Podcasts about kdp

Servicio publicar un libro en Amazon ➡️ https://www.letraminuscula.com/publicar-en-amazon/ SI deseas PUBLICAR escríbenos : contacto@letraminuscula.com Llama☎ o WhatsApp: +34640667855 ¿Se puede modificar un libro después de publicarlo en Amazon KDP? En este vídeo descubrirás qué cambios puedes hacer, cuándo necesitas crear una nueva edición y cómo funciona la regla del 10 % de páginas. También aprenderás qué datos quedan bloqueados, qué ocurre con el ISBN y las reseñas, y cómo actualizar correctamente tu libro sin incumplir las normas de Amazon KDP. ⏲MARCAS DE TIEMPO: ▶️00:00 Modificar un libro publicado en KDP ▶️00:37 Cómo se corregían libros antes de KDP ▶️01:17 La no ficción necesita actualizarse ▶️02:06 KDP facilita actualizar libros publicados ▶️02:42 Por qué actualizar libros y cursos ▶️03:57 Cómo republicar cambios en Amazon KDP ▶️04:53 Reglas clave de títulos y ediciones ▶️05:29 Qué es una edición y cuándo cambiarla ▶️06:51 Qué cambios se consideran importantes ▶️07:24 Regla del 10 % en el número de páginas ▶️08:08 Qué pasa con el ISBN al despublicar ▶️08:45 Datos que quedan bloqueados en KDP ▶️10:25 Cambios permitidos sin nueva edición ▶️11:15 Nueva edición: se pierden las reseñas ▶️13:02 Qué datos puedes editar después ▶️13:57 Cómo despublicar una edición en Amazon ▶️14:54 Aviso legal al cambiar título o autor ▶️15:31 Correcciones menores con soporte KDP ▶️15:59 Consejos finales para autores en KDP ▶️16:37 Contacto y despedida

Servicio publicar un libro en Amazon: https://www.letraminuscula.com/publicar-en-amazon/ En este directo de preguntas y respuestas hablamos sobre autopublicación, Amazon KDP, marketing para escritores, concursos literarios, portadas, Amazon Ads y estrategias para vender más libros. También resolvemos dudas sobre corrección, edición, nombres de personajes, reseñas de Amazon, contenido A+, precios, distribución, escritura, editoriales y cómo crear una audiencia y una marca personal como autor. ⏲MARCAS DE TIEMPO: ▶️00:00 Inicio y nombres británicos históricos ▶️03:58 Realismo en ficción basada en hechos ▶️06:09 Revisión de libro y contenido A+ ▶️08:12 Cuentos infantiles sin ilustraciones ▶️10:49 Autopublicar frente a editoriales ▶️13:08 Revisión de guía para viajes escolares ▶️16:15 Concurso, contacto y Amazon Reading ▶️19:05 Amazon Ads, Reading y portadas ▶️22:35 Requisitos del concurso de novelas ▶️23:59 Riesgos de vivir solo de escribir ▶️25:09 Ventas, batallas y libros en Amazon ▶️27:10 Concursos, Ads y libros actualizados ▶️29:12 Géneros y futuros concursos ▶️32:01 Bases, métricas Ads y cambios en KDP ▶️35:02 Riesgos legales y marketing editorial ▶️38:34 Nichos, KDP y cobro de regalías ▶️40:15 Menciones, plagio y revisión de libros ▶️44:20 Editoriales y desaparición de reseñas ▶️49:32 Tiempo para escribir y canal literario ▶️52:13 Distribución, audiencia y despedida

Servicio publicar un libro en Amazon ➡️ https://www.letraminuscula.com/publicar-en-amazon/ SI deseas PUBLICAR escríbenos : contacto@letraminuscula.com Llama☎ o WhatsApp: +34640667855 ¿Amazon KDP no funciona y se queda con las regalías? En este vídeo respondo a las críticas más habituales sobre la autopublicación: cuánto paga realmente Amazon frente a una editorial tradicional, por qué muchos libros no venden y qué papel juega el marketing. También reflexiono sobre las dificultades de vivir de la escritura y por qué publicar un libro con éxito exige trabajo, constancia y expectativas realistas. ⏲MARCAS DE TIEMPO: ▶️00:00 Críticas a Amazon KDP y autopublicación ▶️00:44 Comentario que origina la respuesta ▶️02:31 Quejas sobre regalías y rentabilidad ▶️03:49 Qué significa un resultado desastroso ▶️04:53 Amazon paga más que una editorial ▶️06:42 Datos frente a opiniones sobre regalías ▶️07:55 Casos reales de altos ingresos en KDP ▶️09:06 Sin marketing es difícil vender libros ▶️10:28 El autor debe asumir su marketing ▶️11:37 Un libro es un producto que hay que vender ▶️13:14 Cómo el marketing sostuvo su editorial ▶️14:18 Los artistas también venden su imagen ▶️15:49 Solo una minoría puede tener agentes ▶️16:58 Crisis de las editoriales tradicionales ▶️17:52 Los famosos sostienen parte del sector ▶️20:08 Servicios de marketing para escritores ▶️21:42 El éxito editorial no es fácil ▶️23:45 Empezar de cero y confiar en uno mismo ▶️26:47 Nunca prometió un éxito fácil ▶️29:15 Ánimo final y apoyo a los autores

Servicio publicar un libro en Amazon ➡️https://www.letraminuscula.com/publicar-en-amazon/ SI deseas PUBLICAR escríbenos : contacto@letraminuscula.com Llama☎ o WhatsApp: +34640667855 En este vídeo aprenderás cómo contactar con Amazon KDP cuando tienes problemas con un libro, errores técnicos o dudas que no puedes resolver desde la sección de ayuda. Descubre cómo acceder al soporte por correo o chat, cuándo conviene contactar, qué hacer si bloquean un libro o tu cuenta y cómo utilizar la comunidad de KDP y otras alternativas de publicación. ⏲MARCAS DE TIEMPO: ▶️00:00 Cómo contactar con Amazon KDP ▶️00:26 Ayuda de KDP y cuentas bloqueadas ▶️01:19 Amazon KDP no ofrece soporte telefónico ▶️01:43 Bloqueos, soporte e inteligencia artificial ▶️02:21 La IA gestiona gran parte de Amazon KDP ▶️02:55 Consultar primero las páginas de ayuda ▶️03:50 Cuándo contactar con el soporte de KDP ▶️04:44 Qué hacer si un libro sigue en revisión ▶️05:30 Cómo pedir soporte mediante la IA ▶️05:56 La IA recomienda páginas de ayuda ▶️06:23 Cómo conseguir contactar con soporte ▶️06:58 Contactar por chat o correo electrónico ▶️07:37 Por qué no conviene insistir a Amazon ▶️08:15 Respuestas poco específicas de Amazon ▶️08:43 Problemas técnicos y revisiones humanas ▶️09:27 Cómo usar la comunidad de Amazon KDP ▶️10:12 Alternativas si cierran tu cuenta de KDP ▶️10:44 Otras plataformas para publicar libros ▶️11:14 Ayuda profesional para problemas con KDP ▶️11:47 Tutoriales y recursos para autores

A new survey found that 52% of Gen Z investors have redirected money earmarked for investing into sports bets, a startling figure that reveals a generational shift in how young people think about risk and wealth building. This trend has serious long-term implications for retirement readiness and financial markets.Today's Stocks & Topics: Broadcom Inc. (AVGO), Market Wrap, 529 Plan, U.S. Apartment Rents, H&R Block, Inc. (HRB), Gen Z Sports Betting vs. Investing: A Ticking Time Bomb for Retirement Savings, State Street SPDR S&P 500 ETF (SPY), Key Benchmark Numbers: Treasury Yields, Gold, Silver, Oil and Gasoline, Keurig Dr Pepper Inc. (KDP), Saving on a Valuable Education (SAVE), Palo Alto Networks, Inc. (PANW).Our Sponsors:* Check out Anthropic and use my code claud.ai/invest for a great deal: https://www.anthropic.com* Check out Quince and use my code quince.com/INVEST for a great deal: https://www.quince.comAdvertising Inquiries: https://redcircle.com/brands

What happens when a group of working authors sits down after a rough month and tells the truth about publishing? You get this episode of Write Wrong Repeat. In this conversation, JP Rindfleisch IX, Holly Lyne, Jeff Elkins, Tom Holbrook, and Crys Cain check in on their writing lives, business experiments, marketing wins, publishing frustrations, and the strange emotional math of trying to build an author career in public. August was not an easy month. The group talks honestly about grief, health scares, family chaos, ADHD, burnout, stalled goals, tight finances, pre-order jail, and the pressure to keep producing when life refuses to cooperate. But this is not just a "publishing is hard" episode. It is also full of practical author-business conversation. The group gets into translations, BookFunnel, mailing lists, Facebook ads, TikTok, direct sales, Kindle Unlimited, pen names, book events, reader connection, writing to market, paranormal detective fiction, cozy mystery, sports romance, and what happens when your book accidentally shares a title with James Patterson. They also wrestle with a bigger question: What is still giving you hope about publishing? The answers are messy, funny, honest, and surprisingly encouraging. The group talks about how old strategies do not necessarily die just because new tools arrive, why reader connection still matters, how community can keep authors moving, and why there are still more paths than ever for writers who are willing to experiment, simplify, adjust, and keep going. This episode is for authors who are juggling too many projects, wondering what marketing tools are worth their time, trying to decide between KU and direct sales, struggling to write through a hard season, or asking whether publishing is still a place where real writers can build something meaningful. Listen in for a candid, funny, behind-the-scenes look at the author life as it actually happens. Imperfect progress, weird experiments, failed plans, small wins, big pivots, and enough hope to keep writing. Timecodes: 0:00 – Welcome to Write Wrong Repeat Episode 5 0:55 – Chris on why August is always chaos 1:50 – Translations doubled Chris's income 4:15 – BookShift, translation tools, and foreign-language mailing lists 8:50 – Tom on translations, grief, cozy projects, TikTok, and ads 12:50 – Facebook ads, scaling slowly, and building profitable momentum 17:50 – Holly's August: health scare, Amazon cliff, NetGalley, and TikTok dips 23:05 – Jeff's update: the conference, Mojo and Mayhem, and TikTok experiments 30:15 – Writing to market with supernatural detective fiction 39:00 – Paranormal cozy vs. urban fantasy detective: where does the book fit? 41:45 – Kindle Unlimited, wide publishing, direct sales, and reader behavior 52:00 – JP's update: ADHD, art projects, TikTok Lives, direct sales, street teams, and simplifying the business 1:05:15 – Preorder jail, KDP changes, and the search for publishing hope 1:07:25 – What gives authors hope right now: TikTok, KU, direct sales, translations, audio, and reader connection 1:12:05 – More niches, more tools, and why old publishing strategies still work

Servicio publicar un libro en Amazon: https://www.letraminuscula.com/publicar-en-amazon/ RESUMEN: Roberto Augusto responde en directo a preguntas de escritores sobre Amazon KDP, publicación, ISBN, reseñas, derechos de autor, registro de obras, Amazon Ads, marketing, inteligencia artificial, portadas y promoción de libros. También analiza casos concretos de autores, comenta errores frecuentes al autopublicar y ofrece consejos sobre redes sociales, fiscalidad, concursos literarios y estrategias para vender más libros. ⏲MARCAS DE TIEMPO: ▶️00:02 Bienvenida y cifras del canal ▶️01:24 Preventa e ISBN en Amazon ▶️03:36 Datos fiscales para facturar cursos ▶️06:54 Web, mailing y reseñas en Amazon ▶️10:40 Papel, soporte y revisión en KDP ▶️13:08 Promoción y Amazon Ads ▶️16:47 Derechos sobre guías no oficiales ▶️18:39 Pagos y anuncios para vender libros ▶️21:33 Registro y propiedad intelectual ▶️22:46 Revisión de libro y contenido A+ ▶️26:05 Editor, autor y discrepancias ▶️27:24 Mascotas reales y derechos de imagen ▶️33:48 Autenticidad y éxito en YouTube ▶️37:37 Logos y marcas en portadas ▶️42:04 Revisión de portada y maquetación ▶️44:57 Extensión literaria y pujas en Ads ▶️48:04 Riesgos legales y segundas ediciones ▶️53:40 Plagio, concursos y registro de obras ▶️01:01:37 BookTok, Instagram y promoción ▶️01:07:49 IA, concurso y fiscalidad de autores

On this week's Self-Publishing News podcast, ALLi News Editor Dan Holloway — battling a summer sore throat — rounds up a busy week for indie authors: the rise of "Summerween," BookTok's new blend of sunny settings and Gothic dread; Kobo's return to big box retail through Best Buy; and the report that Amazon has been ripping up and shredding books, including rare out-of-print titles, to train its AI. He also digs into KDP trend data showing dystopian fiction bouncing back and self-published titles claiming 38 percent of the US top 100, and closes with Ingram's new Covered platform, which puts digital advance copies in front of 50,000 booksellers and librarians. Sponsor Self-Publishing News is proudly sponsored by PublishMe—helping indie authors succeed globally with expert translation, tailored marketing, and publishing support. From first draft to international launch, PublishMe ensures your book reaches readers everywhere. Visit publishme.me. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. About the Host Dan Holloway is a novelist, poet, and spoken word artist. He is the MC of the performance arts show The New Libertines, He competed at the National Poetry Slam final at the Royal Albert Hall. His latest collection, The Transparency of Sutures, is  available on Kindle.

Servicio publicar un libro en Amazon: https://www.letraminuscula.com/publicar-en-amazon/ RESUMEN: Directo de preguntas y respuestas sobre autopublicación, Amazon KDP y marketing para escritores. Roberto Augusto aborda concursos literarios, cuentas bloqueadas, promoción de libros, traducciones, audiolibros, portadas, informes de lectura, impresión bajo demanda, fiscalidad, libros de bajo contenido y creación de comunidad. También analiza libros de autores y comparte consejos para publicar con mayor calidad y construir una marca personal. ⏲MARCAS DE TIEMPO: ▶️00:01 Inicio del directo y preguntas ▶️00:34 Concurso y calidad literaria ▶️01:37 Copias de autor en Hispanoamérica ▶️04:04 Análisis de una novela en Amazon ▶️07:09 Publicar obras de autores fallecidos ▶️09:47 Cómo cobrar regalías desde Paraguay ▶️11:43 Cómo vender más libros en Amazon ▶️13:02 Traducciones y publicación en inglés ▶️14:34 Por qué la editorial genera confianza ▶️18:53 Problemas por tener dos cuentas KDP ▶️23:27 Libros duplicados e ilustraciones IA ▶️25:37 Promocionar libros sin mostrar la cara ▶️28:46 ¿Es rentable publicar un libro? ▶️36:56 Firmas de libros y fiscalidad ▶️41:05 Seudónimos, avatares y autenticidad ▶️43:21 Revisión de novela y traducción ▶️48:15 Análisis de portada y ficha de libro ▶️53:19 El declive de libros de bajo contenido ▶️58:29 Cómo crear y adaptar un audiolibro ▶️01:06:15 Publicación, marketing y concurso

In this week's episode, I take a look at ebook box sets and the advantages they offer both writers and readers. I also explain why I haven't done an ad update post in a while. Once again it is time for Coupon of the Week! This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store: SUMMERNIGHT The coupon code is valid through September 7, 2026. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction, Writing Updates, and a Reader Question Hello, everyone. Welcome to Episode 317 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 21st, 2026 and today we are going to talk about advantages to using box sets. We'll also have a brief discussion on why I haven't posted an ad update in a while, and we'll have an update on my current writing, publishing, and audiobook projects. Before we get to all that, let's start with Coupon of the Week. This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store. That coupon code is SUMMERNIGHT. As always, the coupon code and the links to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through September the 7th, 2026. So if you need a new ebook for the summer, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. As of this recording, I am 56,000 words into Blade of Visions, which I think puts me roughly somewhere in the neighborhood of about halfway through. I think the rough draft is going to end up being about 105 to 110,000 words when I get there, but we will find out. I'm also 5,000 words into Elven-Warlock, the next book in the Rivah Half-Elven Thief series. In audiobook news, recording on Blade of Thieves and recording on Cloak of Worlds is finished. As of right now, you can get Cloak of Worlds at my Payhip store, but both Cloak of Worlds and Blade of Thieves should be available on Payhip and all the other audiobook stores before too much longer (once processing is done). So if you're looking for a new audiobook to listen to this summer, we will have ones for you very soon with Cloak of Worlds narrated by Hollis McCarthy and Blade of Thieves narrated by Brad Wills. So before we get to our main topic of box sets, let's answer a reader question, which is why I haven't done monthly ad post results for a while. The reason for that is it started in October of 2025 and [I] mostly stopped using Facebook ads. Facebook ads became drastically less effective as Meta added more and more badly designed AI targeting features to the ad platform. Now, why is this a bad thing? Am I refusing to use Facebook ads because of my frequently stated dislike of generative AI? No. The reason is that the AI targeting doesn't work nearly as well as the old system and ends up being a waste of money because the AI targeting is too broad and too random. This is bad because the key to successful online advertising is to narrow your audience as much as possible. What do I mean by this? Perhaps this example will help. Let's say, for example, you sell motorcycle parts online. Obviously when purchasing motorcycle parts, you need to match up with the exact model and year, otherwise you're going to run in trouble. Say you are selling a lot of parts for the Harley-Davidson V-Rod Muscle motorcycle model from 2009 and you want to sell them online to your customers. The best way to do that would be to target your ads as specifically as possible. In the US at least, motorcycle owners tend to be a bit older and wealthier and are more likely than not male. So you'd want to target your ads to men 60 and older who have expressed interest in Harley Davidson motorcycles and potentially in that specific model from 2009. Facebook used to let you target audiences to that level of granularity. However, in the last few years, Meta has jumped on the generative AI bandwagon along with nearly every other large technology corporation. It's followed the same trajectory as every other company that has used AI. The CEO gets a brainwave that AI is the inevitable future and doesn't want to be left behind. Employees are told to implement as many AI features as possible and to use AI for everything. That inevitably becomes part of the key performance indicators on their performance reviews, so the employees dutifully stuff badly designed AI features into everything in hopes of keeping their jobs the next time the stock price drops slightly. If you've wondered why AI nonsense seems to be stuffed into everything these days, that is why. Gradually, Facebook has eliminated the ability for granular targeting like I've discussed above in favor of their Advantage AI system, which does the targeting for you. There are two major problems with this. First, Advantage is a black box. You don't really see how it works and it isn't well documented anywhere online. Second, the targeting is way too broad. Advantage is really good at getting a lot of clicks on your ad, but this is the important part: the clicks on the ads don't usually convert to sales. Which is better: an ad that gets 10 clicks but results in five sales or an ad that gets 50 clicks and converts to one sale? From Facebook's point of view, the second is better, but it's not better for the advertiser. To return to the motorcycle parts example, say you're trying to sell those Harley-Davidson V-Rod Muscle 2009 parts and you try to run an ad with Advantage doing the targeting. You can't specifically target male or male motorcycle or Harley owners over the age of 60. No, you have to mention motorcycle and Harley parts in the ad text and hope that the system steers it correctly. What will happen is that the Advantage system will show the ad to a bunch of people who have no interest in Harley parts. Honda motorcycle owners will see it, as well Yamaha owners and probably people who own mopeds and e-bikes as well. Now, admittedly, in certain situations, this could work. Let's say you have a giant warehouse of motorcycle parts, which includes Honda and Yamaha parts, so there could be some overlap. If you have a big enough inventory of motorcycle parts, a broad targeting reach might work. The trouble is that books are very, very specific products and targeting ads outside of genre lines never works. Like if you're writing dark fantasy romance and the system shows your ad to someone who only reads World War II historical novels, it's not going to work at best and at worst, the reader will become annoyed and leave you a bad review. Even for someone like me who has 160 fantasy novels and a bunch of sci-fi novels, it wouldn't work. I could try advertising to fantasy novels, but Child of the Ghosts, Frostborn: The Gray Knight, Cloak of Dragons, and Stealth & Spells Online: Creation are all very different books in very different subgenres of fantasy. So I have in essence, a giant warehouse of books, but books are specific enough that trying to use Facebook Advantage to advertise them doesn't work. So now I don't really use Facebook ads. I did try again in June to boost Half-Elven Thief Omnibus One before its BookBub deal, and the results from the Facebook ads were in the bottom half of mediocre at best and outright useless at worst. The BookBub Feature Deal itself by contrast was excellent. When I have a new book out and I do the "I published a book" post on Facebook, I'll use the boost pull function, which shows it to more people based on my audience, which does increase engagement and isn't too expensive. But for the most part, I don't really use Facebook ads anywhere near as extensively as I used to. That said, I do a lot of BookBub and Amazon ads, way more than I did before Facebook ads became unusable. I'll typically run about 20 to 24 short BookBub campaigns a month advertising my permafree books on the non-Amazon stores. While I am not sure of the exact number, I think I have something like 550 Amazon ad campaigns running across about 35 different titles on Amazon. Fear not, this is less expensive than it sounds. I haven't posted much about it because it's a ton of data and I haven't figured out a way to do so in a concise and pithy way that isn't overwhelming or a giant wall of math and text. That said, there should be a way to do it, at least for the Amazon ads. Generally, Amazon ads are way more effective with Kindle Unlimited books and nonfiction, and BookBub ads are very effective for the non-Amazon stores, especially for permafree books like Frostborn: The Gray Knight and Child of the Ghosts. So that is why I haven't done an ad review roundup post in a while. Once I work out a good way to present the information with Amazon and BookBub ad data, I will probably start posting them again. 00:07:30 Main Topic: Ebook Box Sets [All prices referenced are in US Dollars] Now let's move on to our main topic this week, ebook box sets and why they're a good thing for both authors and readers. I will talk about four advantages of making an ebook box set, and then four things you should consider if you're interested in making them for your ebook series. An omnibus edition or a box set is a collection of several books in one series. They need to be books in the same series. It's not a sample of various books by one author or a collection of several books with a similar theme by different authors, which are common, especially in romance, but that's not what we're going to be talking about in this episode. For example, my Frostborn Omnibus One collection includes the first three books in my Frostborn series, and The Ghosts Omnibus One includes the first three books in The Ghosts series and a bonus short story as well. Before we get started, a note on the terminology. Although the term box set or ebook set means something much broader than omnibus edition, I will use ebook sets and omnibus editions interchangeably throughout this episode, mostly because omnibus is a bit of a mouthful to say that many times. So here are four reasons why you might want to consider making an omnibus edition for books in your series. #1: Series Starter If you don't want to go the perma-free route on your series, a competitively priced set of the first books in the series might be another option for you. The goal is always to make it easy and cheap to start a new series and a low-priced omnibus edition helps with drawing in new readers into a series. Having an omnibus of the first books in the series also means that you can periodically run sales on it. It's worth taking a short-term hit in the sales price if readers continue on to the next set or later books in the series. I've dealt with this with many of my omnibus editions, especially Frostborn Omnibus One, Cloak Mage Omnibus One, and The Ghosts Omnibus One many times, running deals to them when they were $0.99. That has inevitably resulted in good sales for the rest of the series and the audiobooks in the series. #2: Reader Convenience The main reason for creating ebook sets may be the cost savings for the book buyer, but another big reason is convenience for the reader. Many people struggle with knowing the correct order of books in a series, and omnibus editions act as guides through a series. Readers like the convenience of knowing they're reading them in the correct order, but only having to make one purchase to do that. Some people also don't like the way that their ebook libraries display series and prefer the omnibus editions for that reason. #3: Changes to Amazon's KDP royalty tier KDP bases its royalty rates for ebooks on the price. They just raised a ceiling of the 70% royalty tier from $9.99 to $12.99, which makes omnibus editions priced over $9.99 more profitable since they can now be priced as high as $12.99 and still be in the 70% royalty tier. Previously, ebooks over $9.99 were put in a lower royalty tier to encourage authors to price them under $10. If there are a significant number of books in your omnibus edition or your individual books are priced at over $6, this change to KDP's royalties benefits you the most. To give an example, if an ebook series were made into an omnibus edition priced at $12 before, it would've netted $3.60 in royalties. With the change in pricing tiers, that same omnibus edition would now make $8.40 for the author. That is a significant increase that makes omnibus editions more attractive to produce. #4: The Kindle Unlimited Advantage Omnibus editions are good for putting in Kindle Unlimited because readers are excited to get multiple books while only taking up one of the "spots" they have in their KU library. Since readers can currently only borrow 20 books at a time, some power readers try to maximize the perceived value of each book in that library and look for longer books and omnibus editions for that reason. Since KU subscribers have many options, providing them with an omnibus edition might help get them more invested in the series and interested in continuing it because if they finish the set, there are several books into it and have spent a significant amount of time with your characters. If you don't put the whole series into KU (which is not a great idea by the way), an omnibus edition of the first books in the series would be a better choice than just putting the first book in the series in KU. KU subscribers get very angry when only the first book in the series is in KU, especially if that book ends on a cliffhanger or if the book isn't clearly marked as being part of a series. An omnibus edition gives them a much deeper introduction to the series. It feels less like a bait and switch than just the first book would be. It's also advantageous for the writer because of the page reads. For example, right as of right now, Half-Elven Thief Omnibus One, which is in Kindle Unlimited, is set to only $0.99 an ebook, but I usually make a good deal more from that because of the page reads because people will check out the book in KU and then the amount of page reads for that book comes to approximately about $4 for a complete read. So if you have a popular box set in KU, you can make a good deal more from it from the page reads than you would from just pricing it at $0.99. When setting up a box set, here are four things to consider when making an ebook omnibus edition. #1: You need to learn about reader expectations about what an omnibus edition is. It is not a collection of short stories or some short stories attached to a single book. It is not a sample collection of books you have across different series. Those are separate things and there's nothing wrong with them, but they need to be handled differently. An omnibus edition should be at least three complete and consecutive books in a series. If there are things like short stories or bonus content beyond that, that's fine. But three full length books is what book buyers expect from an omnibus edition or a box set. #2: Book buyers expect an omnibus edition to be less expensive than buying the book separately. Even providing bonus content like short story or extra chapter does not change this cost expectation. There's also an expectation that the first omnibus edition will be less expensive than the later omnibus editions because this is a common promotional strategy. For myself, what I usually do is I make sure that the omnibus is a dollar or two cheaper than the combined books would be. For example, I just put out Cloak Mage Omnibus Four, which combines Cloak of Embers, Cloak of Titans, and Cloak of Illusion into one book. Those individual books are $5, and so together buying three of them together would be $15. The omnibus edition is $11.99, so that's a savings of $3 across the three books. For the first omnibus edition in the series, I usually price it a bit lower. The Ghosts Omnibus One and Half-Elven Thief Omnibus One are $0.99 right now, but that is so they can be loss leaders and even if they're not on sale, like Cloak Mage Omnibus One is I believe $5.99 right now and Frostborn Omnibus One is $4.99, so that is to act as kind of a loss leader to get people in the door to read the series. #3: Take the time to learn to make an omnibus edition correctly. You can't just throw the individual ebook files into a single one and have the readers be happy with that. You need to update the book's front matter and metadata, and omnibus editions will need a new ISBN or ASIN, depending on where you publish them. For a long time for the covers, I used to do what I called a quartered cover where you'd have the three covers and a bonus short story arranged in a grid, kind of like a windowpane to advertise that it was clearly an omnibus edition. Lately, Amazon has been cracking down on that and some of the other ebook platforms don't like that as well. So what I've been doing is I've been making custom covers that very clearly say like Cloak Mage Omnibus Four on them and making sure that the cover is distinct enough from the individual covers in the series that won't be mistaken for an individual title in the series. #4: The omnibus edition needs to be treated as a separate book when creating ads. Their marketing works differently than individual books. Don't just hope that readers will find it on their own. Omnibus editions need new blurbs, separate ad campaigns, and their own marketing push. It's okay to list them separately on your website, but be sure to link them to the original books as well. On my website, I have links for the omnibus editions under each book in the series that is part of one so the readers are aware right away as an option for them. So hopefully these tips and tricks will help you to set up omnibus editions for yourself as well. So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you've listened to all the back episodes athttps://thepulpwritershow.com. If you enjoyed the podcast, please leave review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.  

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

Servicio publicar un libro en Amazon Ç ➡️ https://www.letraminuscula.com/publicar-en-amazon/ SI deseas PUBLICAR escríbenos : contacto@letraminuscula.com Llama☎ o WhatsApp: +34640667855 RESUMEN: Descubre por qué Amazon KDP puede ser una de las mejores opciones para autopublicar tu libro. En este vídeo conocerás sus principales ventajas: alcance internacional, publicación en papel y ebook, control total de los derechos, mayores regalías y acceso transparente a tus ventas. Además, explicamos cómo Editorial Letra Minúscula puede ayudarte a publicar tu obra con calidad profesional y gestionar todo el proceso técnico. ⏲MARCAS DE TIEMPO: ▶️00:00 Por qué publicar en Amazon KDP ▶️00:18 Qué es Amazon KDP y cómo funciona ▶️00:44 KDP como imprenta global para autores ▶️01:18 Publicar gratis y con apoyo profesional ▶️01:43 Opciones al terminar tu manuscrito ▶️02:17 Autopublicar en KDP como mejor opción ▶️02:47 Experiencia con distintos modelos ▶️03:10 Alcance global en tiendas Amazon ▶️03:42 Venta mundial sin intermediarios ▶️04:15 Formatos, ebook y ventajas de KDP Select ▶️05:00 Lectores, derechos y control de la obra ▶️05:32 Regalías frente a editorial tradicional ▶️06:05 Más ingresos con KDP ▶️06:29 Control y transparencia de las regalías ▶️07:08 Servicio profesional para publicar en KDP ▶️07:44 Qué incluye el servicio de publicación ▶️08:36 Control total y promoción con Amazon Ads ▶️09:12 Cursos, ayuda y publicación profesional ▶️10:00 Despedida y sueño de ser escritor

Double Standards - A Mix by KDP - 2026 by Kurlee Daddee Productions

Cómo Fernando Gamboa vendió millones de libros (sin editoriales) Fernando Gamboa es el autor que más libros ha vendido en la historia de Amazon.es. Ha vendido más de 1 millón de copias en el mundo, está traducido a muchos idiomas y varias de sus novelas también han tenido gran éxito en Italia.Pero este episodio no es solo para quienes escriben libros. Es una conversación sobre cómo se construye un activo creativo, cómo se vende sin esperar el permiso de los intermediarios, y cuánto importa mantener el control sobre aquello que lleva tu nombre.Fernando cuenta que cuando publicaba con editoriales tradicionales, vendió 100.000 copias y no le pagaron. Cuenta que todo el sector le dijo que publicar por su cuenta en Amazon destruiría para siempre su carrera.Y cuenta también que mostró a las editoriales cifras de 2 millones de dólares en libros vendidos en un año, y aun así fue tratado como un autor de segunda categoría por ser independiente. De ahí nace su decisión: apostar por Amazon, KDP, catálogo, traducciones, audiolibros y control de su propia propiedad intelectual.En esta entrevista hablamos de libros, marketing, Amazon Ads, editorial tradicional, autopublicación, traducciones, audiolibros, IA, derechos cinematográficos y libertad personal. Hablamos también del cuidado del producto: porque el marketing puede ayudarte a que te descubran, pero a largo plazo son la calidad, el boca a boca, la experiencia del cliente y el respeto por quien compra los que realmente construyen un catálogo que vende.Fernando cuenta por qué sigue invirtiendo en traducciones profesionales en lugar de confiar solo en la IA, por qué ya no lee las reseñas pero respeta profundamente a sus lectores, y por qué prefiere tardar dos años en escribir una novela antes que publicar rápido algo que no le convence.Hablamos también de por qué rechazó una oferta de 300.000€ de una productora de Los Ángeles por los derechos de una de sus novelas, aun sin tener dinero en ese momento. Si eres marketer, consultor, pequeño empresario, autor o alguien que vende algo ligado a su propio nombre, esta conversación te concierne. Porque el punto no es solo vender libros. El punto es entender cuándo estás construyendo un activo, cuándo lo estás malvendiendo, y cuánto vale realmente seguir siendo libre mientras el mercado intenta convencerte de que necesitas el permiso de otra persona. En este episodio hablamos de:Amazon KDP y autopublicaciónEditorial tradicional y control de los activos100.000 copias vendidas sin recibir pago2M$ en libros vendidos y aun así "fuera del club"Catálogo, boca a boca y calidad del productoPor qué rechazó unos 300.000€ por los derechos cinematográficos de una de sus novelasTraducciones, audiolibros y mercados internacionalesMarketing para libros y Amazon AdsIA, escritura y futuro de la narrativaDerechos cinematográficos y propiedad intelectualLibertad creativa, independencia y negocio personalLos libros de Fernando Gamboa:https://gamboaescritor.com/ Página de Amazon con los libros de Fernando Gamboa:https://www.amazon.es/s?k=Fernando+Gamboa&i=digital-text Audiolibros de Fernando Gamboa en Audible:https://www.audible.es/author/Fernando-Gamboa/B006RTHR9K Otros recursos mencionados:Grupo 20 Books to 50k: https://20booksto50.com/Your Magic Bakery Of Intellectual Property Rights con Dean Wesley Smith: https://www.youtube.com/watch?v=to1rbDrysswYuval Noah Harari: https://www.ilpost.it/2024/09/30/yuval-noah-harari/La primera novela de Andrew Lisi: https://tatatapublishing.gumroad.com/l/machsom-romanzo-avventuraOtros libros y negocios de Andrea Lisi: https://linktr.ee/copypersuasivo

Fernando Gamboa è l'autore che ha venduto più libri nella storia di Amazon.es. Ha venduto oltre 1 milione di copie nel mondo, è tradotto in molte lingue e diversi suoi romanzi hanno avuto grande successo anche in Italia.Ma questa puntata non è solo per chi scrive libri.È una conversazione su come si costruisce un asset creativo, come si vende senza aspettare il permesso degli intermediari, e quanto conta mantenere il controllo su ciò che porta il tuo nome.Fernando racconta di quando pubblicava con editori tradizionali, vendette 100.000 copie e non venne pagato. Racconta di quando tutti nel settore gli dissero che pubblicare da solo su Amazon avrebbe distrutto per sempre la sua carriera. E racconta anche di aver mostrato agli editori numeri da 2 milioni di dollari di libri venduti in un anno, venendo comunque trattato come un autore di seconda categoria perché indipendente.Da lì nasce la sua scelta: puntare su Amazon, KDP, catalogo, traduzioni, audiolibri e controllo della propria proprietà intellettuale.In questa intervista parliamo di libri, marketing, Amazon Ads, editoria tradizionale, self publishing, traduzioni, audiolibri, AI, diritti cinematografici e libertà personale.Parliamo anche di cura del prodotto: perché il marketing può aiutarti a farti scoprire, ma nel lungo periodo sono qualità, passaparola, esperienza del cliente e rispetto per chi compra a costruire davvero un catalogo che vende.Fernando racconta perché continua a investire in traduzioni professionali invece di affidarsi solo all'AI, perché non legge più le recensioni ma rispetta profondamente i lettori, e perché preferisce impiegare due anni a scrivere un romanzo piuttosto che pubblicare velocemente qualcosa che non lo convince.Parliamo anche del perché ha rifiutato un'offerta da 300.000€ da una casa di produzione di Los Angeles per i diritti di un suo romanzo, pur non avendo soldi in quel momento.Se sei un marketer, un consulente, un piccolo imprenditore, un autore o una persona che vende qualcosa legato al proprio nome, questa conversazione ti riguarda.Perché il punto non è solo vendere libri.Il punto è capire quando stai costruendo un asset, quando lo stai svendendo, e quanto vale davvero restare libero mentre il mercato prova a convincerti che hai bisogno del permesso di qualcun altro.In questa puntata parliamo di:Amazon KDP e self publishingeditoria tradizionale e controllo degli asset100.000 copie vendute senza essere pagato2M$ di libri venduti e ancora “fuori dal club”catalogo, passaparola e qualità del prodottoperché ha rifiutato circa 300.000€ per i diritti cinematografici di un suo romanzotraduzioni, audiolibri e mercati internazionalimarketing per libri e Amazon AdsAI, scrittura e futuro della narrativadiritti cinematografici e proprietà intellettualelibertà creativa, indipendenza e business personaleI libri di Fernando Gamboa in italiano: https://gamboaescritor.com/it/Pagina Amazon.it con i libri di Fernando Gamboa:https://www.amazon.it/s?k=Fernando+Gamboa&i=digital-text Audiolibri di Fernando Gamboa su Audible Italia: https://www.audible.it/author/Fernando-Gamboa/B006RTHR9KAltre risorse menzionate:Gruppo 20 Books to 50k: https://20booksto50.com/ Your Magic Bakery Of Intellectual Property Rights With Dean Wesley Smith: https://www.youtube.com/watch?v=to1rbDryssw  Yuval Noah Harari https://www.ilpost.it/2024/09/30/yuval-noah-harari/ Il primo romanzo di Andrew Lisi https://tatatapublishing.gumroad.com/l/machsom-romanzo-avventura Altri libri e aziende di Andrea Lisi: https://linktr.ee/copypersuasivo

On this episode of Self-Publishing with ALLi, Dan Holloway reports that the Anthropic settlement has received its final legal approval, with nearly half a million titles eligible for a payout of around $3,000 — and legal fees cut to just over $100 million. He covers Simon and Schuster's second new imprint for indie authors, Simon Stream, offering 50 percent net ebook royalties, alongside the previously reported Pocket Books relaunch. And he closes with Canadian survey data showing readers are already paying an average of US$8.74 for ebooks — neatly vindicating KDP's recent royalty cap rise to $12.99. Sponsor Self-Publishing News is proudly sponsored by PublishMe—helping indie authors succeed globally with expert translation, tailored marketing, and publishing support. From first draft to international launch, PublishMe ensures your book reaches readers everywhere. Visit publishme.me. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. About the Host Dan Holloway is a novelist, poet, and spoken word artist. He is the MC of the performance arts show The New Libertines, He competed at the National Poetry Slam final at the Royal Albert Hall. His latest collection, The Transparency of Sutures, is  available on Kindle.

Elite KDP Engine - https://www.marketingsharks.com/elite-kdp-engine-from-dave-espino/WHAT'S INSIDE (everything a published book needs):– FULL BOOK BUILDER – Journals, planners, trackers, puzzle & activitybooks, coloring books, and full non-fiction – written and laid outfor you.– COVERS & INTERIORS – Generated covers and print-ready interiorssized to Amazon KDP specs. No separate design tool needed.– PRINT-READY EXPORT – One-click export to KDP-compliant PDF, EPUBand DOCX. Upload and hit publish – no reformatting.– ADVANCED KDP LISTING – Title, description, keywords, categories,BISAC paths and pricing strategy – the listing done properly.– FULL MARKETING PACK – Launch emails, social posts, a BookTokscript and a press blurb – so the book actually gets seen.– CREDITS INCLUDED – Enough to build around 10 complete illustratedbooks right away. AI included – nothing to install.Elite KDP Engine$17 one-timeEverything here is included. No upgrade is needed to publish a finished, sellable book.

Servicio publicar un libro en Amazon: https://www.letraminuscula.com/publicar-en-amazon/ RESUMEN: En este directo de preguntas y respuestas, Roberto Augusto resuelve dudas sobre autopublicación en Amazon, pagos de KDP, ISBN, registro de la propiedad intelectual y copyright. También explica estrategias de marketing para vender libros, analiza portadas y fichas de varios autores, habla de concursos literarios, traducciones, uso de la IA, protección de manuscritos y cómo construir una marca personal como escritor. ⏲MARCAS DE TIEMPO: ▶️00:00 Bienvenida y preguntas del directo ▶️01:07 Filtro de calidad editorial ▶️02:04 Cuándo paga Amazon KDP ▶️04:48 Concurso solo para inéditos ▶️05:27 Copyright y registro explicados ▶️08:27 ISBN o registro: diferencias ▶️12:28 Extras al publicar un libro ▶️15:35 ISBN no protege la autoría ▶️16:29 Amazon Ads para vender libros ▶️20:58 Derechos en traducciones y obras ▶️22:16 Marketing tras publicar ▶️24:51 Cuidado con agentes literarios ▶️29:43 Uso de los adjetivos ▶️30:42 Proceso editorial paso a paso ▶️33:12 Cómo vender un libro publicado ▶️38:30 ¿La IA sustituirá escritores? ▶️40:29 Análisis de un libro publicado ▶️45:29 Concursos y condiciones ▶️50:05 Errores en fichas y portadas ▶️01:21:45 Construir una carrera literaria

In this episode of the Self-Publishing with ALLi Member Q&A podcast, hosts Michael La Ronn and Sacha Black discuss whether an author can safely use a real band's name in a novel title, including how to check for trademarks, why disclaimers won't shield you from lawsuits, and when it's worth consulting an intellectual property attorney. Other questions include: What is the best platform for publishing a professionally recorded, author-narrated audiobook, and should you go exclusive with Audible or distribute wide? What should you do if your KDP account has been terminated? Is it a sound strategy to sell direct through your website first and go wide only after those sales dry up? How do you find and evaluate printing companies for your book? From a marketing perspective, how should you approach a series that can be read in any order versus one that must be read sequentially? Should you use a copyrighted quote without permission and hope it qualifies as fair use if the licensing fee is too expensive? And more! Find more author advice, tips, and tools at our Self-Publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally. About the Hosts Michael La Ronn is ALLi's Outreach Manager. He is the author of over 80 science fiction & fantasy books and self-help books for writers. He writes from the great plains of Iowa and has managed to write while raising a family, working a full-time job, and even attending law school classes in the evenings (now graduated!). You can find his fiction at www.michaellaronn.com and his videos and books for writers at www.authorlevelup.com. Sacha Black is a bestselling and competition winning author, rebel podcaster, speaker and casual rule breaker. She writes fiction under a secret pen name and other books about the art of writing. When Sacha isn't writing, she runs ALLi's blog. She lives in England, with her wife and genius, giant of a son. You can find her on her website, her podcast, and on Instagram.

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

Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Amazon's open-air library, KDP, and publishing's hologram problem. Then, stick around for a chat with Stig Abell! Stig Abell believes that discovering a crime fiction series to enjoy is one of the great pleasures in life. His first novel, Death Under A Little Sky, introduced Jake Jackson and his attempt to get away from his former life in the beautiful area around Little Sky, followed by Death in a Lonely Place and The Burial Place. Stig is absolutely delighted that there are more on the way. Away from books, he presents the breakfast show on Times Radio, a station he helped to launch in 2020. Before that he was a regular presenter on Radio 4's Front Row and was the editor and publisher of the Times Literary Supplement. He lives in London with his wife, three children and two independent-minded cats called Boo and Ninja (his children named them, obviously). Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Side Show Music - Vol. 3 by KDP

On this episode of Self-Publishing with ALLi, Dan Holloway covers three positive stories: KDP raising the upper price limit for its top royalty bracket from $9.99 to $12.99, effective July 7th; Bookshop.org launching audiobooks for UK readers on a £12.99 monthly subscription designed to deepen ties between readers and their local indie bookstores; and the rise of dystomance — the blend of dystopia and romance trending on BookTok, with a self-published title helping drive the wave. Sponsor Self-Publishing News is proudly sponsored by PublishMe—helping indie authors succeed globally with expert translation, tailored marketing, and publishing support. From first draft to international launch, PublishMe ensures your book reaches readers everywhere. Visit publishme.me. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. About the Host Dan Holloway is a novelist, poet, and spoken word artist. He is the MC of the performance arts show The New Libertines, He competed at the National Poetry Slam final at the Royal Albert Hall. His latest collection, The Transparency of Sutures, is  available on Kindle.

KDP expanded the 70% ebook royalty pricing range, giving authors more room above the old $9.99 limit. Kindlepreneur updated two solid refreshers on KDP keywords and categories, Authors Guild shared another scam warning, Laterpress upgraded its Assistant feature, Voices by INAudio shared audiobook marketing tips, and Miblart is celebrating 10 years with a limited-time discount. Dibbly Create - https://DaleLinks.com/DibblyCreate (affiliate link)   KDP Community: The 70% eBook Royalty Option price band has expanded to $2.99–$12.99 - https://www.kdpcommunity.com/s/article/The-70-eBook-Royalty-Option-price-band-has-expanded-to-2-99-12-99?language=en_US&forum=KDP%20Forum Kindlepreneur: How to Fill in Your 7 KDP Keyword Boxes (My Secret Tactic) - https://kindlepreneur.com/7-kindle-keywords/ Kindlepreneur: How to Find Amazon Book Categories Most Authors Miss - https://kindlepreneur.com/how-to-choose-the-best-kindle-ebook-kdp-category/ The Authors Guild: Publishing Scam Alerts - https://authorsguild.org/resource/publishing-scam-alerts/ Laterpress: Collaborative Writing with the Enhanced Laterpress Assistant - https://www.youtube.com/live/K5LyKUtU850?si=XGRsF-697QiqJQM5 Voices by INAudio: Audiobook marketing tips you haven't already heard a million times - https://voicesbyinaudio-newsletter.beehiiv.com/p/audiobook-marketing-tips-you-haven-t-already-heard-a-million-times Miblart: Miblart Is Turning 10! - https://miblart.com/mibl-anniversary/?ref=daleroberts5 (affiliate link) Use coupon code MIBLBDAY20 for 20% off. Offer good through July 13. Rapid-Fire Newsflash Booklinker: Getting More from StoryOrigin: Tips from Its Creator - https://www.thebookmarketinglab.com/StoryOrigin_Webinar The Authors Guild: Narrating Your Own Audiobook - https://authorsguild.org/event/narrating-your-own-audiobook/ Bryan Cohen presents: Booked for Life (Kickstarter) - https://www.kickstarter.com/projects/bestpageforward/booked-for-life Smashwords Summer/Winter Sale - https://www.smashwords.com/shelves/promos/1 Self-Publishing with Dale Series (Smashwords) - https://www.smashwords.com/books/byseries/113712   Subscribe to my email newsletter - https://DaleLinks.com/SignUp Join Channel Memberships - https://DaleLinks.com/Memberships  Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@dalelroberts My Books - https://DaleLinks.com/MyBooks Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

Business development director and Raleigh commercial real estate enthusiast Jed Byrne joined me on Ditching Hourly to walk through the entire process of self-publishing his first book, Start Small Selling, from idea validation to Kickstarter funding to final production.We cover testing your book idea with real money, writing a first draft in 35 days, running a Kickstarter campaign to fund professional editing, finding and working with developmental editors, designing a book cover on a budget, and publishing through KDP and Lulu.Chapters(00:00) - Who Is Jed Byrne? (03:19) - The Hyper-Local Newsletter (07:59) - Why Write a Book? (11:41) - Testing the Idea (14:05) - The Writing Process (21:56) - The Kickstarter (31:04) - Building the Editing Team (36:23) - The Timeline (45:49) - Working with a Developmental Editor (52:40) - Designing the Cover (57:26) - Publishing with KDP and Lulu (01:00:00) - Start Small, Start Now Guest BioJed Byrne is a business development director at Barnhill Building Group, a North Carolina-based general contracting firm. Outside his day job, he runs Oak City CRE, a platform focused on Raleigh commercial real estate that includes a weekly Substack newsletter, a podcast, consulting, and his first book, Start Small Selling. You can reach Jed at books@oakcitycre.com.Resources Mentioned In This EpisodePeopleJed ByrneJed Byrne on LinkedInJonathan StarkTim FerrissSeth GodinNoah KaganRob FitzpatrickTucker MaxPat FlynnChandler BoltTim GrahlRochelle MoultonCorey QuinnMike MichalowiczDerek SiversDaniel PinkJed / Raleigh / AECOak City CREThe Top Five by Oak City CREDirt NC podcastBarnhill Building GroupStart Small Selling KickstarterStart Small Selling on AmazonUrban Land InstituteULI TriangleJed's book email from the episode - books@oakcitycre.comBooks / Book-Building ResourcesMillion Dollar Weekend by Noah KaganThe Mom Test by Rob FitzpatrickWrite Useful Books by Rob FitzpatrickHelp This BookThe Workshop Survival GuideThe Scribe MethodSelfPublishing.com / Self-Publishing SchoolReedsyEditorial Freelancers AssociationChicago Manual of StyleISBNs / BowkerAtticusPublishing / Production / Selling PlatformsKickstarterAmazon KDPLuluBlurbShopifyUpworkFiverrOtterpineMicrosoft WordCanvaInkscapeUSPS Media MailPodcast / Episode ReferencesMike Michalowicz on The Business of Authority ----Do you have questions about how to improve your business? Things like:Value pricing your work instead of billing for your time?Positioning yourself as the go-to person in your space?Productizing your services so you never have to have another awkward sales call or spend hours writing another custom proposal?Book a one-on-one coaching call with me and get answers to these questions and others in the time it takes to get ready for work in the morning.Best of all, you're covered by my 100% satisfaction guarantee. If at the end of the call, you don't feel like it was worth it, just say the word, and I'll refund your purchase in full.To book your one-on-one coaching call, go to: https://jonathanstark.com/callI hope to see you there!

In this episode of the Self-Publishing with ALLi Member Q&A podcast, hosts Michael La Ronn and Sacha Black discuss whether it is legal to use real people's names in nonfiction, including the limits around copyright, defamation, and writing about deceased public figures. Other questions include: How much does it generally cost to have a 52,000-word fiction short story collection edited? Where can an author find a cover designer for their next book? What should an author do to make the most of a BookBub featured deal they've just been granted? Whatever happened to the golden age of author podcasts, and what would be the gold-standard listens for someone entering the industry today? Where should an author distribute a professionally recorded, author-narrated audiobook? What can ALLi do for a member whose KDP account was wrongly terminated for the stated reason of having multiple accounts? And more! Find more author advice, tips, and tools at our Self-Publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally. About the Hosts Michael La Ronn is ALLi's Outreach Manager. He is the author of over 80 science fiction & fantasy books and self-help books for writers. He writes from the great plains of Iowa and has managed to write while raising a family, working a full-time job, and even attending law school classes in the evenings (now graduated!). You can find his fiction at www.michaellaronn.com and his videos and books for writers at www.authorlevelup.com. Sacha Black is a bestselling and competition winning author, rebel podcaster, speaker and casual rule breaker. She writes fiction under a secret pen name and other books about the art of writing. When Sacha isn't writing, she runs ALLi's blog. She lives in England, with her wife and genius, giant of a son. You can find her on her website, her podcast, and on Instagram.

Get Sowle - Metal Workout Mix Vol. 5 by KDP by Kurlee Daddee Productions

Boom Bap Basics Vol. 14 by KDP by Kurlee Daddee Productions

Side Show Music - Vol. 2 by KDP. - 2026 by Kurlee Daddee Productions

In this episode of the Self-Publishing with ALLi Member Q&A podcast, hosts Michael La Ronn and Sacha Black discuss how to successfully pivot from one nonfiction topic to another, including whether you need a new pen name and how to manage existing backlist titles. Other questions include: What are the most effective low-budget marketing strategies for a nonfiction book about technology and society What options exist when series covers are inconsistent and how important is it to obtain source files from designers Should an urban fantasy series be focused on a tabloid rather than a single protagonist, or is that a strategic mistake How should UK authors operating as limited companies complete KDP tax forms, particularly the limitation of benefits section How can authors troubleshoot A+ content on Amazon when it refuses to populate despite entering all required information And more! Show Notes Lessons Learned from Starting a New Pen Name (Sacha Black podcast) Find more author advice, tips, and tools at our Self-Publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally. About the Hosts Michael La Ronn is ALLi's Outreach Manager. He is the author of over 80 science fiction & fantasy books and self-help books for writers. He writes from the great plains of Iowa and has managed to write while raising a family, working a full-time job, and even attending law school classes in the evenings (now graduated!). You can find his fiction at www.michaellaronn.com and his videos and books for writers at www.authorlevelup.com. Sacha Black is a bestselling and competition winning author, rebel podcaster, speaker and casual rule breaker. She writes fiction under a secret pen name and other books about the art of writing. When Sacha isn't writing, she runs ALLi's blog. She lives in England, with her wife and genius, giant of a son. You can find her on her website, her podcast, and on Instagram.

Amazon just removed one of the biggest barriers to international publishing, and authors are going to be tempted to move fast. With Amazon quietly rolling out an AI-powered translation tool inside KDP, turning your book into Spanish, German, and other languages suddenly feels almost effortless. But easy and effective are not the same thing.In this episode, Penny Sansevieri and Amy Cornell unpack what Amazon's new AI translation feature actually means for authors and why this could become one of those publishing moments where convenience creates a wave of expensive mistakes. Because when translation becomes a checkbox instead of a strategy, it becomes dangerously easy to expand into markets you do not understand.We get into the risks many authors will not see coming: AI missing emotional nuance, humor that collapses in translation, phrases that work beautifully in one culture and feel awkward—or completely wrong—in another. We also discuss a bigger misconception: assuming a language automatically equals a market. “Spanish readers” are not one audience. Readers in Spain, Mexico, Argentina, and the U.S. often buy differently, respond to different pricing, and even prefer different styles and tones.We also look at what happens inside the Amazon ecosystem itself. How translated editions may appear on your Author Central profile, why ratings and reviews can become fragmented across marketplaces, how weak social proof in a new market can affect perception, and why a poorly translated book description may quietly destroy conversion before a reader even downloads a sample.And because we never leave authors with fear and no roadmap, we walk through a smarter testing strategy: how to validate demand before translating, identify genres that travel well internationally, choose the right title to test first, and support launches with country-specific Amazon ads and market research.Global expansion sounds exciting. But before you hand your backlist over to AI and click publish, listen first.This episode could save you time, money, and a lot of one-star reviews.Send us your feedback!Help shape our 2026 content by taking our 30-second listener poll!

How is AI transforming accessibility for indie authors — and why should you care even if you consider yourself able-bodied? What happens when the tools designed to help people with disabilities end up making everyone's creative business better? Jeff Adams, accessibility expert and romance author, explores how AI is opening doors that were previously closed. In the intro, Spotify Audiobook Innovations; The Economics of Convention Life [The Indy Author]; Friction in your Author Business [Self-Publishing with ALLi]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How ending a long-running podcast made space for more writing — and how to know when it's time to let go of a good thing What accessibility really means for indie authors and why your digital content might be excluding part of your audience How AI agents like Claude Cowork are removing physical and cognitive barriers for authors with disabilities, chronic pain, or limited energy The culture of shame around AI use in the writing community and why blanket anti-AI statements can be ableist Practical tools including NotebookLM, ElevenReader, and ChatGPT for marketing copy, metadata management, and multimodal research Exciting futures in personalised reading, real-time translation, and AI browser agents that could change how everyone interacts online You can find Jeff at JeffAdamsWrites.com. Jeff also now has a SubStack at contentforeveryone.substack.com Transcript of the interview with Jeff Adams Jo: Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. Welcome back to the show, Jeff. Jeff: Thanks so much, Jo. It's good to be back. Jo: It is. You were last on the show in March 2023, so over three years ago now. Give us a bit of an update on your writing and publishing business and what it looks like at the moment. Jeff: Sure. I think the biggest thing that happened is that my husband Will, who is also a writer, we ended the Big Gay Fiction Podcast at the end of 2024, after 470-something episodes. It was basically time to do that. So we both focused on writing from that point. In 2025 we had some of our biggest successes in getting writing out into the world. I refound my groove—my difficulty in writing went away finally. We talked a little bit about that back in 2023 too. Will started a new pen name and started producing again, and it was really good to be able to move in that direction. Jo: Was this the hockey romance that really hit at the right time? Jeff: You know, I wish I could have capitalised more on Heated Rivalry when it came out, but I did get hockey books out, and I think I did get to ride that wave a little bit there too. Jo: Yes, and if people don't know about that, that was a super popular streaming series. Was that based on a book? Jeff: It was, yes. Rachel Reid was the author of that book and that series that then Jacob Tierney optioned and made into what fairly turned into a global phenomenon at the end of 2025. Jo: Yes, absolutely. Although I particularly liked Red, White and Royal Blue. That was the one I liked. Not so much into hockey. But anyway, I just wanted to ask you about the Big Gay Fiction Podcast. As you say, you did hundreds of episodes over many years. You and I met over podcasting. You've had lots of connections with people. You ended it, and I know you struggled with ending it, but it sounds like it went really well for you. So maybe you could talk a bit about— How do you know when it's time to end something—a good thing rather than something bad? Does that make more space for writing, essentially? Jeff: It absolutely did make more space for writing for both of us, in particular for me because I have a day job. I balance everything on the creative side with the day job. Will and I had been talking about it for over a year. It just was like, it's really time. After nine years, getting to that 470 mark, we thought about trying to get to 10 years and we thought about, if not 10, then getting to 500 and ending on a milestone. As we looked at everything in our creative business, it was like, this is fun, we enjoy it, but we're not getting as much out of it as we might be if we were actually also writing books, which we also really want to do. It became a time thing and what was the best use of the time. We absolutely miss it occasionally. The whole Heated Rivalry thing, I would've loved to have had episodes to talk about that on, but in the long run, it was worth it. Jo: I mean, one of the things with a podcast, particularly around fiction, was that it was a marketing angle for your fiction. This show is a marketing angle mainly for my nonfiction. So what did you replace the podcast with, in terms of book marketing? Jeff: It was really stepped-up email marketing. I'd always had a list. Will started a list, of course, as he started his new pen name. So it was really turning on that, focusing on that, getting some email marketing with a Bargain Booksy and a Fussy Librarian and a BookBub occasionally to do that work. To be honest, even though we covered things in our genre that if you like what we're talking about, you should like our books, there was never as much of a connection there as you'd want there to be. Even from that book marketing angle, these other things that we can do, it's also a better spend of the money to get those types of promos than it was to continue running the show. Jo: Yes, that is interesting. I mean, obviously I think about podcasting a lot since I have this one, and I put Books and Travel on a hiatus and that was meant to help my fiction and definitely didn't help my fiction sales. But I want to bring it back again because I love doing it. Do you have this hankering sometimes? Do you think you'd ever do the podcast again? Because you are also quite into all the technical stuff and all that. Jeff: It's possible. I've toyed with the idea of doing a short accessibility podcast geared towards creatives, tilting to the same audience that Content for Everyone does. Then I come back and look at the time—is my time better served writing new fiction or perhaps starting a Substack, which I also toy with the idea of, for accessibility stuff? So it bounces around in my head to do another show, but I haven't really decided to jump on that yet. Jo: Yes, and I think that waiting is really good. As you say, you quit a big thing and you don't have to rush to fill it again. I love that you guys are writing more books. So I wanted us to talk about that up front because I know people who listen to this show—I encourage people to start podcasts if you want to, but equally it can take a lot of time. So that's fantastic. Now, you mentioned accessibility, and I feel like the word can be quite difficult for people. So let's just start with a definition. What is accessibility? Why do you care and why should we care? Jeff: So accessibility is really about making sure that whatever the thing is, whether it's something out in the physical world or in the online world, that everybody has access to it. Access to the information, access to getting into a building or being able to cross the street appropriately, whatever that is—that the accessibility of the thing is high. So that regardless of who is approaching it, they can interact with whatever the thing is. If we put that into the digital world, it's about making sure that text on a screen can be perceived by anybody, whether they're trying to read it visually or if they're trying to read it through a screen reader or through a braille monitor. Whatever that is, they need to be able to interact with it, get the information they need, do all the functions of whatever it is on the screen. Check out on Amazon, check out at their favourite e-commerce place, be able to get the products in their cart, check out, et cetera. For creatives, it's about the things that we do: the websites that we build for ourselves, the e-commerce platforms that we use, our email marketing, our social media posts. Making all of that as accessible as we can so that we're not perhaps missing a part of our audience or our prospective audience from being able to engage with our work and in turn, hopefully, buy our books and enjoy our books and become a fan. This became important to me because of my day job. I hadn't really considered this—like, I think most people don't—until I started working at UsableNet. It's going to be 15 years I've been at that company come this autumn, and I really started to see the impacts because UsableNet is all about accessibility on the digital front. I really started to learn, being a project manager for them, what all of that meant and how it impacted people who couldn't buy something online, couldn't book a hotel room, couldn't book an airline ticket. It just really became something I got passionate about. I ended up writing the book because I realised that nobody talks to creatives about this. Nobody tells the independent author what they should do to help make their digital stuff accessible so that they don't miss people. I never expected my day job to interact with my creative side so much, but this certainly has over the last few years. Jo: I mean, has it got better? Like we said, you were on here three years ago. We did talk about some of the things around EPUB formats and taking off DRM and what we need to do on our websites—labelling images, for example, and that kind of thing. Do you think accessibility has gotten better? Jeff: I think the awareness of it has improved, both within the creative community and in the broader web ecosphere, that the awareness is better. There's so much knowledge that needs to go into creating something that is accessible. Sometimes there's so much that you have to think about with colours and alt tags on images and all the little bits and pieces, if it doesn't really come to muscle memory, it's easy for it to fall off. There's a survey that's done by WebAIM every year about the top one million homepages out in the universe, and they surveyed those for just the things that an automated scan can detect, which is a small portion of overall accessibility, and the number of errors across that top million actually ticked up this year. Even though there's all these laws around the world—people get sued all the time in the US—the number of errors ticked up for the first time in a few years. So I think the awareness is up, but I think being able to take action on it and make the time to take action on it isn't where it needs to be. Jo: So last time you gave us all those tips. I'll refer people back to that and also to your book Content for Everyone, which has got loads of great stuff in. I wanted to talk to you for this show because I was sitting watching Claude Cowork—now I use Claude Code a lot more—but updating 140 titles on IngramSpark, where me clicking things and there's like 15 clicks per record on IngramSpark updates for pricing, is an absolute nightmare. I was watching the AI do the work and I realised this isn't just saving me time, it's actually saving my wrist and my arm from repetitive strain injury. That's when I thought about this accessibility thing. As you mentioned, for example being physically accessible into a building, say someone's in a wheelchair, they can't necessarily get into a building if there's no ramp. I was thinking that for many years, being an indie author, being a writer online, there's also been these physical barriers because there's a lot of plumbing and clicking for us. So I wondered, starting with an attitude around a shift in who this is opening up to— How is AI starting to help people with these accessibility issues? Jeff: Yes, there's so much opportunity around this. We should note, just to timestamp this, that we're talking on 14th April 2026, because who knows what will change, even in an hour from now. I think Cowork was one of the first things that we saw, and that's only been out since the very top of this year. Being able to do actual agentic tasks. Other things have sort of gotten there, but Cowork really opened it up. You mentioned the repetitive stress that you would've had clicking all of those forms on IngramSpark across 140 books. But there's that type of stress, chronic pain, cognitive drain for somebody who may have some cognitive disability and trying to work through that form. The cognitive energy just might drain out and maybe knock them out for several days after trying to get through that, or the tasks take them multiple days to do. Someone who has lower vision, someone who's trying to work through that form with a screen reader—all of that draws energy, draws focus. Now we've got something where, with plain language, we could say something like: here's all my pricing information, I've logged into IngramSpark, go update these books. Obviously the prompt's going to be a little more than that, but in broad terms, that's what we're going to tell it. Jo: Hmm. Jeff: And being able to have it go through and do the thing. If it gets stuck, have it come back and say, “Hey, I've got trouble with this. Please help me.” That can just free up so much of the drains that people can have—the things that can take them out of doing the part of the work that they need to do for an author business. They can go write the book through whatever process you're going to use to do that, rather than getting caught up in something like having to update all those books on IngramSpark. Jo: You mentioned writing the book there. I have this real sense of being an able-bodied indie author in terms of my computer use and my ability to write a whole book, a 70,000-word thriller that I write regularly. We're all special in some way, but I do have a reasonably normal brain where I can do this work without too much strain. It's hard work, but I can do it. I meet people who are now using AI to help them write, to help them organise their work—maybe someone has dyslexia or ADHD or cognitive issues or pain—there's just so many things that I take for granted that don't affect me. I hear from people who, at this point in time in the community, are almost shamed for using AI to write. So I wanted to bring this up to discuss it under the terms of accessibility. Do you have any thoughts on that? Jeff: I have real difficulty with people who will say anything in the broad range of, “I don't need to use this thing, and therefore you should not either.” Which is adjacent to indie anti-AI speak that there is out there. Certainly we're living right now at probably the highest point that it's ever been, where more and more there's a sentiment towards not using AI for whatever the reason is. I totally respect that people can have concerns about the environment and about energy use and water use, et cetera. Not to mention all the other things that are on the more difficult side of AI. To shame someone who may not be able to put their story out there without the use of that AI, whichever one they're using, or to shame them because they're using AI to run part of their business—updating IngramSpark, doing other things like that—I think it can come down to there being some ableism there. Ther is some privilege behind that too, where they're just like, “I don't need this, and you shouldn't have it either.” I want to give people just a sliver of an idea of what this can mean for someone who is disabled and what AI can unlock for them. There is a person on LinkedIn that I follow whose name is Hannah Desmond. She's an ADHD coach and a former software developer, and very recently she posted this on LinkedIn. This is a paraphrase of what she said, but: having something that can meet you where you are and help you bridge that gap is what I think I have found so helpful about using AI. Here's what I keep coming back to. Without that support, I wasn't more motivated or more capable. I was just stuck. That's the bit that gets lost. We've been taught that struggling is how you know you're doing it properly. So when something reduces the struggle, it can feel wrong—even when it's the thing that actually makes the work possible. Because there's a difference between avoiding thinking and being able to think at all. I think that rounds it up. She's talking about her time as a software developer, but you can apply that to any realm of AI when we're thinking about trying to shame someone for why they may be using it. We may not know that they have a disability because we don't always share that part of ourselves. So I really feel strongly about that and how we are in this culture of shame. Jo: Yes. It drives me up the wall, actually. But I will also say: you don't have to have a disability or accessibility issues in order to use AI in whatever way you personally decide is okay—talking to the listeners now. I think Orna Ross from the Alliance of Independent Authors says it well, which is you should have your own AI policy. So you personally decide where your lines are, how it helps you, what you want to keep for you, and what you want help with. I was also thinking in terms of accessibility around money. Again, for many of us, professional cover design, professional editing, professional human-level translation, these are things that are pretty pricey for many people. So again, this makes it more accessible. One of the reasons we got into the indie way and being indie authors was to try and remove the barriers to entry to people who have been excluded from the environment of publishing. So, yes, it is really hard to talk about this, and yet that's why I wanted to talk about it, because— There's so many variables for each individual and there's no situation that's the same, really, is there? Jeff: No, not at all. The things that I may need to do my work in the most efficient way possible is different from the way that you're going to work, is different than the way my husband's going to work, is different than every other person and the way that they're going to work. Which is why any kind of blanket statement about “I don't need something and therefore you shouldn't need it either” can just be so problematic, because we have no idea what someone else is going through. Either it's a permanent part of their lives or maybe it's something that is happening temporarily with them where they might need to leverage other tools. Jo: Yes. Talking about that temporary, I think I really got the first sense of this when I had COVID the first time, which was really bad. I remember I was so sick, the only thing I could do was listen to an audiobook. I couldn't think, I couldn't read. It was really probably months of not having my brain back. Then the other thing that's happened as I age, as women age, is menopause kicks in and the brain fog is a real thing. I've heard from other people too who've said having Claude or whoever, an AI tool, to help with the brain fog is so important because otherwise I just wouldn't be able to gather my thoughts. Again, as you said— Even if we don't need these things now, it's quite likely we're going to need them at some point, given ageing, given the potential for injury and disease. I mean, we don't escape this alive, do we? Jeff: Yes, that's a great point because unless we're extremely lucky as individuals, we're all likely to have some sort of a disability in our lives at some point. I know for me, as I age and my eyes get more and more tired after being in front of a screen all day for work, and then whatever creative stuff I do in the afternoon on a book—when it comes near bedtime and I do want to read, I probably want to do that with an audiobook, much more audio, especially for any long reading project. That can also be like, if I have a long document or a long article to read, I am likely to give it to ElevenReader, let it load itself up, and then listen to it, because I take the information in better than trying to follow words across a screen. Jo: Yes. Jonathan, my husband, now also listens to a lot of academic papers on ElevenReader. Most of us will know it as where we publish some audiobooks from ElevenLabs, or you can also publish other things there. So it is super useful to think about what we can do with ElevenReader. Another thing that I found really useful recently is NotebookLM. On NotebookLM, there is a free tier. You can put various things in there and then create a custom audio. So this is something I've been doing as part of research. You can put in, say, 10 YouTube videos or some PDFs or your book or whatever, and then you can create a custom audio. Then I'll go for a walk and I'll listen to the custom audio, and then I'll go back and look at the detail of what it was. It gives me the framework of whatever I'm thinking about on a broader level, and then I can come back to the details. So again, it's this multimodal approach that can help us manage our energy, I guess. Jeff: And it's all about the managing of the energy, I think, too. That is a great way to think about the accessibility of it all. You mentioned a great use there for NotebookLM. That could also be putting your book in there and having it help you build a world bible or something like that. Or building marketing materials off of that. There's a lot of things now that NotebookLM can do in terms of helping you create FAQs maybe for a newsletter or for your website, and building video stuff off of the material that it has. So there's a lot of options there, and ever-growing options that can be useful for someone to manage any number of the things that they may need in their creative business. Jo: Yes. In fact, talking about Claude, there are a lot of Claude plugins now, skills and integrations. Shopify just released a Claude plugin and many of us now have Shopify stores. I have a lot of products with a lot of different variations and the metadata. There's so much metadata. And again, I'm just so pleased now that I can work with Cowork and get it to actually update directly into Shopify. In fact, coming back, you mentioned updating alt tags earlier. That's something again that AI could help you update—the back list of your alt tags on a website. I've now got my Cowork doing EPUBs so I could finally update all my EPUBs with back matter and all of this kind of thing. So I feel like perhaps we could go beyond accessibility to talk about amplification. All the things that we didn't do because it was too tiring and we just couldn't be bothered, or it would just be way too much work, that now it's opened up as a possibility because of these tools. Jeff: Absolutely. I mean, you look at a backlist as large as yours and the things that you're now able to do. I didn't know that Claude had a Shopify plugin. So the abilities that we have now to maybe do things in the business that we hadn't before. One of the things I've been working with Claude on is rewriting my website and creating a more proper website for Will. I'm really making sure that it is not only SEO prepared but also GEO prepared, with all the metadata and all the backend code schema that it needs so that LLMs can find me, can understand what I do, can understand the books, branch out to the other areas that it needs to. Doing that through WordPress would've been so much more difficult, even with Claude, that to be able to rewrite the site in a way that is going to let me manage it better so that I will do it on a more consistent basis. Whatever that thing is, we're now able to do these things. That could be updating keywords in Amazon or making sure we're aligned across all of the sales platforms that we might be on and things like that, that Claude can do and do well. Jo: Yes, I think marketing is just the killer app really for people, isn't it? I think most authors do not enjoy marketing. I find Claude better for creative work, for strategic work, for doing work through Cowork or Code, but— ChatGPT with marketing copy is very, very good. So I've actually been using that as we record this. I've got a Kickstarter launching next week, so I've been getting it to do ad copy and social media copy and all that kind of thing. This is stuff when you have to produce—give me 20 taglines, give me 20 hooks, give me another 20 and another 20. I mean, we just cannot do it as humans, right? Jeff: Yes, I have found GPT wildly helpful. I mentioned trying to get Bargain Booksy and Fussy Librarian promos. Jo: Mm. Jeff: And you have to give it the marketing hook, and it can't just be the blurb that's on Amazon—it's got to be something fresh, and they each have slightly different requirements. Having GPT—here's the blurb, give me a dozen different options—and then I may take pieces of all of them and create one of my own. But it reworks that much faster than my brain was ever going to try to find the right thing I want to give to Bargain Booksy. Jo: Yes, you are right. Or it says write this in 300 characters or less. Jeff: Yes. Jo: I do exactly the same. That kind of transformative work can be really good. In fact, there was somebody I know who has been rampantly anti-AI for years and then said, “Would this help me? I have to do a synopsis for an agent, so I've got this 100,000-word book and it needs to be a 10-page synopsis. How would I do that with AI?” So I was encouraging her to take each chapter and ask it to summarise the chapter, and of course read through it and everything. But I mean, doing a synopsis once you've actually written a book—that can be super useful. So I think what we're saying is— There are levels of need in terms of both the author and the audience. Then there are levels of your personal use from one end of the spectrum to the other in terms of how far you want to go in every area of the business. And in that way, it's just different for everyone. Jeff: Yes, and I think getting to that mindset shift that we were talking about a little bit—it can be so easy to dip your toes in. That one author came to you and said, “Do you think it could do this?” And I think that's the beginning exploratory area for perhaps anyone. People are going to hear us talk about this and it might inspire them to go try something that we've talked about. But these things, whether it's Claude or GPT or Gemini or whichever one it is, you can come to it and say, “I'm an author, I have X, Y, Z going on in my life”—whether that's a disability, whether that's a time constraint because you have a day job and maybe you have kids and a family that need your attention—”I have these time constraints, I want to do X, Y, and Z in my business. How can you help me with that?” It's going to tell you what it can do to help you with that. I would even say, if you have the ability to have multiples of these, you could ask the same question to GPT and Claude, and they're going to give you similar answers in some instances, but they may also have different ones because of the abilities that the different platforms have around these things as well. That can help you make that mindset shift of, “Well, now I see that it can do that. Could it also do this?” And then ask it if it could do that. Because I know for me, Jo, I've taken so much from you and your journey with Cowork that it's like, “Oh, she did that. I wonder if I could do this.” And all of that piles on top of itself. Then eventually I think your brain starts to think on its own, “Oh, I have to do this task. Can Claude maybe do this for me? Let's go find out.” Jo: Yes, and if it couldn't do it for you yesterday, you never know, it might be able to do it tomorrow. Jeff: Right? Because I haven't tested yet its new ability to actually use your computer. Jo: Mm. Jeff: And I'm curious what that might open up. Because one of the things that I've seen that I wish it would do is be able to take the EPUB that's on my drive and actually put it into a platform I'm trying to upload to. Cowork on its own hasn't been able to cross that barrier, but I wonder if with computer use added to that, if it could. Like, “here's the EPUB, upload that over there,” be able to pick it from the file picker, essentially. Jo: Yes. I think, well, a little tip for everyone: I wouldn't give access to your entire file system to the AI. Jeff: That's a good point too. Jo: Yes. I have a Claude folder in my drive and it only has access there. So if you put files in that drive, it might be able to do that. But I know what you mean. I have been using it to help me publish things in German on KDP. Now I can use the browser, so you can actually do that. In terms of uploading the actual file, I know what you mean. These things will change. As we record this, again middle of April, we are almost about to get the next models being Mythos, which might be Claude 4.7 Opus, or also ChatGPT has a new model coming, and these models are getting very powerful. With every shift they can do more things. So as you say, the very first thing to do is ask it, “I want to do this—what are my options?” And some of them, for example, doing an AI-narrated audiobook, ChatGPT and Claude don't do that. You want ElevenLabs or one of the other services for that, but they can tell you what your options are. So that's one thing, but I wondered if you have any thoughts on the gaps that you are seeing. You mentioned one there around file uploads, but— What do you hope might come and some of the things that might be exciting if they arrive? Because you never know, they might be here already. Jeff: There's certainly some movement in some areas. One of the things I'll share is, in March I was at the 2026 CSUN Assistive Technology Conference—CSUN is California State University, Northridge—and they've run this conference for some 40 years now. One of the sessions I went to was from Tara Maisel—I hope I'm pronouncing her last name right. She's a senior project manager in books accessibility at Amazon, and she was doing a session specifically on readability. She had all kinds of statistics and information about what goes into making something readable. One of the things she talked about with AI was the future of personalised reading. If you think about the Kindle app, for example, there's a lot of settings you can make there—font size, colours, brightness, text spacing. There's a lot of tools in there. She was pointing out that potentially readers don't even know what they actually need for the optimised visual reading experience. She sees a world where AI can perhaps do an analysis of your reading behaviour and then help you find the optimal settings. Maybe even multiple optimal settings for, say, if you were reading in a room that had daylight versus at bedtime, and the ways you might shift it. I was almost thinking of this like when you're at the optometrist and they're like, “Which lens is better—this one or that one?” Jo: Oh, sometimes that is very hard. Jeff: Yes. It's that AI could step you through that a little bit to help you find that optimal reading experience in that moment. And then it might even notice, potentially, if you're changing something in the way that you're moving through a page, that it might flag to say, “Hey, do we need to adjust something?” Some other areas that I think are really exciting, for everyone and perhaps particularly for people who are disabled and needing the support of some assistive technology, is what we're seeing in the browsers. OpenAI's Operator has been out for quite a while now, since sometime I think autumn of last year. Perplexity Comet has been around even longer. Then we've got browser extensions from Gemini and Claude that are available, that can let you just type natural language. You know, “Please go find for me jeans in this size that are on sale on this website. Find me the best price for blue jeans on this site and this size,” and it'll just go do it. Which can certainly speed things up for people in the disabled community to find things quickly, to spend time navigating less, and maybe ending up with the AI coming back and saying, “I found these five things. Which one would you like me to buy for you?” Or, “I found this one thing that you do need and it's waiting for you in your shopping cart.” The ability for that on the horizon is an amazing jump from an accessibility point of view. But really it's one of those things that accessibility will then help everyone because we can all just shop that way, if we choose to. These are early days for these browsers and these extensions. The other side of it comes back to basic web accessibility too, because I've seen these types of activities not work so well on a site that may not actually be accessible on its own. A great example is something I ran into with Claude Cowork about a month ago. I was testing to see if it could help me navigate and get things uploaded together for a site where I wanted to upload books, knowing again that it's not going to upload the actual file, but it could fill in the metadata from my master database of metadata stuff. There were areas on the site that it actually couldn't hit the button, because the site itself was also not functional to a screen reader. So there are gaps there. It's early days, but I really see that as an interesting future that'll really help people with disabilities—but again, help everybody too, just manage time better. Jo: I know exactly what you mean there. I've done some collaborative work with Claude Code when it's like, “I can't click the button,” and I'm like, well, I'll click the button—you fill in everything else. Jeff: Exactly. Jo: It's actually quite a funny situation. But goodness, coming back to IngramSpark again—these things need APIs. We need better functions. It's funny because I think a lot of traditional publishers have these APIs or backend upload things that you can do. I'm like, well, we need to get to that with these systems. But I think things will change. Another thing that I think has also shifted is the use of voice. Voice for dictation—it used to be with dictation that you would have to say “comma,” “open quote,” “new line,” and all of that. And you'd also have to make sense. Whereas now I feel like you can just dictate a whole load of things to these AIs and then say, “Tidy that up,” and they will do a lot more than the old situation. So I think voice will also help. Also automatic translation. I don't know if you know this about X, and if you're on X anymore, but just this week they've made it multi-language. So I can read tweets by people who've posted in another language in English. I can read something from Korean or read something that someone French has posted and it gets translated. It has made a huge difference to the content I'm seeing, which is fascinating because I don't think we've ever had this kind of automatic “everything is translated into your language” situation. It's really got me thinking about how [automatic translation] might work for eBooks or other things if the rights are there. I don't know. Have you seen stuff like that? Jeff: There's so much available now with voice and the ability to not have to speak all the other stuff that went with it—comma, full stop, next line. It was a little mind-bending sometimes, trying to think about quote marks and all that stuff. And now it's so good. Different platforms do it to different degrees of ability. Even being able to speak your prompts into the very platforms themselves without having to type all of it. Chronic pain comes to mind, any kind of mobility thing—all the typing would be a drain or maybe even impossible. So the voice ability is so powerful there and unlocks more things. At the same time, those translation abilities—I believe AirPods now have the ability, if you've got the right stuff on your phone, that you could be talking to somebody, they may speak back to you in a language you don't speak, but your AirPods will give it to you in your language. Jo: Hmm. Jeff: Google has, I believe, a live captioning app that you can use. I think there's even a split screen—I don't know if that's available now or something in their future—where you could put the phone on the table and tell it who's looking at what side of the screen, and it'll put the language that I need on my side and the language the other person needs on the other. So there continues to be such a shift in how we're being able to translate stuff that really opens up communication and can open up our books to so many more people. I'm very interested to see—I haven't pulled the trigger on this yet—but how Amazon's auto-translation rolls out and how that's received in terms of the accessibility around our books and being able to put it in someone's hands who doesn't speak—I think it's only English to other languages right now—but who doesn't speak the language it was written in but wants to read that book. We could never, as indies, or really even big five publishers, wouldn't have the money to create custom translations everywhere. But if the AI can help do that and spread those books around so that everybody could have the story they want to read, I think that's such a win for the reading audience. Jo: Yes, I think it's so exciting to think what might be coming, and that's what I want to stay on the side of on the AI discussion. There's enough negativity out there and you can get that information somewhere else, but for me I want us to stay on the positive side of how this helps both the author and the reader. And hopefully the community, to create more and read more and enjoy being human more. Right? Because I find that I do get out more and listen to stuff, or I'm out walking instead of at my desk, and I mean, that's what it's about. I'm pretty excited about the future. How about you? Jeff: I am. I think there are, quite honestly, some scary things that could be out there in the future. I mean, there's been a lot of talk about what Mythos is capable of. But on the other side of it, there are all these advances. I also look back at Google and AlphaFold and what DeepMind was able to do there for science. There's more of that stuff out there, and individually for each of us, spending a little bit of time—and I do have to say, I think you need to spend time on a paid plan because the free stuff doesn't give you the idea of what these platforms are actually capable of. So if you only drop in, even briefly, to experiment on one of the $20-a-month plans and give it your situation, ask it what it can do for you, I think you'll see where, on a personal level, AI will help you unlock some things. It can help you move some things to the next level in your business that for whatever reason you haven't been able to do. You don't have to use it for everything. You may decide that it's still not for you for whatever reason, and that's fine. But I think there's so much to explore here and to let your curiosity run for a little bit to see what's possible and what you might unlock with it. Jo: Brilliant. So where can people find you and your books and everything you do online? Jeff: So pretty much everything lives at JeffAdamsWrites.com. Jo: Well, thanks so much for your time, Jeff. That was great. Jeff: I loved it, Jo. Thanks for having me..The post Accessibility And AI: How New Tools Are Opening Doors For Indie Authors With Jeff Adams first appeared on The Creative Penn.

In this episode, we're talking with Haley Duncan about how she went from near bankruptcy to building a multimillion dollar business doing $156K+ per month in just 12 months. Haley shares how she launched a viral product, leveraged social media, and scaled through strategic outreach. Check out Seald Wellness: https://sealdwellness.com/  If you want to start a business like Haley's, join the bootcamp at https://capitalism.com/bootcamp Timestamps (0:00) Haley's journey from bankruptcy to $2-5M annually (2:00) Early wins with KDP journals (5:00) The first failed e-commerce business and hard lessons (10:00) Taking control of bookkeeping and learning the fundamentals (15:00) Maxing out credit cards to fund inventory (20:00) Finding the right product idea with a manufacturer (25:00) Building the launch list with a simple email (30:00) Creating viral content across platforms (35:00) Why mouth tape was the perfect viral product (40:00) Going all in on influencer outreach (45:00) Building a raving fan base through one-on-one outreach (50:00) Scaling with ad agencies (60:00) Testing and reinvesting in top content (70:00) How hitting $1M shifts your mindset (80:00) Applying the playbook to future products

If you weren't aware, there's a growing “sustainability” threat brewing within the multibillion-dollar U.S. coffee segment coffee of Keurig Dr Pepper! And since I believe Batman doesn't need caffeine to get through his dark nights, the Bat-Signal would likely prove ineffective at summoning the superhero. So, where does KDP turn next? Maybe Anthony DiSilvestro doesn't look like your typical DC Comics superhero, but this man certainly knows the “business of plastic” via other famous fictional characters. It's estimated around 80% of all toys end up in landfills, oceans, or incinerators…meaning the former CFO of Mattel should intimately understand how even a small plastic item can generate significant long-term sustainability issues.

Hay novedades en Amazon KDP y, si publicas tus libros en la plataforma, te conviene estar al tanto.No es un cambio menor. Amazon ha modificado su sistema de pagos y gestión fiscal, y dependiendo de cómo tengas configurada tu cuenta, puede afectarte directamente en el dinero que recibes cada mes por tus regalías.La buena noticia es que tiene solución. Y es rápida.¿Qué está pasando exactamente?Muchos autores están recibiendo ya un aviso en su cuenta de KDP pidiéndoles que actualicen sus datos fiscales. Algunos lo están ignorando. Y eso, como te puedes imaginar, no es buena idea.En nuestro canal de YouTube hemos publicado un vídeo donde Ana explica con detalle qué ha cambiado, por qué ha cambiado y qué tienes que hacer tú ahora según tu situación concreta. Porque no es igual si publicas como particular que si lo haces como autónomo o empresa. Y tampoco es igual si estás en España que si publicas desde Latinoamérica.¿A quién afecta este cambio?A todos los autores que publican en Amazon KDP. Sin excepción.Pero hay algunos casos donde actuar rápido es especialmente importante. En el vídeo descubrirás si el tuyo es uno de ellos.También hay una novedad específica para autores de México, Colombia, Argentina y otros países latinoamericanos que puede tener un impacto directo y bastante significativo en sus cobros. Es algo que no habíamos visto antes en la plataforma y que merece atención inmediata.¿Qué pasa si no haces nada?Esa es precisamente la pregunta que responde el vídeo. Y la respuesta no es tranquilizadora.Lo que sí te puedo decir es que Amazon tiene mecanismos automáticos que se activan cuando los datos de tu cuenta no están en orden. Y una vez que se activan, recuperar el control de tu cuenta no es tan inmediato como te gustaría.Diez minutos que pueden ahorrarte un disgustoEl vídeo dura poco más de diez minutos. Es directo, va al grano y está pensado para que puedas aplicar los cambios en tu cuenta mientras lo ves.Sin tecnicismos innecesarios. Sin rodeos. Solo lo que necesitas saber y hacer.

Matty Dalrymple talks with Jeniffer Thompson about YOUR HUMANITY IS YOUR BRAND, including how AI search actually rewards the content you've already created, the SEO fundamentals that still matter including the KDP keyword trick most authors miss, why your brand is your promise and not your logo, how to choose platforms based on your emotional bandwidth rather than what everyone else says you should do, and why the most discoverable thing about you is your humanity.   Interview video at https://www.youtube.com/@TheIndyAuthorPodcast/podcasts Show notes, including extensive summary and transcript, at https://www.theindyauthor.com/episodes-all   If you find the information in this video useful, please consider supporting The Indy Author! https://www.patreon.com/theindyauthor https://www.buymeacoffee.com/mattydalrymple   Jeniffer Thompson is an author branding coach, book marketing strategist, and publishing consultant who helps authors clarify their message and build sustainable visibility. She co-founded Monkey C Media in 2004, an award-winning book cover and website design studio, and hosts The Premise podcast. Jeniffer is also a co-founder of the San Diego Writers Festival and a founding member of the International Memoir Writers Association.   Matty Dalrymple is the author of the Lizzy Ballard Thrillers, beginning with ROCK PAPER SCISSORS; the Ann Kinnear Suspense Novels, beginning with THE SENSE OF DEATH; and the Ann Kinnear Suspense Shorts. She is a member of International Thriller Writers and Sisters in Crime. More at mattydalrymple.com. Matty also writes, speaks, and consults on the writing craft and the publishing voyage, and shares what she's learned on THE INDY AUTHOR PODCAST. She writes nonfiction books for authors; her articles have appeared in Writer's Digest magazine; and she is a Partner Member of the Alliance of Independent Authors. More at theindyauthor.com. She also guides professionals in building their presence through a sideline or second act through her platform From Expertise to Authority. More at theindyauthor.com/authority.

Boom Bap Basics Vol. 13 by KDP by Kurlee Daddee Productions

Your Amazon book page might be costing you sales—and the worst part is, you probably can't see it.Most authors assume that once their book is uploaded, the hard part is done. But in reality, your Amazon page is a live sales environment, and small misses can quietly kill conversions every single day. A great book isn't enough if the page around it isn't doing its job.In this episode, we break down the hidden issues that stop readers from clicking “Buy,” starting with the two-inch thumbnail test. Can your cover be read instantly? Does it signal the right genre in seconds? If not, you're losing readers before they ever click through.We also get into the mechanics of a high-converting description—why your first 140 characters matter more than anything else, how “burying the lead” drains momentum, and what actually turns casual browsers into buyers. From there, we look at A+ Content (the “From the publisher” section) and how to use it strategically—even if you don't have awards, endorsements, or a big platform.You'll also hear why most keyword strategies fail, especially when they're built using tools or AI that don't reflect real shopper behavior. We walk through how readers actually search on Amazon—and how to align your keywords with that behavior so your book shows up where it should.We cover one of the most expensive mistakes authors make: running ads to a page that isn't optimized. If your page doesn't convert, you're not just wasting money—you're actively training Amazon's algorithm to stop showing your book.Finally, we unpack “ghost categories,” how to identify them inside KDP, and why being in the wrong (or invisible) category can quietly tank your visibility.If your book isn't selling the way it should, your Amazon page is the first place to look—and this episode shows you exactly what to fix.Subscribe, share with an author who needs this, and leave a review if you find it helpful. Got a question or topic idea? Text “podcast” to 888-402-8940.Send us your feedback!Help shape our 2026 content by taking our 30-second listener poll!

Following the election of President Nizar Amedi, Iraq's political elite are scrambling to determine who will lead the next government and struggling to agree on even the most basic rules for making that decision. This episode unpacks the political deal behind Kirkuk's government reshuffle, the KDP's self-defeating parliamentary boycott, and the Coordination Framework's paralysis over nominating a prime minister ahead of the April 26 deadline. The hosts also step back to ask a harder question: does it even matter who gets nominated if the ruling class refuses to prioritize integrity over political self-interest?

For decades, soda giants fought over sugar and fizz…but now the battlefield has shifted to protein shakes. In my latest content, I break down why Keurig Dr Pepper (KDP) is no longer content being an RTD Protein categorical spectator, as The Coca-Cola Company (via fairlife) and PepsiCo (via Muscle Milk) dominate the shelves. From "nostalgia-hacking" the market with the upcoming GHOST x Yoo-hoo collaboration to a potential power move involving Horizon Family Brands, KDP is building a "functional fort" to challenge Coca-Cola's dairy dominance. I'll provide deep insights regarding...Ghost x Yoo-hoo Launch: Why childhood nostalgia is KDP's biggest asset."Milk Gap": How a partnership with Horizon Organic could create a "cleaner," better version of fairlife.Strategic Proxy Wars: The roles of Monster Beverage, Celsius Holdings, and Nutrabolt in the larger beverage ecosystem.Future of KDP: What the 2027 business separation means for the "Performance in a Can" era.Is KDP's aggressive play into ultra-filtered milk and lifestyle protein enough to potentially close the gap on fairlife? Let's dive into the data.

On April 11th, Iraq's parliament elected Nizar Amedi as president of the republic — ending months of political deadlock. This episode breaks down what finally forced parliament to act, why the KDP's strategy failed for the third consecutive time, and what the election of Amedi reveals about shifting alliances in Iraqi politics. The hosts also discuss the calculus behind deciding the next prime minister and what it could mean for Iraq's future.

Michele DeFilippo is the founder and driving force behind 1106 Design, a full-service book publishing company based in Phoenix, Arizona. With more than 50 years of experience in the book publishing industry — spanning traditional publishing, the rise of indie publishing, and the self-publishing revolution catalyzed by Amazon — Michele is one of the most respected voices in author services today.She founded 1106 Design in 2001 after the publishing industry was disrupted by technology, with a singular mission: to help independent authors publish professionally, keep 100% of their rights and royalties, and produce books that compete on equal footing with traditionally published titles. Her company provides a complete "manuscript to market" solution, including editorial evaluations, copyediting, custom book cover design, interior typesetting, eBook conversion, audiobook production, author websites, and publishing support.Michele is also the author of Publish Like the Pros: A Brief Guide to Quality Self-Publishing, an 88-page guide available as a free download at 1106design.com. She has been featured across numerous podcasts, YouTube channels, and industry publications, and contributes regularly to IngramSpark's blog on self-publishing best practices.Schedule a call with Michele today >>WHO IS THIS FOR?Aspiring authors who want to publish without giving up their rights. Self-publishing authors who suspect they're leaving royalty money on the table. Business owners, coaches, and consultants who want a book as a credibility tool. Anyone pitched a "bestseller package" who wants to know if it's legitimate. Podcasters and content creators exploring long-form publishing as a brand extension.Episode SummaryIn this interview on the We Don't PLAY!™ podcast, Favour Obasi-ike, MBA, MS sits down with Michele DeFilippo to unpack one of the most misunderstood and financially consequential decisions an author can make: who to trust with your book. Over 22 minutes, Michele delivers a masterclass on the difference between traditional publishers, hybrid publishers, and true service providers — and why that distinction can mean the difference between earning $0.90 per book sold versus $6–$8.The conversation covers the full publishing landscape: how self-publishing emerged alongside Amazon, why so many "publishers" are actually double-dipping on author revenue, how to use KDP and IngramSpark to distribute without a middleman, what makes a book cover convert (and why it matters more than most authors realize), the truth about Amazon "bestseller" badges, the art of professional typesetting, and how to set realistic expectations before publishing.Michele closes with a transparent overview of how 1106 Design works, what authors should prepare before reaching out, and why the best way to make money with a book is often not through retail sales at all.TIMESTAMPS[00:00] — Intro: Michele DeFilippo, founder of 1106 Design, 50 years in publishing[03:20] — Publisher vs. service provider: the distinction that determines your royalties[06:12] — The hybrid publisher double-dip: earning $0.90/book instead of $6–$8[09:11] — KDP and IngramSpark: the two platforms every self-publishing author must know[10:01] — "Pump and dump" publishing: the automated book trap[11:00] — Book covers as the #1 conversion driver: the job interview analogy[12:48] — A/B testing covers the right way: "liking vs. buying"[14:34] — The Amazon bestseller badge: how it's manufactured in 45 minutes[17:08] — Professional typesetting vs. basic formatting: why it matters[20:49] — Using a book as a business development tool, not a retail productMEMORABLE QUOTES"If you have no investment in my book, what entitles you to any portion of my profits?" — Michele [06:45]"There's retail sales, and then there's making money with your book another way — and that other way is usually better." — Michele [20:49]"The question isn't which cover do you like. It's which cover would you spend money on." — Michele [12:48]"A book that earns $2,000 in royalties but generates $50,000 in consulting revenue is not a modest success. It's a high-ROI asset." — Favour [21:10]"Typesetting is working on every line, every word, every paragraph — it's not just formatting." — Michele [17:08]FAQsWhat is the difference between a publisher and a service provider?A publisher acquires your rights and pays a royalty. A service provider charges once and steps away — you keep 100% of all future revenue.What makes hybrid publishers problematic?They charge upfront fees and also take a cut of every book sold — reducing per-book earnings from $6–$8 down to $0.90 on a $19.99 title.Which platforms should every author use?KDP for Amazon and IngramSpark for bookstores and libraries. Both have royalty calculators so you know exactly what you'll earn.Are Amazon bestseller badges legitimate?Most are manufactured in 45 minutes by selecting a low-competition subcategory. A genuine Nielsen bestseller is an entirely different credential.How do authors actually make money with a book?Treat it as a business development tool. Speaking fees and consulting revenue typically far exceed retail royalty income.GLOSSARYService Provider — Charges a one-time fee; takes no ongoing royalties. The author retains 100% of rights and revenue.Hybrid Publisher — Charges upfront fees and also takes a percentage of sales. Double-dips on author revenue.KDP — Amazon's self-publishing platform for print-on-demand paperbacks and Kindle ebooks.IngramSpark — Distributes to independent bookstores, libraries, and international retailers.Typesetting — Professional design of a book's interior: fonts, spacing, margins, and chapter breaks.Print-on-Demand — Books printed individually as orders are placed. No inventory risk.Ready to Rank? Book Your SEO & Web Dev Services Today

Welcome to FIRST of many live episodes of the SMBS. You can join us live Tuesdays at 1pm. Today we talk about mindset, the merging of the podcasts, and KDP mass account deletions. What's one thing you can work on related to your mindset on a daily basis? Today's top story is… KDP Account Closures. Question of the week is What's one thing you can work on related to your mindset on a daily basis? Join the Sell More Books Show Afterparty group on Facebook and answer the Question of the Week in the comment section. Be sure to leave us a review on Apple Podcasts.

Amazon KDP quietly rolled out a few new updates, and authors should take notice. I cover the new dashboard changes, the updated Rights and Pricing page, and the new ability to download your latest manuscript or cover file. Plus, I break down The New York Times expanding audio best-seller lists, a scam warning from Writer Beware, cautionary notes from Book Bounty, and a rapid-fire newsflash featuring ProWritingAid, Miblart, and Book Brush.  My Discord Community - https://DaleLinks.com/Discord  KDP - https://kdp.amazon.com New York Times: Announcing Updates to Our Best-Seller Lists - https://www.nytco.com/press/announcing-updates-to-our-best-seller-lists/  Writer Beware: Watch Out For This Scam Impersonating Editors at Major Publishing Houses - https://writerbeware.blog/2026/03/27/watch-out-for-this-scam-impersonating-editors-at-major-publishing-houses/ Book Bounty - https://DaleLinks.com/BookBounty (affiliate link) Rapid-Fire News Flash ProWritingAid - https://DaleLinks.com/PWADeal (affiliate link) - 25% off annual plans; offer good through April 13, 2026 ProWritingAid Story Credits - https://dalelinks.com/storycredits  (affiliate link) - Up to 73% off; offer good through April 13, 2026 Miblart Cover Design - https://DaleLinks.com/Miblart (affiliate link) - 20% off with EASTER20; offer good through April 9 Did you miss the deal? Then take 10% off with DALE10.  Book Brush: Automate the Boring: A Beginner's Guide to Author Automations with Chelle Honiker - https://us02web.zoom.us/meeting/register/ct5GIzSoTmqMcLZ7U6Bh2w#/registration   Subscribe to my email newsletter - https://DaleLinks.com/SignUp Join Channel Memberships - https://DaleLinks.com/Memberships Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@dalelroberts My Books - https://DaleLinks.com/MyBooks Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

We're only a couple of days into the week, but we've already seen some large merger & acquisition deals that could shake up the consumer goods and the food distribution industry. If that weren't enough, the healthcare industry has its own deal announcements. Plus, mailbag questions Tyler Crowe, Matt Frankel, and Lou Whiteman discuss: - Sysco's $26 billion deal for Restaurant Depot - McCormick's $44 billion deal for Unilever's food division - The track record of major consumer brand mergers - Eli Lilly acquiring Centessa Pharmaceuticals - Listener question: Thoughts on Whirlpool? Companies discussed: SYY, MKC, UL, KHC, BUD, KMB, KDP, PFGC, USFD, LLY, CNTA, WHR Host: Tyler Crowe Guests: Matt Frankel, Lou Whiteman Engineer: Dan Boyd Disclosure: Advertisements are sponsored content and provided for informational purposes only. The Motley Fool and its affiliates (collectively, “TMF”) do not endorse, recommend, or verify the accuracy or completeness of the statements made within advertisements. TMF is not involved in the offer, sale, or solicitation of any securities advertised herein and makes no representations regarding the suitability, or risks associated with any investment opportunity presented. Investors should conduct their own due diligence and consult with legal, tax, and financial advisors before making any investment decisions. TMF assumes no responsibility for any losses or damages arising from this advertisement. We're committed to transparency: All personal opinions in advertisements from Fools are their own. The product advertised in this episode was loaned to TMF and was returned after a test period or the product advertised in this episode was purchased by TMF. Advertiser has paid for the sponsorship of this episode. Learn more about your ad choices. Visit ⁠⁠⁠⁠⁠⁠⁠⁠megaphone.fm/adchoices⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Amazon's latest algorithm changes are giving authors more proof that they need to bring their own traffic, while KDP print quality concerns keep pushing some authors to look at other options. In this self-publishing news update, I cover new insights from Written Word Media, a trust-shaking Grammarly lawsuit, LaterPress AI tools, Voices by INaudio, Draft2Digital features, and more. You'll also hear quick updates on Spoken, Booklinker, Twin Flames Studios, and rising self-publishing stats. All that and more in the Self-Publishing News for March 27, 2026.  PRF Law: Class Action Alleges That Grammarly Misappropriated the Names of Journalists and Authors Through its "Expert Review" That Lets Users Get Feedback on Writing From Experts - https://prf-law.com/current-cases/class-action-alleges-that-grammarly-misappropriated-the-names-of-journalists-and-authors-through-its-expert-review Written Word Podcast: The Amazon A10 Update: 3 Things Every Indie Author Needs to Know - https://www.writtenwordmedia.com/the-amazon-a10-update-3-things-every-indie-author-needs-to-know/ Vervanté - https://vervante.com/ Laterpress - https://Laterpress.com Laterpress: An Introduction to Laterpress AI | Special 2-hour Launch Stream https://www.youtube.com/live/E-h-WZR4mx8?si=4DUeL18jZiokE92t Voices by INAudio: Welcome to the Voices Newsletter - https://voicesbyinaudio-newsletter.beehiiv.com/p/welcome-to-the-voices-newsletter-8bc7af69628f447c Draft2Digital - https://DaleLinks.com/D2D (referral link) Rapid-Fire News Flash  Spoken x Author Nation: Choose the Winner in "Your Story" Audiobook Contest - https://www.spoken.press/yourstory Spoken: Spring Sprint - https://www.spoken.press/sprint Twin Flames Studios: Launch Strategies That Fit You (webinar) - https://twinflamesstudios.com/launchstrategies/?partnerid=r1397  BookLinker: Getting Started with BookBub Ads (webinar) - https://booklinker.mykajabi.com/Bookbub-Ads-Authors   Subscribe to my email newsletter - https://DaleLinks.com/SignUp  Join Channel Memberships - https://DaleLinks.com/Memberships  Join Me on Discord - https://DaleLinks.com/Discord  Check out my main YouTube channel - https://www.youtube.com/@dalelroberts  My Books - https://DaleLinks.com/MyBooks  Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

**** New Pet edge coupon code is TRAVELER10*****Welcome aboard to another lively episode of the Traveling Groomers Podcast! Today, Chris Anthony, Mary Oquendo, and their special guest, Barkleigh Award-winning author Angie Coates, dive into the world of pet grooming, creative writing, and all the hilarious pitfalls and triumphs along the way. We're kicking things off with a behind-the-scenes peek into Anjie Coates's motivation for her latest book, "The Grooming Witch of the Iron Ledge"—spoiler alert: it was sparked by frustration over poorly portrayed groomers in popular media. The hosts swap stories about writing styles—from structured outlines to composing whole chapters in the shower—and how neurodiversity shapes their creative processes. You'll also get the inside scoop on the realities of self-publishing, from formatting woes and choosing between KDP and IngramSpark, to the unique challenges of creating audiobooks and selecting the perfect narrator. Plus, the conversation meanders through the importance of readable print size (shoutout to Miss Betty!), website tips for pet professionals, and the supportive, tight-knit nature of the grooming community. With plenty of laughs, lessons learned, and a few candid stories about trade show bloopers, this episode is packed with advice, encouragement, and real talk for both the grooming industry and aspiring authors alike. So grab your travel mug, settle in, and let's roll into today's episode—where the pets are loved, the stories are heartfelt, and the laughter is contagious!

Amazon's latest updates are raising concerns for self-published authors, as hundreds of new KDP categories may actually be hurting book discoverability instead of helping it. In this Self-Publishing News update, we break down the growing issue of ghost categories, along with what authors can do to stay visible. We also cover Amazon's push into AI-powered ads, new metadata guidance from Barnes & Noble Press, and a cover design case study from CraveBooks with surprising results. Publisher Rocket - https://DaleLinks.com/Rocket (affiliate link)  Novel Report - https://DaleLinks.com/NovelReport (affiliate link)  Use code GETMYREPORT for $20 off - Amazon Advertising - https://advertising.amazon.com Barnes & Noble Press: 7 Steps to Spring Clean Your Book Metadata! - https://press.barnesandnoble.com/bnpress-blog/spring-clean-your-book-metadata/ CraveBooks - https://DaleLinks.com/CraveBooks (affiliate link)  CraveBooks Marketing Hub (on Discord) - https://discord.gg/AYYbKKWGDJ The Alliance of Independent Authors - https://DaleLinks.com/ALLi (affiliate link)  ALLi: The Indie Author Bookstore - https://bookstore.allianceindependentauthors.org/ My ALLi Author Page - https://bookstore.allianceindependentauthors.org/author/dale-l-roberts Rapid Fire News Flash Writer Beware: Deadline Approaching to File a Claim in the Anthropic Settlement - https://writerbeware.blog/2026/03/13/deadline-approaching-to-file-a-claim-in-the-anthropic-settlement/ Authors Guild: From Manuscript to Marketplace: WE DESERVE TO HEAL - https://authorsguild.org/event/from-manuscript-to-marketplace-we-deserve-to-heal/ Book Brush - https://BookBrush.com Platinum members: Contact Book Brush about the Level Up Your Author Business webinar with Seth Norris & Mel Jolly  Reader Views Book Awards - https://readerviews.com/literaryawards/winners/sponsored/ Outstanding Creator Awards 2025 Clash of Champions - https://www.outstandingcreator.com/winners--2025-clash-of-champions.html  Subscribe to my email newsletter - https://DaleLinks.com/SignUp  Join Channel Memberships - https://DaleLinks.com/Memberships  Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@dalelroberts My Books - https://DaleLinks.com/MyBooks  Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

Welcome to another episode of the Cookbook Love Podcast. Most people think the outcome of writing a cookbook is the finished book, but I've seen something much bigger happen along the way. In this episode, I explore what really happens when we choose a meaningful creative challenge like writing a cookbook. Many cookbook writers I work with are already successful professionals: chefs, dietitians, coaches, and entrepreneurs who decide to write a book not because they have to, but because the work matters to them. I share the unexpected benefits I've seen from writing a cookbook, including identity shifts, creative discipline, professional credibility, community, and new opportunities. In this episode, I talk about: • Why writing a cookbook is a chosen challenge • How creative projects activate your agency and identity • Why hard work doesn't have to feel miserable • The deeper benefits that come from finishing a creative project Whether you're writing a cookbook, building a food business, or starting another creative project, this episode will help you see the deeper transformation that can happen when you commit to creating something meaningful. If you want to get paid to write a cookbook, join our waitlist for the next cohort of Cookbooks on KDP.