and make sure “selling” is no longer a 4-letter word in chiropractic. Enjoy! Here Is What We Covered The definition of selling that will change your mind and make you realize you’ve been missing the boat. The philosophical foundation that has plagued so many chiropractors and stopped them from embracing selling. Who you need to sell first in order to ensure you never have an issue selling chiropractic again. The single most important requirement to become an extraordinary sales person. Specific examples of where selling plays a key role in your lifetime care map. The point at which selling should stop in your practice life cycle. Thank you for listening to Life By Design – The Podcast For Chiropractors… The voice of reason in Chiropractic. — Jamie For the complete show notes visit: http://www.lifebydesignforchiropractors.com/selling/