Podcasts about kindle unlimited

It's the end of Season 8 (what! how!), and we usually celebrate the end of the season with a read along of Sarah's new book, but since there is no new book, we have no choice but to go back to the beginning of “The Casino Series,” which is what Sarah calls The Rules of Scoundrels. We're reading A Rogue By Any Other Name, the first in the series focused on the rakish owners of The Fallen Angel, Sarah's casino. We talk Bourne, turning around big ships, writing sexy stained glass windows, and what it means to look back on the early part of a career.Next week, we're taking a little break, and then we'll be back with Season Nine of Fated Mates. As ever, we're so grateful to you for listening, reading and being a part of this community. We're nothing without you.If you'd like to spend more time talking about romance novels, join our Patreon! You'll get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord. Learn more at fatedmates.net/patreon.NotesThe jellyfish thing is a myth, you don't have to pee on a jellyfish sting.All about the amygdala, or Amy for short if you think of her as that messy friend who will definitely lead you astray.JB Pritzker talked about the colors of school folders, and it's A MESS. Feel free to report back on your preferences for folder colors if you, like Sarah, are outraged.New York Times hosted a conversation with Tressie McMillam Cottom, Nadja Spiegelman, and Mary HK Choi called “Have We Turned Personality into a Diagnosis?” It's worth the listen!Is it true that Gen Z is this puritanical (the Puriteens!), or are they just worried that everything is cringe?JK Rowling is a piece of shit.Gambling has always been bad, but it's especially bad on your phone. Please talk to your kids about sports betting and make sure these apps are not on their phones.Crockfords moved a lot of money in the Regency.One of the big influences for Bourne & Penelope was Alfred de Vigny's poem Éloa, ou La sœur des anges about an angel who falls in love with a stranger who turns out to be Lucifer. English translations are tough to find, but here's a website that has part of it in translation.When you think of the The Fallen Angel (the club), you might think of the famous painting by Alexandre Cabanel, but that's from 1847!SponsorsMegan Frampton, author of Demons and Diplomacy, available at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Madison Score, author of Wild About You, available in print, ebook or audiobook at Amazon.Tracy MacNish, author of Of the Ashes, available in print or ebook, or with your monthly subscription to Kindle Unlimited.Hachette Books, publishers of Jennifer Givhan's The Sleeping Sisters, available in print, ebook or audiobook at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/8/25/s0849-a-rogue-by-any-other-name If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

Belletristik und Sachbücher werden zwar über dieselbe Plattform veröffentlicht – doch bei Zielgruppe, Marketing und langfristigem Potenzial gibt es entscheidende Unterschiede.In der heutigen Folge des Verlagsniveau Podcasts sprechen Tom und Jonathan darüber, wie sich Fiction- und Non-Fiction-Bücher bei Amazon KDP unterscheiden. Sie zeigen, warum Leser im Belletristik-Bereich anders kaufen, welche Rolle Buchreihen und Autorenmarken spielen und weshalb klassische Strategien aus dem Sachbuch-Marketing nicht immer eins zu eins übertragbar sind.Du erfährst unter anderem:Wie sich das Kaufverhalten bei Fiction und Non-Fiction unterscheidetWarum Buchreihen den Kundenwert deutlich erhöhen könnenWelche Rolle Cover, Titel, Rezensionen und A+ Content spielenWeshalb E-Books und Kindle Unlimited besonders relevant sindWie KI bei der Entwicklung belletristischer Bücher unterstützen kannFür wen sich der Einstieg in den Fiction-Bereich wirklich eignetDu möchtest in 2026 gemeinsam mit uns dein KDP Business aufbauen? Dann melde dich bei uns!Hier geht's zu deiner kostenlosen Strategie-Session:https://nomad-publishing.de/termin/Facebook GruppeTritt jetzt unser Facebook Community mit über 5.000Selfpublishern bei und erhalte bereits nach wenigen Minuten Antworten auf alledeine Fragen:https://www.facebook.com/groups/2163341583907774/Hier geht's zu unserem YouTube Kanal mit mehr als 200kostenlosen Tutorials:https://www.youtube.com/c/nomadpublishing

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.

It's the Season 3 finale, and the Battle of Tumbleton is a disaster for everyone involved — Ulf betrays both sides, Ormund gets a knife from behind in the behind, and Daemon loses his big duel. Meanwhile Aegon turns up alive at Harrenhal and Rhaenyra's spiral in King's Landing ends in tragedy. Tim and Mike close out the season, tally the final C*nt Count, and look ahead to the long wait for Season 4.Subscribe to our newsletter at watchersonthecouch.com for off season updates and show announcements.Tim's got a sword-and-sorcery novel out too: The Lightless Moon and the Starfall Horror, on Kindle and Kindle Unlimited.

We're talking tattoos and body art this week! You might not have a tattoo, but odds are you've read a few thousand of them, as romance novels love a main character with a message…right on their skin. We talk about some of our favorite tattoo romances, about what tattoos represent, why they're so sexy, and why romance loves a tattoo artist. Every one of these books is a banger…enjoy filling your end of summer TBR with them.Come talk about your favorite romances with tattoos or about romance in general over on our Patreon! You'll get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord. Learn more at fatedmates.net/patreon.Our next read along, in two weeks, is Sarah's A Rogue By Any Other Name, the first in her casino series. This is one we've gotten a bunch of requests for, and so, it will be our final read along of the season. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.BooksThe Montgomery Ink series by Carrie Ann RyanThe Duke with the Dragon Tattoo by Kerrigan ByrneTo Desire a Devil by Elizabeth HoytThe Magpie Lord by KJ CharlesDaring and the Duke by Sarah MacLeanThese Summer Storms by Sarah MacLeanMerry Inkmas by Talia HibbertRepeat by Kylie ScottWritten on his Skin by Simone StarkThree Dirty Secrets by Nikki SloaneUnder Her Skin by Adriana AndersPermanent Ink by Avon Gale and Piper VaughnSin & Ink by Naima SimoneReaper's Legacy by Joanna WyldeHard as it Gets by Laura KayeNotesTattoos have a long history tangled up with colonization, which is why for a long time they were thought to be stigmatizing. They are definitely more mainstream now, which means tattoo culture is changing which has caused its own clashes, but they also aren't thought of as class markers anymore.All about sextants.Merry Inkmas is actually Talia's second book, her first was Bad for the Boss, which is no longer in print. Jen reviewed both of those for The Book Queen when they were released.Check out the secret tattoos collection on our website.SponsorsEllie Devine, author of The Survival Guide to Alexander McBryde, available in print or ebook, or with your monthly subscription to Kindle Unlimited.E. Kennedy, author of Thornbird, available at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Harpercollins, publishers of Spellfire by Agatha WIllow, available in print or ebook at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/8/10/0847-romance-tattoo If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

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

Spooky season body horror hatches in “Odd Egg” by Alex Grass, a weird creature-horror story about a carton of free eggs, a smiling stranger, and something impossible waiting inside the final shell. After Roger from the mysterious Keystone Cooperative Growers Association leaves Maryellen a dozen farm-fresh eggs and promises that a god lives inside them, breakfast takes a grotesque turn. Eleven shells are empty. The last produces a tiny human head on six spiderlike legs—and the thing does not stay tiny for long. As it grows, feeds, and changes, Maryellen is pulled into a nightmare of body horror, monstrous metamorphosis, dark comedy, and the coming Time of the Egg.  A perfect ramp-up to Halloween, this narrated horror story is made for listeners seeking scary Halloween stories, spooky stories, weird fiction, creature horror, body horror stories, and offbeat horror narration with a gruesome pulp-monster edge. This episode marks Alex Grass's first appearance on Weekly Spooky. The ebook of Infernal Tramps: Tales of Weird Terror by Alex Grass is available for only 99 cents on Amazon, and is free to read with Kindle Unlimited. You can also find out more at www.infernaltramps.com.

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Mergulhe num mar de histórias, assine já o Kindle Unlimited: https://geni.us/MCUF_KU_YT Edu Oliveira e Thiago Theodoro comentam fofocas da internet, dos famosos e da audiência.No ar, toda segunda, quarta (apoiadores) e sexta.Seja um apoiador do podcast: ⁠ https://orelo.cc/meconteumafofoca https://apoia.se/meconteumafofocapodcast Em caso de dúvidas, ou se precisar de ajuda do suporte, escreva para ⁠alo@orelo.cc⁠Conte sua fofoca pra gente: ⁠meconteumafofocapodcast@gmail.com⁠Ei, fofoqueira, conheça nossa lojinha: https://umapenca.com/meconteumafofoca/

Send us Fan MailSuccess is a loaded term. It comes with expectations and targets. It's measured and tracked and is closely tied with a person's worth. Not just their self worth, either. Society isn't interested in the film that doesn't get watched or the book that doesn't get read. They get tossed to one side, relegated to the bottom of the pile, and ignored for the most part. It's easy to get caught up in the benchmarks of success, but what happens when we start creating for the sake of creating? What happens when we make art or create content because we feel inspired to and not worry so much about what comes after? Abandoning all hope of success doesn't mean giving up. It means letting go of the standards set by other people and finding value in yourself and what you produce. My Joints Hurt: A Practical Guide to Navigating Healthcare in a Fat Body is available to purchase on Amazon or read on Kindle Unlimited.Got a question for the next podcast? Let me know!Connect With MeBUY THE BOOK: Never suffer through another through another weight loss lecture from your doctor againJOIN THE NO WEIGH MOVEMENT: Get a free script when you sign upTHE WEIGHTING ROOM: Community with a neurodivergent flavour. **BOOK CLUB** exclusive to Weighting Room members. BOOK A CONSULTATION: For the ultimate transformation in your healthcare journeyEXPLORE THE MASTERCLASS LIBRARY: Become an expert in your condition and the weight inclusive ways to manage itFREE GUIDES:Evidence-based, not diet nonsenseFind me on Instagram, YouTube, and LinkedIn.

We've been talking about the end (almost end) of this one since we started the podcast, so it seemed high time we did a deep dive on it! Judith McNaught's Perfect is the most 90s thing we've ever read, so gird your loins for both the best all-is-lost scene in romance, and also Zach, Julie, prison breaks, illiteracy, the Coors corporation, Romance Cashmere, and so so many references to Kevin Costner. It's the most 90s thing we've ever read, without question.If you want to talk more about Perfect or Judith McNaught, or about romance in general, come join our Patreon! You'll get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord. Learn more at fatedmates.net/patreon.Our next read along is Sarah's A Rogue By Any Other Name, the first in her casino series. This is one we've gotten a bunch of requests for, and so, it will be our final read along of the season. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.BooksPerfect by Judith McNaughtA Kingdom of Dreams by Judith McNaughtRemember When by Judith McNaughtDouble Standards by Judith McNaughtTender Triumph by Judith McNaughtNotesJen said Don't Tell Mom the Babysitter's Dead but she meant Adventures in Babysitting, which was a 1987 movie where suburban kids go on a terrifying adventure in the terrifying big city of Chicago.We did a deep dive of A Kingdom of Dreams in Season 2.Kelly Faircloth sent Sarah an ad for the book from People Magazine. In print versions of the book, there was a letter from Judith McNaught explaining the literacy plot in the book.Interestingly, the Coors literacy push was covered by the New York Times in 1992, discussing the push by big companies to adopt a cause and use it to burnish their image.Okay, apparently fleece also had a bellwether year in 1993, but let's be honest, it was Old Navy who made performance fleece happen for most of us and that was 1998.In America, our access to Abortion is much worse than it was in 1993 and America still has a devastating epidemic of suicide among queer teenagers, as The Trevor Project explains “LGBTQ+ young people are not inherently prone to suicide risk because of their sexual orientation or gender identity but rather placed at higher risk because of how they are mistreated and stigmatized in society.”SponsorsFrayed Pages by Wattpad Books, publishers of EM Wilson's Breakup for Two, available in print or ebook at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Meghan Quinn, author of Just for the Plot, available in print, ebook and audiobook, or with your monthly subscription to Kindle Unlimited.Kylie Scott, author of Runaway Rockstar, available in print or ebook at Amazon, Barnes & Noble, Kobo, Apple Books, or your local independent bookstore.Emily Andersen, author of the Midnights on the Square series. Available in print or ebook at at Amazon, Barnes & Noble, Kobo, or wherever you get your books.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/7/28/0845-judith-mcnaughts-perfect-content-warning-the-90s If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

Send us Fan MailI pride myself on being a fat person who isn't afraid to take up space. But the more you take up space, the more people will take issue with it. Especially if you're visibly different — Fat, Trans, Queer, Neurodivergent. So I suffered a few setbacks over the past few years and I learned that if I don't censor or filter myself, chances are I would be punished and my words would be used against me. I learned there is a "right way" to do social justice, and if that means hiding parts of myself, then it's worth it for the greater good. Turns out that faking it doesn't work out much better, and liberation can only come when people are free to be themselves. Sounds pretty obvious when you say it out loud, but this wasn't an easy lesson for me to learn. Join me this week as I start taking up space my way, in spite of the potential future backlash. Don't forget that My Joints Hurt: A Practical Guide to Navigating Healthcare in a Fat Body is available to purchase on Amazon or read on Kindle Unlimited.  Got a question for the next podcast? Let me know!Connect With MeBUY THE BOOK: Never suffer through another through another weight loss lecture from your doctor againJOIN THE NO WEIGH MOVEMENT: Get a free script when you sign upTHE WEIGHTING ROOM: Community with a neurodivergent flavour. **BOOK CLUB** exclusive to Weighting Room members. BOOK A CONSULTATION: For the ultimate transformation in your healthcare journeyEXPLORE THE MASTERCLASS LIBRARY: Become an expert in your condition and the weight inclusive ways to manage itFREE GUIDES:Evidence-based, not diet nonsenseFind me on Instagram, YouTube, and LinkedIn.

App Assistente de Estudos em TCC:https://essencialdatcc.com.br/cbt-essential-study-appCurso Definitivo de TCC:www.essencialdatcc.com.brBaixe, GRATUITAMENTE, materiais para uso clínico: hhttps://essencialdatcc.com.br/materiais-gratuitos-tcc/Teste Grátis por 30 dias o Kindle Unlimited: https://amzn.to/3idHGzy - Tenha acesso à Mais de um milhão de eBooks para você ler onde e quando quiser. Incluindo o MEU! :) Teste Grátis por 30 dias o Amazon prime: https://amzn.to/3cM7fXf - Tenha frete grátis e acesso ao Prime Vídeo

In this week's episode, I answer worldbuilding questions about my setting of Andomhaim, and discuss the future of THE GHOSTS series. This coupon code will get you 25% off the ebooks in The Ghosts series at my Payhip store: JULYGHOSTS The coupon code is valid through August 10, 2026. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 313 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July the 24th, 2026 and today we're answering world-building questions about Andomhaim, which is the setting of my Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, Shield War, and Blades of Ruin series. We also have one bonus world-building question about the Caina series. Before we get into all that, we will have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects. Let's start with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in The Ghosts series at my Payhip store. That code is JULYGHOSTS. As always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through August the 10th, 2026, so if you need a new ebook for this summer, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. I'm pleased to report I am done with the rough draft of Cloak of Frost. It was just slightly over 100,000 words. Now I am writing a bonus short story called Metal Soldiers, and [newsletter] subscribers will get a free ebook copy of Metal Soldiers when Cloak of Frost comes out, which if all goes well, should be sometime in August. So I think this is an excellent time, therefore, to subscribe to my new release newsletter. My secondary project is Blade of Visions, and I am 11,000 words into that. There's also a good deal of news about audiobooks. Dragon-Mage, as narrated by Leanne Woodward, is finished and is rolling out to the various stores right now. As of this recording, you can get it at my own Payhip store, Google Play, and Kobo (with more stores soon to follow). Recording on Stealth and Spells Online: Final Quest is very nearly done, and I hope to have more news on that soon. Brad Wills is currently working on Blade of Thieves and Hollis McCarthy is recording Cloak of Worlds. So we should have a wide variety of audiobooks coming for you soon. 00:02:00 Questions about Caina Before we get to our main topic, we have a bonus question about Caina. When I said my next project was going to be Cloak of Frost, I got a couple of questions like this: Just wondering when/if there will be another Caina novel to look forward to? The answer is not right now, but maybe later. I am glad and appreciative that people want more Caina books. That said, I don't want more than three unfinished series at any one time, and I've got three right now with Blades of Ruin, Cloak Mage, and Half-Elven Thief. So I'm not starting anything new until one of the three is done. If you reach the end of Ghost in the Siege, which is the latest current Caina book, you know that the series was at a pretty significant stopping point. If I want to keep going, I need to think long and hard about how to do it right. I do have a couple of ideas, but I need to think about them some more. It's almost like we'd have to shift to a slightly different genre of fantasy than the Caina books have been previously. The tricky part is Caina has changed a great deal since Child of the Ghosts. The tricky part in that is that sequels in a long-running series need to be more of the same, but also something different. There have been 35 Caina novels. So I've done that quite a bit. But Caina has had some experiences that have very much changed her life. To use a rough comparison, it's like she became a justice on the US Supreme Court or the governor of one of the five largest US states in the sense that once you've had change in your life that significant, your life will never be the same afterwards. And without spoilers, Caina had a shift that big at the end of Ghost in the Siege. So more Caina is definitely a possibility, but I need to think about it some more and it definitely won't be before 2027 until I finish one of my three currently unfinished series. 00:03:35 Main Topic of the Week: Andomhaim Worldbuilding Questions Now onto our main topic, which is I had some world-building questions about Andomhaim from Frostborn come in lately. So I thought I would answer them here. Question #1: Why hasn't the Heptarchy invaded Andomhaim again? The answer is money, basically. Remember that the ultimate purpose of the Heptarchy is to provide an endless supply of sacrificial victims for the Seven Temples' altars so the seven urdmordar who rule the Heptarchy can endlessly feed. These seven urdmordar don't have much interest in the day-to-day governance, so their spiderling priestesses essentially run the Heptarchy as an exceptionally malignant theological bureaucracy. However, while the priestesses are evil, they're efficient and very good at their jobs. In practice, the Heptarchy tends to operate more like an imperial confederation or a very loose federal government than an actual empire. Kingdoms, tribes, and city states have a great deal of autonomy so long as one, taxes are paid in time and two, sacrificial victims are taken to the temples on time. To help encourage this, all the various local rulers in the Heptarchy tend to have priestess advisors who make sure that the rulers make the "correct" decisions. So when things go awry, the Seven Temples have a wide array of tools to deal with difficulties, from assassinating and replacing truculent rulers with more tractable successors all the way up to exterminating entire populations and settling new colonists upon the depopulated lands. The difficulty of the Heptarchy is that the seven urdmordars are gluttons and gluttony is impossible to satiate. So when the Heptarchy learned of Andomhaim and the possibility of an entirely new land to conquer and feed upon, of course they had to conquer it. The priestesses built an enormous fleet and gathered a vast army and sent it three and a half thousand miles across the ocean to Andomhaim. Of course, if you've read the Dragontiarna series, you know that this didn't go well. The Heptarchy seized the Isle of Kordain and had early successes in Andomhaim, but Agravhask, the commander of the invasion force, was secretly a disciple of the Warden of Urd Morlemoch, and he seized control of the Heptarchy force and used it to further the Warden's goals. The Visionary foresaw this happening, but didn't care because it gave her an opportunity to try and capture her old enemy, Tarmyntir. So the Heptarchy didn't conquer Andomhaim, and then 10 years later they lost control of the Isle of Kordain, their only stronghold near Andomhaim. To put this situation in contemporary terms, this is a significant geopolitical setback or to put it in popular vernacular, it's "taking a massive L." The Seven Temples spent a colossal fortune on the invasion force and in return got back exactly nothing. Even evil sorcerous empires are bound to the laws of economics. In The Ghosts books, the Umbarian Order failed to figure this out. And it would take a while for the Heptarchy to pay for and assemble another invasion force of that size. And since the first invasion force had failed, there wasn't much appetite for pulling together a second one. So now the official policy of the Heptarchy towards Andomhaim is quiet CIA-style subversion. The Spider Cult was founded to secretly bring nobles and wealthy merchants to the worship of the Seven Temples. It might take a century or so, but the plan is to eventually place a spider cultist on the throne of Andomhaim and then send a sympathetic ruler an army to back him or her up. Of course, the Brotherhood of the Ravens is aware of this and has been fighting the Spider Cult in the shadows. So that is why the Heptarchy hasn't tried to invade Andomhaim again- it costs too much, the outcome is uncertain, and the priestesses have decided a careful subversion (which costs much less than an invasion) will work out better in the long run. Question #2: Is Blades of Ruin really inspired by the English Civil War of 1138 to 1153 AD? Yes. Why? Because alcohol and boats are a very bad combination. In the 12th century, the Kings of England were also the Dukes of Normandy and were more interested in Normandy than in England, so they spent a great deal of time on both sides of the English Channel. In November of 1120, King Henry I wanted to return to England, but allowed much of his retinue to travel on another ship. That included his heir and only legitimate son William, several of his bastard children, and numerous high ranking members of his court. Everyone on William's ship was quite drunk, including the crew, and decided it would be a good idea to try and overtake King Henry's ship on the English Channel at night in November. Remember how I said alcohol and boats were a bad combination? William decided that he wanted to overtake his father's ship, and since a significant portion of everyone on his ship was drunk, they ended up crashing into some rocks, the ship sank, and most of the passengers and crew drowned, including William. For Henry, this was an absolute disaster since he had put a lot of work into setting up William as his heir. Henry then settled on his daughter Matilda as his heir and forced his vassals to take oaths so they would support her as his successor. When Henry died in 1135, Matilda assumed the throne, but her cousin Stephen of Blois seized the crown instead. Many of the lords of England were leery at the idea of a female monarch and Stephen was amiable and well-liked. Matilda was also imperious and had a knack for offending people at the worst possible time. The resultant civil war became known as the Anarchy and it ebbed and flowed until 1153. Both Stephen and Matilda held the upper hand at various times, but could never manage to achieve a total victory. Many of the nobles went local warlord, raising their own forces and building their own castles to protect themselves from their neighbors, which led to widespread chaos and violence. Finally, by the end of the 1140s, most of the nobles were sick of the war and put increasing pressure on Stephen and Matilda to find some sort of negotiated solution. Matilda's vigorous son Henry began to insert himself and he convinced Stephen to name him as his heir. When Stephen died, Henry became the undisputed king in 1154 and the war was over. Henry II would prove to be a vigorous king, but his inability to share power with his sons would cause him a lot of trouble in the final years of his reign. So you can see how Zelos Pendragon and Rhamnousia Pendragon from Blades of Ruin are very loosely based on Stephen and Matilda, though with some differences. Stephen and Matilda were cousins while Zelos and Rhamnousia are half siblings. For that matter, Henry I died of natural causes and was not assassinated by a sinister cult of sorcerers who wanted to engineer a civil war for nefarious purposes. Question #3: Were the Free Companies in Blades of Ruin inspired by Glenn Cook's The Black Company? First of all, The Black Company is a fantasy classic and everyone should read it. I think it's even in Kindle Unlimited at the moment. But the Free Companies and Blades of Ruin weren't inspired by The Black Company. They were inspired by the Hundred Years' War between England and France from 1337 AD to 1453 AD. Medieval warfare relied heavily on knights and vessels, but it always employed mercenaries. One of the problems in the Anarchy were the large number of Flemish mercenaries infesting in the country, who frequently turned full brigand. But feudalism was based on holding land and as the Middle Ages progressed, money and the cash economy became more and more important while knighthood became increasingly performative and ceremonial. Professional soldiers were generally more useful and more reliable than arrogant and headstrong knights. These trends played a big part in the Hundred Years' War and every time the kings of England campaigned in France, they frequently hired mercenaries and they generally let the mercenaries rampage through the French countryside and plunder whatever they wanted since that was cheaper than actually feeding them. The Free Companies really got going after the Battle of Poitiers in 1356. The French were decisively defeated, King John II of France went back to England as a prisoner, and the national government in France essentially collapsed. The English discharged many of their mercenaries, who formed into companies and began systematically looting the French countryside. When official hostilities broke out between the English and the French again, the English hired the companies back. As the fortunes of France and England waxed and waned during the war, some of the companies wandered into Italy and made good money playing the Italian city states against each other. One of the most famous of the companies was The White Company, commanded by Sir John Hawkwood. Sir Arthur Conan Doyle famously killed off Sherlock Holmes so he could turn his attention to writing historical fiction about the White Company. This was somewhat less than financially successful, so Doyle went back to writing Holmes after a few years, though he always regarded his historical novels as better than his Holmes stories. Rannister and the Grand Company in Blades of Ruin were loosely based off of Werner von Urslingen and the Great Company. Von Urslingen's personal model was "The enemy of God, the enemy of piety, and the enemy of mercy." He apparently had those actual words inscribed on his breastplate. The Great Company spent a lot of time fighting in Italy and extorting money from the city-states until the White Company defeated them at the Battle of Canturino in 1363. In real life, of course, the Free Companies did not have orcs in the ranks or sorcerous advisors. However, the real life Free Companies were just as brutal and rapacious as those in the Blades of Ruin series, sometimes often more so, since they were essentially organized bands of brigands. Eventually in the wake of the Hundred Years' War, stronger national governments arose in England and France, and the concept of the Free Companies gradually became obsolete. Kings found their own professional armies to be much more reliable than the Free Companies, though of course the idea of mercenaries never went away and remains to this day. Those standing armies would cause their own problems throughout history. Question #4: How did the warlocks of Vhalorast conquer Urd Maelwyn if the dark elves are so much more powerful than orcs? Two reasons. First, the Warlocks of Vhalorast were a lot more powerful than anyone suspected. The Sovereign and the high Maledicti priests were strong enough to keep the Vhalorasti warlocks in check and compel them to obedience since saying no to someone like Khurazalin from Sevenfold Sword was a spectacularly bad idea. But after the final defeat of the Sovereign, the Vhalorasti orcs were free to do as they liked. Second, the dark elves are chronically unable to work together without betraying each other constantly. The dark elven love of cruelty often manifests as a love of treachery, which frequently leads them to making very stupid decisions. In real life, you often see people who are addicted to various lusts, vices, and addictions making bad decisions, and the dark elves often took that up to 11. By contrast, while the warlocks of Vhalorast are very bad people, they are orderly and organized and they don't often betray each other. Indeed, "brother and sister warlocks" are supposed to extend respect to each other and the Council of Masters harshly punishes anyone who violates certain rules of conduct. So the warlocks of Vhalorast can cooperate a lot more effectively than the dark elves. To put it in Dungeons & Dragons terms, the dark elves are chaotic evil (sometimes urging on stupid evil), but the Vhalorasti warlocks are firmly lawful evil. When the Visage seized control of Urd Maelwyn, she thought to rebuild the Sovereign's Empire and forced a confrontation with Vhalorast. That ended with the Vhalorasti orcs and Warlocks destroying the Vistage's army, seizing Urd Maelwyn and taking the Visage herself back to Vhalorast in chains. Of course, the warlocks had help from the Disciples of Vhalzarok, but more on that will be revealed in later books of Blades of Ruin. Question #5: Why aren't there any dwarves in Owyllain? That is because none of them settled in Owyllain. The dwarves first came to the Frostborn world slightly before the urdmordar. About 15,000 years ago, the dark elves were frantically summoning new kindreds to throw in battle against the high elves. The dwarves came to Andomhaim somewhere near the Torn Hills close to Urd Morlemoch. The dwarfs who sided with the dark elves became the dvargir and probably began cheating the dark elves at every turn because they were better organized. The dvargir became to the dark elves the sort of military subcontractor who overcharges, over promises, and then drastically under-delivers while keeping to the letter of the contract. The dwarves founded nine different underground kingdoms and most of them are relatively close to Andomhaim. Only three of them still survive to the modern period. Question #6: Why aren't there any orcish Swordbearers or Soulbearers? For two reasons. First, Ardrhythain would be reluctant to make soulblades for orcs because orcs already have battle fury and the soulblades inspire a hatred of dark magic in their bearers. There's a chance an orc with a soulblade would go absolutely berserk when fighting an urvaalg or a dark wizard. Second, and this is the more important reason, the orcs didn't actually ask. Due to their threefold law, the high elves are very limited in how they can interact with other kindreds. Ardrhythain created the soulblades and found the Magistri among the humans of Andomhaim because the Keeper of Andomhaim of the time specifically asked. Ridmark was only able to command the high elves of Cathair Ereniel in The Shield War because he was the Shield Knight. The high elves can only help if asked and then only provide the specific help requested if it is in accord with the threefold law. The temptation within them to simply rule over weaker kindreds for their own good is very strong, but if they do that, they turn into dark elves. To get around that problem is one of the reasons Ardrhythain created the Swordbearers. Andomhaim definitely would've been destroyed centuries ago if not for the Order of the Soulblade. That's also the reason Ardrhythain created the Guardians, to help protect both nations and places of power that the high elves otherwise could not protect directly. Question #7: Is Andomhaim very different in Talembur's time than it was in Ridmark's? Andomhaim is at a slightly more advanced technological level as of the Blades of Ruin series, but it is a good deal richer and more prosperous than it was in Ridmark's time. Part of that is that Accolon Pendragon' successors ruled wisely and well, and Andomhaim avoided the sort of destructive civil war that is currently afflicting Owyllain. Andomhaim also hasn't had to face an external war on the scale of the Frostborn or the Heptarchy in that time. Granted, there have been wars with outside adversaries like the Mhorites, but nothing like the Heptarchy War. Additionally, adding the Isle of Kordain to the realm and the discovery of the sea compass let Andomhaim's mariners travel a lot farther and more reliably than they could before. Ships of Andomhaim have made their way to various island kingdoms south of the Isle of Kordain and begun a lively trade with them. This has brought new prosperity to Andomhaim. Granted, this might cause long-term problems. The coast of Andomhaim and the cities of Cintarra and Tarlion are getting a good deal richer and more powerful than the rest of the realm. A clever adversary like the Spider-Cult might find a way to use that to their advantage. And finally, Question #8: Did Calliande actually create the fountain in Blade of Thieves? No. It's just a legend that grew up around her. Neither Ridmark nor Calliande ever came near Stonegate during the War of the Seven Swords. That was why Ridmark didn't like bards very much, since they always embellished and made things up. So those are some recent Andomhaim questions I've received and I hope I answered those questions. 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 can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.  

The last few years have brought a wave of romances with magical elements—not really paranormal, not really witches, not really contemporary — books where something is just slightly ✨magic✨. Today, we're talking about those books, how they work, what they're saying, and how they work in terms of character, plot and POV. We're also discussing how the books exist on the outer edges of the romance pool.If you want to talk more about these speculative romance novels, or about romance in general, come join our Patreon! You'll get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord. Learn more at fatedmates.net/patreon.Our next read along is an old school contemporary, Perfect by Judith McNaught. Sarah says it has the greatest all-is-lost moment in romance history. Read it to find out if she's right. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.BooksA Love Song for Ricki Wilde by Tia WilliamsMy Date with a Pair of Gray Sweatpants by Cassie O. PeiaThe House of Now and Then by Edward UnderhillDo Your Worst by Rosie DananEvery Version of You by Natalie MessierThe Night Island by Jayne Ann KrentzThe Dead Romantics by Ashley Poston The Someday Garden by Ashley PostonLosing Sight by Tati RichardsonStruck Speechless by Tati RichardsonNotesThis year's men's World Cup actually broke the Own Goal record with 14 of them. Get ready for the Women's World Cup in Brazil next year in 2027! So these English fans made up a bunch of chants for a regular player, which is very charming. Speaking of soccer, Mamdani continues to show us all that politicians can just…help make people's lives better?Here's a handout Jen uses to teach the three genres that fall under the speculative fiction umbrella, and why magical realism isn't a catch-all or synonym for any writing with speculative elements.The pink dress question: how do you decide if your characters need to heal themselves in order to fall in love, or if falling in love is what heals them?Matthew Rhys and Matthew Macfadyen are in fact different people, but everyone's watching Widow's Bay.SponsorsLumi Gummies. Go to lumigummies.com and use code FATEDMATES for 30% off your order.Lucy Score author of The Dead Guy Next Door, the first in the Riley Thorn series, available in print, ebook and audiobook, or with your monthly subscription to Kindle Unlimited.Harpercollins, publishers of Sleuths, by Samantha Moody, available in print, ebook and audiobook at Amazon, Barnes & Noble, Kobo, Apple Books, or your local independent bookstore.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/7/5/s0843 If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

Every family has stories. Some are passed down from generation to generation, while others are nearly lost to time. In this episode of GenX Journeys, Paul Stroessner and Suzanne Mattaboni welcome author Lara Brenckle Malmont to share the remarkable true story that inspired her debut novel, Three Rivers Home. What began as childhood curiosity about a grandfather she never met turned into a twenty-year journey through family records, newspaper archives, courthouse documents, and long-forgotten letters. Along the way, Lara discovered a little-known chapter of Pittsburgh history involving children who were "farmed out" through Allegheny County's early foster care system—while also uncovering a deeper understanding of resilience, family, and the stories that shape us. The conversation also explores growing up Gen X, the books that inspired a generation of readers and writers, the influence of journalism, preserving family history before it's lost, and why asking questions may be one of the greatest gifts we can pass on. Whether you're fascinated by genealogy, historical fiction, or simply love hearing meaningful conversations, this episode is a reminder that every family has a story worth discovering. In This Episode Growing up Gen X in and around Pittsburgh How childhood curiosity became a 20-year research project The true story behind Three Rivers Home Forgotten history and Pittsburgh's early foster care system Journalism, storytelling, and historical fiction The books that shaped a generation of Gen X readers Why preserving family stories matters more than ever About Our Guest Lara Brenckle Malmont is a Pittsburgh native, journalist, and author of Three Rivers Home. Her writing explores the people, places, and stories that define home. Her debut novel is inspired by the true story of her paternal grandfather's childhood in early twentieth-century Pittsburgh and the forgotten history surrounding Allegheny County's dependent children. Connect with Lara larabrencklemalmont.com Get Three Rivers Home on Amazon Facebook Instagram (@lara_brenckle_malmont) LinkedIn: larabrenckle TikTok: @larabrencklemalmont X: @larabrenckle Closing If you enjoyed this episode, please subscribe, leave a review, and share it with someone who loves great stories and meaningful conversations. Because every journey begins with a question... and sometimes the answers change everything.   Who in your family has a story you've never asked about? Maybe it's time to start asking.   More from the GenX Book Club Crew

Once upon a time, Sarah went to Sweden and met a thriller writer who likes talking about the rules of writing in genre as much as we do. We're so excited that to be able to bring Anders de la Motte's brilliant thoughts about thrillers and mysteries to Fated Mates in this far-reaching conversation on romance's sister genres—thrillers & mysteries. We talk about Anders's path to writing, about the rules of writing thrillers and mysteries, about the covenant mysteries and thrillers have with readers, and about Mystery Reasons™️. We had the best time with this one — you're going to love it.Learn more about Anders's books at his English language publishers, Simon & Schuster and HarpercollinsIf you want to talk more about Genre Carrying the Myth, Jayne Ann Krentz's genius way of thinking about the work of genre fiction, or about mysteries and thrillers, come join our Patreon! You'll get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord. Learn more at fatedmates.net/patreon.Our next read along is an old school contemporary, Perfect by Judith McNaught. Sarah says it has the greatest all-is-lost moment in romance history. Read it to find out if she's right. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.Thrillers and Mysteries Mentioned in This EpisodeThe Mountain King by Anders De la MotteThe Glass Man by Anders De la MotteThe Rust Forest by Anders De la MotteShutter Island by Denis LehaneThe Usual SuspectsWidow's BayMurder on the Orient Express by Agatha ChristieColumboPoker FaceMurder, She WroteKnives OutThe Girl with the Dragon Tattoo by Stieg LarssonKilling Floor by Lee ChildOrphan X by Gregg HurwitzSmall Mercies by Dennis LehaneThe DaVinci Code by Dan BrownJames BondEvil Under the Sun by Agatha ChristieDeath on the Nile by Agatha ChristieAnd Then There Were None by Agatha ChristieOne of Us is Lying by Karen M. McManusThe Thursday Murder Club by Richard OsmanThe WireMemoRandom by Anders De la MotteEnd of Summer by Anders De la MotteGame by Anders De la MotteNotesWelcome Anders de la Motte, author of mysteries and thrillers. Many of his books have been translated to English, most recently The Asker series.Many of the most famous fictional detectives we mentioned are on this list.In fiction, unreliability is a narrative device meant to purposefully confuse or lie to the reader for the purposes of the story. We've argued that it's more or less impossible to have an unreliable narrator in romance. A good explainer on the difference between close 3rd (used in romance) and limited 3rd (used in mysteries/thrillers)MacGuffins and other mystery and thriller tropes and vocabulary.SponsorsJill Shalvis author of Falling Into You, available in print, ebook, audiobook from Amazon, Barnes & Noble, or your local independent bookstore.Jess Turner, author of The Only Catch, available in print, ebook or with your monthly subscription to Kindle Unlimited.Hachette, publishers of In the Wake of the Ruined, by Kalie Cassidy, available in print, ebook and audiobook at Amazon, Barnes & Noble, Kobo, Apple Books, or your local independent bookstore.Oliver Heber Books, publishers of The Forbidden Duke, by Darcy Burke, available in print, ebook and audiobook at Amazon, Barnes & Noble, Kobo, Apple Books. Support the special 10th...

❤️ Love can feel safe... but is it supposed to heal everything?This week on Life as P..., Phoenix Ash unpacks one of the biggest misconceptions about relationships: that the right partner can magically reset your nervous system.

In Booktalks Podcast Episode 108, we're sharing everything we read in June and the books we're hoping to tackle in July!Kayla wraps up an incredible month of reading 11 books, including a deep dive into Maggie Gates' romance universe, while Marisa gives an update on her physical TBR challenge and shares her latest thriller and romance reads.We also discuss Every Summer After, The Deal, The Someday Garden, The Silent Patient, Deep End, upcoming ARCs, Kindle Unlimited favorites, and the books we're most excited to read this month.Whether you're looking for your next romance, thriller, fantasy, or beach read, we've got plenty of recommendations to add to your TBR.Follow Book Talks Podcast on Instagram, TikTok, and YouTube for more book reviews, reading vlogs, author interviews, and weekly bookish content. Don't forget to join our Fable Book Club and read along with us each month!

It's summer, so we're talking Country House Parties! We're skulking around, having scandalous meetings in cupboards, getting caught in the rain near the groundskeeper's cottage, and generally causing chaos during a summer party at an enormous country house where someone is definitely ending up married (or at least ruined). This is another one where we're pretty shocked we haven't done it before. Gird your loins, historical lovers!!If you want to talk more about country house parties, about historicals, or about romance in general, come join our Patreon! You'll get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord. Learn more at fatedmates.net/patreon.Our next read along is an old school contemporary, Perfect by Judith McNaught. Sarah says it has the greatest all-is-lost moment in romance history. Read it to find out if she's right. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.BooksDay of the Duchess by Sarah MacLeanDuchess by Night by Eloisa JamesBand Sinister by KJ CharlesAny Old Diamonds by KJ CharlesHow the Duke was Won by Lenora BellA Dangerous Man by Connie BrockwayForever Your Duke by Erica RidleyDo You Want to Start a Scandal by Tessa DareSlightly Dangerous by Mary BaloghWhat I did for a Duke by Julie Ann LongThe Fifth Avenue Rebels Series by Joanna ShupeAgain the Magic by Lisa KleypasNotesIt's officially called The Obama Presidential Center, but you can also call it The Obamalisk OR the Taj Michelle. Whatever works for you! It's a great place for a first date!The tall ships! It's not the St. Charles, but the St. Lawrence waterways, it's manmade, because you know, Niagara Falls. We know geography!Some people got married at Madison Square Garden and some other people got engaged at the top of the Empire State Building.In Tatler, author Lucy Foley wrote about the country house party.Noises Off is a farce.SponsorsRachel Griffiths, author of Just for the Season, available in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo, signed from the Ripped Bodice, or wherever you get your books.Max Monroe authors of Where I Should Have Been, available in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo, or your local independent bookstore.Kristin Jennings, author of A Legacy of Magic & Monsters, available in print, ebook or with your monthly subscription to Kindle Unlimited.Union Square & Co., publishers of Pot Shot, by Laura Piper Lee, available in print, ebook and audiobook at Amazon, Barnes & Noble, Kobo, Apple Books, or your local independent bookstore.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/7/5/s0842-country-house-parties If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

We are BACK with one of our absolute favorite types of episodes, our Current KU Reads!! These are books that we have recently read and would recommend on Kindle Unlimited. As always we've got everything from romantic suspense, sports romance, summer rom coms + more!! No spoilers for any of these & please let us know if you've read any of these books & what you thought of them!!Books Mentioned :The Highlands & Adair Family series by Samantha YoungWhen a Scot Ties the Knot (Castles Ever After, #3) by Tessa DarePaper Rings (The New Romantics #1) by Brittanee Nicole Not Another Love Song by Julie Soto Whispers in the Water ( Deep River #1) by Nyssa Kathryn Untamed by Luna Mason We Met Like This by Kasie WestIf you enjoyed this episode, don't forget to ⭐ rate and review the show! Your support means the world to us!ACOTAR 6 Midnight release party tickets : https://www.eventbrite.com/e/acotar-6-midnight-release-party-tickets-1985166605757?aff=oddtdtcreatorSpotify playlists: Book Recs: https://open.spotify.com/playlist/6tD41GHtHkFhjcZlHBSqSD?si=VlJjVms_Q4eA9YumGmL1CgACOTAR Revisited: https://open.spotify.com/playlist/4DCtVSQ5BvgGWeoCT4N5zI?si=ew4lglYgTOC7NtRrLsOsJgMaasverse Theory Episodes : https://open.spotify.com/playlist/5cGJssNThPZ6D3m3jtyUMV?si=4EtJ4ISZRM-m-1VGOuJGTg Patreon Instagram TikTok Website

What if the songs that shaped your life could also help you heal? In this episode of GenX Book Club, Paul Stroessner and Suzanne Mattaboni welcome author Steve Matsumoto to discuss his heartfelt debut novel, The Last Mixtape. Set against the backdrop of the 1990s, The Last Mixtape follows first-grade teacher James Nakamura as he struggles to navigate life after the loss of his sister. Through grief, friendship, romance, and the music that defined a generation, Steve explores how memories can both haunt us and help us move forward. Together, we discuss: The real-life experiences that inspired the novel Why mixtapes were so much more than playlists Balancing humor with grief Writing authentic male vulnerability Becoming an author later in life Why physical music still holds a special place for Gen X The emotional power of nostalgia without relying on nostalgia alone We also share plenty of memories about cassette tapes, vinyl records, CDs, discovering music before streaming, and the uniquely Gen X experience of communicating through songs. Whether you've experienced loss, love discovering new authors, or simply remember spending hours crafting the perfect mixtape, this conversation is filled with heart, humor, and plenty of 90s memories. About Steve Matsumoto Steve Matsumoto is the author of The Last Mixtape, a coming-of-age novel inspired by personal experiences with grief, family, and the music that shaped a generation. He lives in Southern California and is currently working on the next novel featuring James Nakamura. https://www.stevematsumoto.com/   More from the GenX Book Club Crew

As AI becomes embedded in software development workflows, many leaders assume the biggest changes will happen in coding. The reality may be very different. The future belongs to AI Team Systems—the structures, feedback loops, and operational practices that transform rapid development into meaningful business outcomes. During Building Better Developers Season 28 Episode 9, Dave Borzillo explored how Agile principles may evolve in an AI-powered environment and why human collaboration remains essential.   About David Borzillo David Borzillo is an Agile coach, author, speaker, and organizational improvement advocate with more than three decades of experience spanning software development, leadership, Agile transformation, and product delivery. Through his Better Ways of Working platform, he helps organizations improve collaboration, reduce operational friction, and create sustainable delivery systems. He is the author of Sanity at Scale and Who Killed Agile? (co-authored), and United Agility, and hosts the Better Ways of Working podcast. Follow David at: https://betterwaysofworking.com/about.htm Bonus: Free Kindle Promotion

The conversation around AI often focuses on speed, automation, and productivity. Yet one of the most important lessons emerging from modern software development is that Hero Culture Risks become more visible as technology removes traditional bottlenecks. In Building Better Developers Season 28 Episode 8, Dave Borzillo shared a perspective many experienced developers recognize immediately: being the person who always saves the day feels rewarding, but it often masks deeper organizational problems. As AI accelerates software creation, those hidden weaknesses are becoming harder to ignore.   About David Borzillo David Borzillo is an Agile coach, author, speaker, and organizational improvement advocate with more than three decades of experience spanning software development, leadership, Agile transformation, and product delivery. Through his Better Ways of Working platform, he helps organizations improve collaboration, reduce operational friction, and create sustainable delivery systems. He is the author of Sanity at Scale and Who Killed Agile? (co-authored), and United Agility, and hosts the Better Ways of Working podcast. Follow David at: https://betterwaysofworking.com/about.htm Bonus: Free Kindle Promotion

推し活は心身の"サプリ"であり幸福度の高い経済活動ですが、仕事に夢中になるのとは違うのか同じなのか？推し活ロス中のオタクと、推しがいないNonオタクで語り合いました。後半はガチャの驚く売上や、読み放題サービスへの執着について。01:20 人生初の本格的な推し活（DAZZLEのイマーシブシアター）が一段落してしまい甚大なるロスに02:23 推しは「摂取」するもの：生の体験は心身のサプリメントになっているという感覚03:20 ヨーロッパの研究によると芸術・文化への関与は身体活動と同程度に老化を遅らせると判明したらしい04:52 推し活で一線を越えたことは？推し活と生活の主客が逆転する境界線（は、あるかないか）07:28 仕事への没頭と推し活は没頭としては似ていて、違いはお金を「稼ぐ」か「使う」かだけかもしれない10:21 パトロン・谷町・相撲…世の中は昔から推し活で回っている／稼いで推し活しよう12:10 収益不要で好きなことを書いていたのに、ブログにAdSenseを入れた途端内容が広告を意識したものに変わった13:21 自分の好きだけをもっとひたすら語るポッドキャストをやりたい14:30 龍が如くキャラの肉体美や筋肉の解説を専門家に聞いて興奮15:12 新作ゲーム「Stranger Than Heaven」の舞台（戦前の日本）と超豪華キャストにオタク熱量あがる18:59 秋葉原は外国人が8〜9割、フィギュアやガチャに皆が笑顔で楽しそう20:05 ニューヨークのBOOK OFFには地元の人ばかりでフィギュアが人気22:14 横浜中華街のガチャ専門店、両替機1台が昼過ぎで80万円超の売上（両替機は複数台）24:36 個別書籍購入 vs Kindle Unlimitedでの購読への執着エピソード内で取り上げた情報へのリンク： 生物学的な老化を遅らせるには「芸術や文化への関与」が身体活動と同程度に有効　新研究 Stranger Than Heavenテック業界で働く3人が、テクノロジーとクリエイティブに関するトピックを、視点を行き交わしながら語り合います。及川卓也 @takoratta プロダクトマネジメントとプロダクト開発組織づくりの専門家 自己紹介エピソード ep1, ep2関信浩 @NobuhiroSeki アメリカ・ニューヨークでスタートアップ投資を行う、何でも屋 自己紹介エピソード ep52上野美香 @mikamika59 マーケティング・プロダクトマネジメントを手掛けるフリーランス 自己紹介エピソード ep53https://x-crossing.com

In episode 306, we looked at the advantages of taking your book wide to all retailers. In this week's episode, we'll look at the other side of the coin and examine eight advantages to placing your book in Kindle Unlimited. This coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress, Book #8 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store: JUNEDOOM The coupon code is valid through July 7, 2026. So if you need a new audiobook this summer, we've got you covered! 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 308 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 19th, 2026 and today we are looking at the advantages of using Kindle Unlimited for your books. Two weeks ago, we had an episode about the advantages of going wide and distributing it away from Amazon, but there is another side of the coin and today we're going to look at it in the advantages of Kindle Unlimited. We also have an update on my current writing, publishing, and audiobook projects and Coupon of the Week. So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress, Book #8 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. That code is JUNEDOOM. As always, the coupon code and the links to my Payhip store will be available in these show notes for this episode. This coupon code will be valid through July 7th, 2026. So if you need a new audiobook for your travels this summer, we have got you covered. So now let's take a look at where I'm at with my current writing, publishing, and audiobook projects. I'm pleased to report that the rough draft of Blade of Thieves is done. It turned out to be just about as long as Blade of Wraiths. I'm also finished with Orcish Fury, which will be the bonus short story that newsletter subscribers will get a free ebook copy of when Blade of Thieves comes out. I am now editing Blade of Thieves. The first two chapters are edited. I am not sure how many chapters I'll end up with because I've gotten into the habit of splitting up longer chapters into shorter chapters lately since readers seem to prefer that. I do think the book will probably be out after 4th of July weekend if all goes well, because it is a big book and I'm going to have to do a fair bit of editing and I do have a few more things to do in real life that might slow the process down. But if all goes well, the book should be out shortly after the 4th of July weekend. I am also 13,000 words into Cloak of Frost, which will be my next main project once Blade of Thieves is finally done. That will probably be available in August, if all goes well. In audiobook news, at the moment I have no audiobooks in active production, but that will change next month because Leanne Woodward will be recording Dragon-Mage. Hollis McCarthy will be recording Cloak of Worlds and Brad Wills will be recording Blade of Thieves once I finally get it done. So it's funny how things always seem to do a bunch up like that rather than having a more conveniently distributed fashion, but I suppose that's just the nature of life. In other audiobook news, I mentioned earlier that Cloak of Dragons is now available in Audible Plus for those of you who are Audible listeners who have a plan that includes that. Before too much longer, I'm going to start working on the audiobook version of Cloak Mage Omnibus Four, which will combine I believe Cloak of Embers, Cloak of Titans, and Cloak of Illusion into one audiobook bundle. I've done that before [in] the past [with] Cloak Mage books and it's worked pretty well, so we're going to do it with this one as well. I'm going to start working on that next week because I've got to make the cover and then it takes forever to upload all the audiobook files. Hopefully that will be out sometime in July, if all goes well. So that is where I'm at with my current writing, publishing and audiobook projects. 00:03:23 Main Topic of the Week: When and Why to Put Your Books in Kindle Unlimited (KU) Now let's move on to our main topic this week, when and why to put your books in Kindle Unlimited. You might remember that two weeks ago (with Episode 306, I believe) we discussed the advantages and benefits of taking your books wide and not exclusive to Amazon. However, there are reasons it might actually be a good decision to put your books in Kindle Unlimited. In this week's episode, we'll talk about why you might want to consider putting your book in Kindle Unlimited. First, we should discuss how Kindle Unlimited actually works, defining our terms, so to speak. Kindle Unlimited is Amazon's merchandising program for ebooks, essentially. To use the program, you agree that your ebook will be exclusive to Amazon for the next three months (and by default, it auto renews, but you can turn that off in the dashboard). The advantages to you for using Kindle Unlimited are that in addition to buying your book outright, people can also check it out in the Kindle Unlimited program and then you get paid based on how many pages they read. The payout typically varies, but it's usually 45% of one cent [USD] per page read. For example, Half-Elven Thief, you can buy it for $4.99, but in terms of Kindle Unlimited, it comes to about 300 Kindle Unlimited pages, which means that if a reader reads the entire book, I typically get about $1.35 for a complete read. Obviously, this advantages longer books, whereas with the sale of the book, I would get like $3.49, which is significantly more, but it is possible to make up in volume of page reads lost sales on other platforms if the circumstances are right. So that is how Kindle Unlimited works. And now we will look at eight reasons why it is a good idea or why it might be a good idea and why it might be advantageous for you to put your books into Kindle Unlimited. #1: Certain genres are KU dominant. This is not true across all genres, but certain genres tend to be heavily dominated by Kindle Unlimited readers. For example, LitRPG is a unique case because the most popular LitRPG tends to be in serialized form on sites like Royal Road and similar sites, but when it does come to ebook form, it's usually on Kindle Unlimited. So if you're looking to read LitRPG, you will find most of it on Kindle Unlimited and not on the other sites. Other genres tend to be not totally dominant to that effect the way that LitRPG is, but do still have a great deal of strength in Kindle Unlimited, such as military sci-fi, certain kind of thrillers, and certain romance genres as well tend to be very heavily dominated by Kindle Unlimited. So if you are writing in one of those genres, it may be worth your while to consider that it may be advantageous to you to put your book in Kindle Unlimited and see how it performs. #2: The Kindle Unlimited Boost It's no secret that Amazon definitely puts its thumb on the scales for Kindle Unlimited books as opposed to regular ebooks. I've noticed that Kindle Unlimited books tend to go higher in the Amazon rankings. They tend to stay up there for longer than non-Kindle Unlimited books and that reviews generally show up faster for Kindle Unlimited books than they do for non-Kindle Unlimited books. That last part might vary, but the ranking thing is true. It's also true that the higher a book stays in the Amazon rankings and for longer, the more likely it is Amazon is to generate "we think you might like this" emails and send them out to readers in hopes of drawing them to your books. So it is true that Amazon definitely gives a lot of advantages to Kindle Unlimited books that other books don't get. And depending on your sales strategy and your genre, as we mentioned before, it might be worthwhile for your book to be in Kindle Unlimited. #3: Your sales data supports it. If you publish a book wide and after you look at a couple of months of sales data and you notice something like 95% of the sales are coming from Amazon, it might be worthwhile to consider taking the book exclusive and putting it in Kindle Unlimited since in that instance, the boost of page reads and page reads revenue would make up for the sales you clearly aren't getting on the other platforms. Now the threshold for this obviously varies a good deal. I've had months in the past where only like 45% of my revenue came from Amazon and in some of my older series in particular, the Amazon revenue tends to only be around like 40 to 45% and the rest comes from all the other retailers. So in that case, obviously it would be a very poor decision to take the book exclusive to Amazon and take it off all the other retailers. So this is a case where it is once again a good idea to monitor your sales data closely so you can make informed decision rather than working off of gut hunches and guesswork. #4: It permits you to reach readers who aren't buying individual books and value conscious readers. When I've talked about Kindle Unlimited on Facebook and my website in the past, I usually get comments from people who point out that they are on fixed incomes, whether from retirement or disability or taking care of other relatives and so forth and that Kindle Unlimited for them is a great deal because in exchange for $12 a month, they can read as many KU books as they have time to read. That is true. Kindle Unlimited is a much better deal for readers than it is for the majority of writers. And having your book in Kindle Unlimited is a way to reach those value conscious readers who will not buy individual ebooks for whatever reason, whether budgetary constraints or other reasons but do have a Kindle Unlimited subscription. Kindle Unlimited offers you a way to reach those readers that you otherwise would not and that is a potentially useful advantage. #5: It helps you to find new readers and binge readers. Kindle Unlimited kind of works a little bit like the permafree strategy, which I've discussed before, where that if you make the first book in your series free, people are more likely to take a chance on it than they would otherwise. The same thing is true of Kindle Unlimited because if someone's already paid the Kindle Unlimited subscription for a month, it's a sunk cost and therefore there is no disadvantage or additional cost to them for trying out your book and that can potentially lead to a strong sales boost for you if someone discovers your books and likes it. Additionally, if you have a series, every time you release a new book in the series, there is a strong chance your previous books will get a boost. This has been my strategy with the Half-Elven Thief series for the last two and a half years. Now, every time I release a new book in the series, I am fortunate enough that it does well enough that it goes high in the ranks for a while and that causes a sort of halo effect as people discover the previous books in the series for the first time and read through them with their Kindle Unlimited subscriptions, which generates a lot of page reads and therefore revenue. As I said before, a complete read through of Half-Elven Thief, the first book in a series by itself tends to get me around $1.30 to $1.50, depending on what the KU payout rate is that month. By contrast, if a Kindle Unlimited reader reads through all six books in the series, that tends to be around $8 to $8.50, which is a good chunk of revenue. These are often people who, as I mentioned in the previous point, would not have bought the individual ebooks. So that is potentially a big advantage, especially if you write in series and you regularly release in that series because then you get the halo effect to it. #6: It simplifies your ads and marketing strategy. I've often recommended to people who are just starting out self-publishing that it's a good idea to start on Amazon and KU and then see if they want to expand later because it's very simple to just manage one dashboard as opposed to like seven or eight different retailers. As self-publishers get more advanced experience, they tend to prefer to go wide. This also means that your ads are simplified because then you just have to worry about Amazon ads. You can do BookBub ads for KU books. I have not found that to be very advantageous because it's so expensive, but Amazon ads for KU books tend to be very effective and fairly cost effective so long as you monitor the costs and keep your cost per click and ad budget down closely. #7: KU has kind of what I call an immediacy bias. It definitely favors new material over older material. I would not say it's a good idea to take an old series out and put it in KU, especially if it's been on Amazon for several years because the Amazon algorithm definitely tends to reward newness. Self-publishers will talk about the 30, 60, and 90 day cliff where sales tend to drop off, partly from just the organic effect of the book having reached most of its target audience and partly because the Amazon algorithms stop pushing it so much once they reach those points. Kindle Unlimited really, really likes new stuff and I think they change the algorithms on a regular basis, but I think it gives a strong advantage to new stuff. So that ties in if you write a long series and publish new books in it on a regular basis, then you will probably see a strong advantage from that because each new additional book you published in the series will get that new book Halo Effect, which will then boost the other books in the series and that's happening with Half-Elven Thief right now with Dragon-Mage boosting the previous books in the series. #8: Don't plan on keeping your books in Kindle Unlimited forever. As I mentioned in previous episodes of this podcast, my strategy going forward is to only write three series at a time, two of which will be wide and one of which will be in Kindle Unlimited. Once Half-Elven Thief is finished, and I've written the ninth book in the series and it's all wrapped up, I will take it out of Kindle Unlimited and take it to the other platforms because of KU's newness bias. As I mentioned before, since I will no longer be writing new books in the Half-Elven Thief series, they will no longer get that halo boost of page reads from a new book and therefore it makes sense to take it out of Kindle Unlimited and then take it wide to other retailers. I know of other indie authors who do this. [They] will start out their series in Kindle Unlimited and then when it's complete, take it wide to other retailers and that is something I think is worth thinking about if you are publishing your book in Kindle Unlimited is that once the series is done and once you're no longer publishing new books that receive advantages from KU's preference for new material, it is definitely time to start thinking about taking the series out of Kindle Unlimited and putting it on other platforms. Indeed, this is advice I'm going to follow myself once Half-Elven Thief is finished. So there are eight potential reasons putting your book in Kindle Unlimited might be advantageous to you and now the question always tends to be a bit of a binary one is like, should my book be wide? Should my book be in Kindle Unlimited? The secret is there is no right answer. There is just the answer that is right for you and your individual circumstances at this point in time. Like I mentioned earlier, myself, I'm doing a hybrid strategy where most of my books remain wide and most of my new books are wide, but I do have one series in Kindle Unlimited that I am continuing and that might work for you if you write fast enough or it might work better for you to be wide. It might work what better for you to be in Kindle Unlimited. It is just important to reflect and soberly and honestly analyze the data and then make the best decision that is right for you and your self-publishing business. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.  

This week from a galaxy far, far away with Jon Justice.- The future of Star Wars!SUPPORT JON JUSTICE AND PICK UP YOUR COPY OF THE EMBARK, SPACE OPERA SERIESAn exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70's - 2000'sEMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!EMBARK Battle Planet (Book 7) is now available!https://www.amazon.com/dp/B07K7LLFZYEmail: TalkShowNerd@gmail.com@X @JonJusticeInstagram TheJonJusticeFacebook Jon Justice

This week in the world we live in and life in general w/ host Jon Justice - Celebrating the Rose Bowl Show- 3 songs that redefined pop - Listener feed back SUPPORT JON JUSTICE BY PICKING UP YOUR COPY OF THE EMBARK, THE SCIENCE FICTION SERIES WRITTEN BY JON JUSTICEAn exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70's - 1990'sEMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!EMBARK Battle Planet (Book 7) is now available!https://www.amazon.com/dp/B07K7LLFZY50'S DEPECHE MODEhttps://youtu.be/Vt69FeFz-ko?si=xmqmYcxCZa4q9P_GLatest drink and chat with Rob Rohm https://youtu.be/rXs7iZX1tfUEmail: TalkShowNerd@gmail.com@X @JonJusticeInstagram TheJonJusticeFacebook Jon Justice

We're back with a deep dive on one of our favorite recent romances, Seven Days in June by Tia Williams! We talk about yearning in contemporaries, about books that have a powerful sense of place, about dual timelines, about secondary characters, about lines that stick with us years later, and about how fated mates works as a trope in a contemporary romance.Tia also has a new book out this month, The Missed Connection. Get it wherever you get your books.Listen to our Season 3 episode with Tia Williams about writers in romance and head over to talk about Seven Days in June or any of her other books on the Fated Mates Discord, accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Read Seven Days in June at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.NotesSorry, we're a Knicks podcast now, everyone. Sarah because of New York and Jen because of Villanova. Sarah did look up that Knickerbocker thing, but we never got back to it. Learn more about how those trousers became a symbol of NYC here. Sports curses are bad, just ask Red Sox fans! Spike Lee has really been through it, Jalen Brunson's interview after the game just shows you a man trying to deal with his feelings.The World Cup, we just don't know anything about that yet, but we're gonna get up to speed on that, just like all the people of the world getting up to speed on America. Also, feels important to romance that we bring you the news that the Tartan Army cleared Boston out of beer.We had Tia Williams on the podcast back in season 3 when Seven Days in June was released. Although there is not a sequel to Seven Days, Shane and Eva are secondary characters in the YA romance with Audre that came out in 2025. Find out more about Tia, and see all her books at her website.Come see Sophia Benoit in conversation with us in NYC (June 23) and Chicago (June 24) to celebrate the release of her first historical romance, The Very Definition of Love.SponsorsFrederick Smith, author of Love is a Contact Sport, available in print, ebook, audiobook from Amazon, Barnes & Noble, Kobo, or wherever you get your books.Little Brown & Company, publishers of Lu Chekowsky's Don't Buy What I'm Selling: On Breaking Up with Advertising and Finally Learning to Love My Whole, Fat Self, available in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo or wherever you get your books.The What in the Smut? Podcast, available wherever you get your podcasts.W by Wattpad Books, publishers of Nicole Alfrine's Brain Games. Available in print and ebook from Amazon, Apple Books, Barnes & Noble, Kobo, or wherever you get your books.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/2026/6/16/s0838-seven-days-in-june-by-tia-williams If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

This week, we're visiting with Mary Kay Andrews, a longtime writer and certified badass who we adore for her WTAF Wednesdays and her delightful books. We talk about her writing journey, her decision to get publicly, vocally political, and about her new book Road Trip. We had a great time chatting and talking about writing, about research, and about how we should all just take a road trip through Ireland. Of course, we recommend a few books!Find Mary Kay Andrews (and catch WTAF Wednesdays) on Instagram, Threads, or her website.Listen to our earlier romance road trip episode from Season 1 and head over to tell us all about your favorite road trips and find an endless list of road trip recs on the Fated Mates Discord, accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Next week, our read along is Seven Days in June by Tia Williams. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.Books DiscussedRoad Trip by Mary Kay AndrewsSummers at the Saint by Mary Kay AndrewsThis Kingdom Will Not Kill Me by Ilona AndrewsNevermind the Mistletoe by Louisa DarlingThe Adventures of Huckleberry Finn by Mark TwainThe Odyssey, Emily Wilson's TranslationThe Mostly True Story of Tanner and Louise by Colleen OakleyThis Tender Land by William Kent KruegerThe Road to Tender Hearts by Annie HartnettSponsorsEdward Underhill, author of The House of Now & Then, available in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo, or wherever you get your books.Kristina Forrest, author of The Summer Girlfriend, available for preorder in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo or wherever you get your books.Little Brown & Co, publishers of Emily Adrian's Seduction Theory. Available in print, ebook and audiobook from Amazon, Apple Books, Barnes & Noble, Kobo, wherever you get your books, or with your monthly subscription to Kindle Unlimited.Lumi Gummies. Go to lumigummies.com and use code FATEDMATES for 30% off your order.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/6/9/s0837-road-trips-with-mary-kay-andrews If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

What do an arrow through the head, a white suit, a banjo, and two wild and crazy guys have in common? Steve Martin. In this episode of the GenX Book Club, Paul Stroessner, Suzanne Mattaboni, and Del Roehling take a nostalgic look back at Steve Martin's memoir Born Standing Up, a fascinating behind-the-scenes story of one of comedy's most innovative performers. The conversation explores Martin's journey from working in the magic shops of Disneyland to becoming one of the biggest stand-up comedians in America. Along the way, we discuss the discipline, persistence, and creativity that fueled his rise, as well as the personal struggles that shaped him. We also revisit some of Steve Martin's most iconic moments, including:

In this week's episode, we take a look at eight reasons to diversify your ebooks sales beyond just Amazon and Kindle Unlimited. This coupon code will get you 50% off the audiobook of Dragonskull: Wrath of the Warlock, Book #7 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store: WARLOCKJUNE The coupon code is valid through June 22, 2026. So if you need a new audiobook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 306 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 5th, 2026 and today we'll discuss eight reasons you should diversify your book sales beyond Amazon. We'll also talk about Coupon of the Week and give a progress update on my current writing, publishing, and audiobook projects.   So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Wrath of the Warlock, Book #7 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. That coupon code is WARLOCKJUNE. 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 is valid through June 22nd, 2026, So if you need a new audiobook for the summer as you go on a summer road trip, we have got you covered. Now let's talk about my current writing, publishing, and audiobook projects. As of this recording, I am 80,000 words into Blade of Thieves, which puts me in Chapter 17 of 25 of my outline. So we're closing in on the end. I think we're going to be about 110-115,000 words or thereabouts in the rough draft. So hopefully a couple more solid pushes and we'll get there to the end. I hope to be at 90,000 words by this point, but there is quite a lot to do in real life so we didn't quite get there, but 80,000 words is still better than nothing. For Cloak of Frost, as of this recording, I am now 9,000 words into it and that will be my main project once Blade of Thieves is done. I was hoping to have Blade of Thieves come out in June, but July is looking more likely at this point. Hopefully Cloak of Frost will come out the month after Blade Thieves comes out, whenever that is.   In audiobook news, I'm pleased to report that Blade of Wraiths (as excellently narrated by Brad Wills) is now out at all audiobook platforms. Get it at Audible, Amazon, Apple, Google Play, Kobo Books, Chirp, my own Payhip store and all the usual audiobook stores. At the moment, I have no other audiobooks in active production, but once Blade of Thieves is done, Brad will also be recording that. Later this month, Hollis McCarthy is scheduled to start on Cloak of Worlds and in July, Leanne Woodward is going to record Dragon-Mage, the most recent Rivah book. So we don't have any audiobooks being produced right now, but we will in the future. So that is where I am at with my current writing, audiobook, and publishing projects.   00:02:32 Main Topic of the Week: Beyond Amazon: Reasons to Diversify Your Sales Platform   Now onto our main topic this week, Beyond Amazon: Reasons to Diversify Your Sales Platform, which is something you know I do quite often given how often I talk about my links to my Payhip store on this very podcast.   For a long time, the conventional wisdom has been that Amazon has 80% of the US book market and putting your ebooks into Kindle Unlimited was the best route of success because of that monopoly and some of the algorithmic benefits Amazon gives to KU authors. While it's true that certain genres (especially LitRPG and romance) are almost exclusively focused on Amazon and KU in the US, going exclusive with Amazon is not necessarily the best course of action for everyone, especially if you're interested in growing your international sales.   Today we'll talk about reasons why putting your books in KU is limiting and in the interest of fairness, in two weeks, we will also be doing an episode later [about] when putting your book in KU is a good idea and some of the benefits of that. But today we're going to start with the benefits of diversification. Here are eight reasons you might want to consider moving beyond just Amazon, which is often called going wide in the Indie Publishing world. #1: Increasing your global reach.   It may surprise you to know that the Kindle store is not available in every country and that other countries have a strong competitor to the Kindle store. For example, in Canada, Kobo is Amazon's main competitor and has traditionally a strong market share there, quite a bit larger than Amazon Canada based on my own sales data. Kobo is also very strong in many European markets. Additionally, because there are many more Android users internationally than there are in the US, Google Play Books is important in non-US countries. It's also an easy platform for users and integrates into the Google ecosystem as well. Data usually finds that while the iPhone [iOS] is dominant in the United States, Android tends to be the majority mobile operating system in the rest of the world. So if you want to access Android users in the Google Play Book Store, then you want to be on Google Play Books. #2: Some people are boycotting Amazon.   There are many readers who boycott Amazon or American-led companies for a number of reasons. It is possible to overstate the strength of these. I've seen many people be alarmed about Amazon boycotts impacting their sales, but it never really seems to materialize. I suspect a lot of the boycotting thing is much louder online than it is in real life. That said, it is undeniable. There are people who will not buy ebooks or anything from Amazon for a variety of reasons. So if you sell your books only through Amazon, you're missing out on that group of readers. Some categories of romance have also been affected by Amazon boycotts, so it's worth investigating other options if you're an author in these categories.   #3: Kobo Plus.   Kobo offers a subscription program called Kobo Plus that unlike KU, does not require exclusivity to participate in it. Over three million ebooks and 100,000 audiobooks (quite a few of which are mine) are available to subscribers for less than the cost of a KU subscription. Kobo has been gaining popularity in the US in part due to their subscription program. I have to admit my own personal experience with Kobo Plus as an indie author has been almost entirely positive. When it first came out, I was a little leery of it, but then I decided to test it out by putting Frostborn into it and that did quite well and I was pleased enough with the results that now I just put everything in Kobo on Kobo Plus and that has paid off because the majority of my month to month Kobo revenue and the majority of my yearly Kobo revenue comes from Kobo Plus now. In March and April, I had two of my best months ever on Kobo in the 14 years I've been publishing with Kobo entirely off the strength of Kobo Plus. So my experience with it has been if you write a really long series like that that generates a strong read through (like Frostborn is 15 books, Sevenfold Sword was 12 books, Cloak Mage as of this point is up to 14 books), then it would be definitely advantageous to you to investigate Kobo Plus.   #4: It gives you the chance to support independent booksellers through bookshop.org.   This past year, bookshop.org made a deal with Draft2Digital that made it possible for indie authors to put their books on the bookshop.org platform. In the past, has not been particularly easy or straightforward for small indie bookstores to sell ebooks, so this is an opportunity for physical indie bookstores based in the US. For American readers who want to shop local but still read ebooks, it's nice to be able to offer them an option that benefits their local communities. It also gives these bookstores a way of supporting local authors without having to find physical space for them within the store itself. Bookshop.org is still in the early stages of accepting indie ebooks and there are some things that need to be worked out with features on their app, especially about user complaints about a lack of flexibility with DRM-free e-books. Still, romance and what the site calls "serious nonfiction" are growing rapidly on the platform, so it's definitely worth exploring, especially for authors in those categories. If they do succeed in their plans to put out their own ereader, that would make the platform even more attractive to many book buyers.   #5: Direct sales equals greater profit, extras, price fixability, et cetera.    Having your own sales platform (typically hosted on sites like Payhip and Shopify) gives you far more control over your sales platform. It also gives you a far greater cut of the profits. To give an example, if I do a coupon code for one of my audiobooks on my Payhip site to make it 50% off like I did earlier in this episode with the Dragonskull: Wrath of the Warlock coupon, I still earn a similar amount as if someone had bought it for full price on Audible.   A direct sales platform also allows you to create discounts for sales far more easily than on other platforms. Additionally, you don't have to wait for ebooks or audiobooks to get through processing on a direct sales site like you do with ACX and the other sites, which makes when a book or audiobook is ready for sale far more predictable. You can also bundle things with ebooks like such as the book file in multiple formats or bonus items like maps, worksheets, or charts. On the other ebook sites, this isn't typically possible. Direct sales gives you a greater flexibility in terms of selling. You can include bonus items and it's also a good fallback position if one of the main sites isn't working. I first got into direct sales in 2021 because Barnes & Noble had its big ransomware hack then and for a while it was impossible to publish new things to the platform and I believe that was when Ghost in the Vault came out and since I couldn't publish that on Barnes & Noble until the ransomware problem was fixed, I directed people to the Payhip site instead.   #6: Library sales and Kindle Unlimited.   The popularity of the Dungeon Crawler Carl series and the Project Hail Mary audiobook made a lot of people aware of the fact that exclusivity agreements with Amazon and Audible have often been structured to leave out options for library ebook platforms or require maneuvering or additional deals in order to make it possible. The popularity of Libby in particular is growing here in the United States, especially as people are having to shift their leisure spending from things like books and entertainment to covering basic necessities like housing, transportation, fuel, and food costs due to the poor state of the economy. If library sales and library readers are important to you, then going wide is your best option for reaching the library market.   Myself, I haven't particularly pursued the library market. I haven't refused it either. I usually, when the option is available, click on the toggle switch to publish it to a library service, but then don't think about it very much after that, but there are many indie authors who are very interested in getting in libraries and have pursued that quite a bit through these programs.   #7: Vendor lock-in/user preference.   There is a concept called vendor lock-in, meaning that ebook buyers have a particular platform that they default to when buying ebooks because that is where the ebook collection is based and they want to keep their books together instead of spread across several different apps. Many Barnes & Noble and Kobo users are not interested in ebooks from Amazon or KU for this reason and won't even follow a favorite author to another platform. It's important to have an option available for these readers.   #8: DRM free. [Digital Rights Management]   Having a DRM free copy of an ebook is extremely important to many readers and that is what makes an ebook purchase a true purchase instead of a highly conditional license. Sites like Kobo allow ebook buyers to limit their searches to only DRM free titles and many will not buy a book that is not available without DRM. My Payhip store, all the files you get from that when you buy an ebook or an audiobook are DRM free as well.   For myself, a large portion of my sales come from outside Amazon, so that's why I've never been fully exclusive with Kindle Unlimited and instead rotate a small selection of my series in and out of KU. Over the years, I've experimented with having various books in KU and starting in 2023, what I settled on doing was that I would write three series ongoing. Two of those series would be available on all ebook platforms and one of those series would be available in Kindle Unlimited, which allowed me to pursue both markets at once. As of right now, the wide series are Blades of Ruin and Cloak Mage and the Kindle Unlimited series is Half-Elven Thief. Once Half-Elven Thief is completed, I will take it out of Kindle Unlimited and take it wide and start a new series for Kindle Unlimited.   Overall, I found it's worthwhile to be wide even when pursuing Kindle Unlimited with some of my books because typically in an average month about 45 to 55% of my revenue comes from Amazon and the rest comes from all the other platforms put together. So while Amazon is typically half, that's not nothing, it's only half and the rest of the revenue comes from all these ebook platforms I've been cultivating over the years. So the conclusion is that the beauty of KU's current agreement is that you only have to commit to being exclusive for a short amount of time, specifically three months, and then can always return to it if you want to try going wide for a while.    It's also important to note that growth on other platforms may be slow and if you're going to try them out, it's important to be patient and have realistic expectations. It's the benefit of being an indie author that we can experiment and make decisions quickly based on data and reader preferences. Going wide may not be the best decision for everyone, but the results may surprise you, especially over time.   The cumulative effect of things is often easy to overlook, but it does add up over time. Part of the reason I think my books do so well with Kobo Plus is because they've been on the Kobo website for the last 14 years, which gives them time to accumulate reviews and additional word of mouth. So when someone is browsing Kobo Plus for something to read and they see this long book series with a bunch of good reviews, it becomes easy for them to try it through Kobo Plus.   So that is it for this week. This week we talked about going wide. Next week I don't have time to record a full-time episode, so we're going to do another audiobook sampler roundup, which will be fun. The week after that, in two weeks from today, we are going to talk about the benefits of going to Kindle Unlimited as a contrast to this episode and I will talk about some of my Kindle Unlimited experiences (both good and bad). So thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backups at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting and platform of choice. Stay safe and stay healthy and we'll see you all next week.  

We're celebrating the paperback release of These Summer Storms this week, and that means we're talking about the weather! We talk about rain and snow and wind and tempests and tornadoes and monsoons, and we talk about why we all like weather in books so much (hint, it's because it's dialed up to 11).Tell us all about your favorite weather in romance novels and find an endless list of books that are as wild and stormy as you like over at the Fated Mates Discord, accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is Seven Days in June by Tia Williams. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.NotesWe are fans of Mayor Mamdani, texting Sarah about the weather. This lady didn't get the memo, but we hope she's okay. After this episode was recorded, the Knicks were headed to the MNBA finals, and the Mayor repealed bedtimes for all the kids in New York. Could we love him any more?Eric was camping, which Sarah and I imagine is like Ferngully, but it was real rainy.Half agony and half hope is from Persuasion, which just goes to show you that you can never read Jane Austen and still get the basics!Send Help is a movie with Rachel McAdams and it's basically light horror, maybe? Idk, Jen covered her eyes a lot, but it was super fun.It was a dark and stormy night is from Snoopy, and also an 1830 novel called Paul Clifford by Edward Bulwer-Lytton, who was an aristocrat! He was the first Baron Lytton! Paul Clifford is an example of a Newgate novel.Snowed-in is a subset of forced proximity, but the snowed-in is a symbol.You can watch People We Meet on Vacation on Netflix.Speaking of Crash Landing on You and weather.James Joyce was afraid of thunderstorms.Sophia Benoit will be with Sarah at Book Club Bar in Brooklyn on June 23rd, and with Jen at Women & Children First in Chicago on June 24th. Sarah will be with Mary Kay Andrews on Long Island on June 12th.SponsorsRachel Griffiths, author of Just for the Season, available for preorder in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo, signed from the Ripped Bodice, or wherever you get your books.Lulu Morris, author of The Dating Pact, available for preorder in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo or wherever you get your books.W by Wattpad Books, publishers of Sabrina Blackburry's Half Wylde. Available in print and ebook from Amazon, Apple Books, Barnes & Noble, Kobo, or wherever you get your books.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/6/1/s0836-weather-is-genre-these-summer-storms-paperback If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

In this week's episode, I take a look at the movies and streaming shows I watched in Spring 2026, and rate them from least to most favorite. This coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store: DRAGONJUNE The coupon code is valid through June 15, 2026. So if you need a new ebook this summer, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 305 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 29th, 2026 and today we'll be discussing my Spring Movie Review Roundup for 2026, where I discuss the movies and streaming shows I watched over the last few months. We will also have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects. So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store. That coupon code is DRAGONJUNE. And as always, you get the coupon code and the links in the show notes for this episode. This coupon code will be valid through June the 15th, 2026. So if you need a new ebook for this summer, we have got you covered. Now let's move on to my current writing, publishing, and audiobook projects. As I mentioned last week, Dragon-Mage is out and you can get it at Amazon and Kindle Unlimited and it's doing well, so thank you for that. My next main project is Blade of Thieves and as of this recording, I am on chapter 11 of 25, though that'll probably expand in the final draft, which puts me at 56,000 words in. So I'm almost halfway through. I think probably it's going to be the length of Blade of Wraiths or a little longer, but we'll see. I'm hoping to have it out towards the end of June, but depending on how June goes, that might slip till July. Hopefully we can avoid that. I'm also 5,000 words into Cloak of Frost and that will be my main project once Blade of Thieves is done. I'm hoping to have Cloak of Frost out towards the end of July, but depending on how June goes, it might slip to August. For audiobook projects, Blade of Wraiths is still processing at ACX, though I believe as of right now, you can get it at Google Play, Kobo, Spotify, and my own Payhip store. The other stores should be available within a few weeks. As of right now, I don't actually have any current audiobooks in production, though we have some scheduled for the future. Once Blade of Thieves is finally done, Brad Wills will record that for us. Hollis McCarthy is scheduled to record Cloak of Worlds in June, if all goes well. Leanne Woodward will be recording Dragon-Mage sometime in July, if all goes well. So that is where I'm at with my current writing, publishing, and audiobook projects. Hopefully we'll have new things for you to read and listen to before much longer. 00:02:32 Main Topic: Spring 2026 Movie Review Roundup Now without any further ado, let's move on to our main topic, my Spring 2026 Movie Review Roundup. It's time for the Spring 2026 Movie Review Roundup, where I review the movies and streaming shows I watched over the last few months. As always, they're listed from least favorite to most favorite. The grades are wholly subjective and based on nothing more than my own opinions and thoughts. With that disclaimer out of the way, let's go to the movies. First up is Kicking and Screaming, which came out in 2005. This is a family comedy with Will Ferrell and Robert Duvall. Pharrell plays Phil Weston, a mild mannered vitamin store owner and Duvall plays his father, Buck Weston, owner of a successful chain of sports equipment stores. Buck is one of those hyper competitive guys who has to win at everything and Phil has always rolled with it. But when Phil's son is a benchwarmer on the youth soccer team that Buck coaches, Phil's had enough and starts coaching a rival team to get his son into the game and to defeat his father. Along the way, of course, he descends into Will Ferrell style comedic lunacy, but the PG version since this is a PG movie. Mike Ditka was also hilarious as Phil's sidekick and assistant coach. It seemed like an '80s family movie. It was a sort of movie where you could have taken the entire family to the theater in 2005 and everyone would have been at least moderately entertained. Overall Grade: C Next up is the animated Lord of the Rings, which came out in 1978. As I mentioned, this was the animated version of Lord of the Rings from 1978. Extremely ambitious, but I think it's fair to say this landed in ambitious failure territory, but they tried the best they could given the constraints of the technology at the time and the actual available budget. They tried to pack the entirety of the Fellowship of the Ring and the first half of The Two Towers into about two hours and 20 minutes. I'm sorry to say it just didn't work. Like Dune, the Lord of the Rings is one of those books that requires like 10 hours of very expensive filmmaking to pull off properly. That said, I think it is fair to say that this stumbled so that the Peter Jackson live action trilogy could run. Adapting a book (especially a big book) into a movie is a challenge and I don't think this quite got there. Too much was cut out and if you hadn't read the book, you would probably have no idea what was happening or just been confused the entire time. Additionally, the movie relied heavily on rotoscoping and it didn't always quite work. Like the rotoscope Nazgul looked creepy and unsettling, so that worked for them. However, the rotoscoped orcs just looked bad. You know how in live theater stagehands will dress all in black? The orcs kind of looked like that, albeit they're wearing yellow ponchos over their black stagehand outfits, almost like the stagehands were expecting inclement weather backstage. That said, the vocal performances and the music were very good. So an ambitious and admirable failure. As I said, I think the filmmaker's vision exceeded the grasp of their budget and the available technology of the 1970s. Overall Grade: C Next up is Airplane!, which came out in 1980. It was interesting to watch this as a cultural artifact. It had the leisurely pace of an '80s movie, with far more absurdist humor. It was a parody of various airplane disaster movies from the 1970s. It's also interesting that this is remembered as a Leslie Nielsen movie nowadays, though Leslie Nielsen 's character is only a supporting character. For all that he's known for his absurdist humor these days from later movies, Nielsen plays his character stone cold dead straight, which makes him all the funnier, amazingly enough. Some of the jokes in this movie have aged very badly, but it's still worth watching as an interesting and amusing cultural artifact, given how it influenced the entire genre of comedy movies afterwards. There's also the obligatory three seconds of nudity that can get cut on cable TV broadcast. Overall Grade: B- Next up is the Thomas Crown Affair, which came out in 1999. This is an interesting remake of a movie from the 1960s. Pierce Brosnan plays Thomas Crown, a billionaire who has grown bored with his life, so he orchestrates the theft of a priceless Monet painting from the Metropolitan Museum of Art in New York. The heist goes off flawlessly and the museum's insurance company sends out investigator Catherine Banning (played by Renee Russo) to retrieve the painting and avoid a hundred million dollar insurance payout. Banning immediately intuits that Crown is the thief and sets about to find the painting. This investigation is complicated by the fact that Crown and Banning immediately develop a strong attraction and start an affair. It was interesting to watch since neither Crown nor Banning are particularly sympathetic characters. In 2026, the phrase "bored New York billionaire" has much more sinister connotations than it did in 1999 and Banning breaks all kinds of laws and sleeping with her target is not a particularly bright idea. That said, the opening heist was interesting and Crown's final gambit to return the painting was extremely clever and enjoyable to watch. So overall, I like the movie, but there's still way too much nudity. Cable broadcasts are probably like 10 minutes shorter than the actual runtime from cutting it all out. Overall Grade: B- Next up is Whiskey Galore, which came out in 2017 and this is a remake of the original Whiskey Galore from 1949. Honestly, this is exactly the same movie from 1949 that I watched in the Movie Review Roundup for Summer 2025, just updated with modern filmmaking techniques. If the movie makers in the '40s could have done it this way, they would have. Though I would recommend watching the 1949 one first and then the one from 2017. Overall Grade: B Next up is Super Mario Galaxy, which came out in 2026. And I have to admit, it felt a little strange to be the oldest person at the theater watching Super Mario Galaxy, but I've been playing Mario games since before any of these kids were born, so I think I had a right to be there. Anyway, I would say this movie is about 75% as good as the first one. It was a little overpacked and the plot wasn't quite as tight, but it's still fun to watch. The animation was excellent and I enjoyed all the callbacks to the various Mario games and since I haven't actually played all the Mario games (as a reminder, I played no console games of any kind between 1998 and 2019), I'm sure there were quite a few I missed. The plot is that Bowser Jr is coming to rescue his father, Bowser, who's been held captive since the end of the last movie. To power his doomsday weapon, Junior kidnaps Princess Rosalina and Princess Peach goes to rescue her while Mario, Luigi, and Yoshi stay to protect the Mushroom Kingdom. Their separate subplots will end up crossing when Bowser Jr. invades the Mushroom Kingdom to get Bowser. Glen Powell was an excellent choice to voice Fox McCloud. I'd say if you could imagine a movie that the audience would enjoy and the critics would hate, you'd end up with Super Mario Galaxy. Since that appears to be what happened to the tune of $970 million, it appears that metaphor was accurate. Also, to be less glib, "movies you can take your kids to" do serve a valuable social function (in my opinion). Overall Grade: B Next up is the Rise and Fall of Reggie Dinkins, which came out in 2026. This was a comedy with a fun premise. Reggie Dinkins (played by Tracy Morgan) was an elite NFL player who got bounced out of the league for placing bets on himself. Years later, he teams up with an indie filmmaker named Arthur Tobin (played by Daniel Radcliffe), to make a documentary to rehabilitate his image. However, Tobin has his own issues. He has an Oscar, but after the Oscar, he got hired to direct a Marvel movie and cracked under the pressure. He and Reggie have to go on a journey to recover their reputations. I thought this was a pretty funny sitcom. Tracy Morgan is a comedic natural, but Daniel Radcliffe turned out to be an excellent comedic actor as well. He was great in that Weird Al biopic a few years ago and he's very funny in this. Craig Robinson was also great as Jerry Basmati, Reggie's sleazy nemesis. Overall Grade: B+ Next up is The Mandalorian and Grogu, which came out in 2026. I enjoyed this. It was like three pretty good episodes of The Mandalorian show put together. The end result was an adventure movie that kind of reminded me of the best of 1980s fantasy and sci-fi movies with a lot of creature work and a lot of action scenes. For an extended stretch of the movie, Grogu takes over as the primary protagonist, and given that Grogu is a very expensive puppet, that's an impressive feat. The plot picks up from the end of The Mandalorian show. The Mandalorian and his adopted son Grogu are now working for the New Republic, helping to hunt down Imperial warlords. Mando gets assigned to hunt down in a mysterious Imperial warlord named Commander Coin, but the only people who have information on Coin's location are the Twins, a pair of Hutt crime lords and relatives of Jabba the Hutt from Return of the Jedi. The Twins are willing to give up Coin's location if Mando does a job for them, but as Han Solo could have warned Mando, working for the Hutts is not a good idea. I was surprised that the reviews for this movie were as mixed as they were, but I suspect that's a combination of three social factors: Number one, cumulative ill will towards Disney as a corporation, which has done numerous sketchy things in the 2020s. I think something similar happened with Microsoft and Starfield. Number two, the lingering bad aftertaste of the sequel trilogy and number three, the tendency of the hardcore Star Wars fandom to chronically overthink things. Overall Grade: B+ Next up is the animated Hobbit, which came out in 1977. Peter Jackson's Hobbit Trilogy from the 2010 famously stretched The Hobbit across three movies, which really didn't work and added a bunch of epic battle scenes, which was totally off for what was essentially a children's book. The animated 1977 version of The Hobbit, by contrast, went in a different direction, neatly adapting it down to 70 minutes or so, presumably because animation is very expensive. At the time, this got mixed reviews, but looking back nearly 50 years later, I think we can appreciate it more because of the sheer amount of work that goes into hand-drawn animation. Like computer-based animation is unquestionably a lot of work as well, but hand-drawn animation is on something of a higher level in terms of difficulty, in my opinion. That said, I think this adaptation did a better job of compressing the story down than the animated Lord of the Rings movie I mentioned earlier in this episode. There's also a lot of 1970s style folk singing-like a LOT. I suspect J.R.R. Tolkien would have hated every single adaptation ever made of any of his works (with perhaps the exception of the audiobooks), but he would have approved of the number of songs and poetry in this. Though it was amusing that the high elves in this movie sing in a '70s folk music style. It would be humorous if in the Silmarillion, Earnedil the Mariner had finally crossed the Sundering Seas to reach Valinor and appeal the aid of the Valar against Morgoth and his hordes, only to hear '70 style folk music echoing across the shining hills of the Undying Lands. Anyway, it's definitely worth watching this if you like The Hobbit or old style animation. Overall Grade: A- Next up is House of David Season 2, which came out in 2026. I wrestled with what grade to give this because it used a lot of AI for the big battle scene in episode one and as long time readers and listeners know, I do not generally approve of LLM generated slop. Ironically, I think episode one, the big battle sequence with all the AI, was definitely the weakest point of the entire second season. Everything else was better. That said, all the character drama and interactions and acting were really good, which amusingly shows that while LLM stuff can generate blurry scenes of mounted soldiers charging at night, the real human emotion comes from, well, real human emotion. Anyway, this picks right up from the end of Season 1, right after David kills Goliath, which means it takes place during most of the events with the third quarter of the book of 1 Samuel from the Bible. David becomes one of the chief commanders of King Saul, but David is secretly the anointed king of Israel. Saul's deteriorating mental state becomes threatening to David while Saul's children scheme for position (with the exception of Jonathan, who has accepted that God has chosen David as the next king of Israel) and the Philistines prepare for war against Israel. It is interesting how the show alternates between leaning into the Grimdark aspects of life in the late Bronze Age and early Iron Age and avoiding them. Like, constant warfare was a fact of life for a Mesopotamian king around 1000 BC. But the show also shows David as having passionate romantic love for Saul's daughter Michal and in the Bible, David ended up with at least eight wives that we know about (there were likely others) and an unnamed number of concubines. So late Bronze Age/early Iron Age monarchs were not likely to have been in the grips of fervent romantic love. Though based on the Psalms he wrote, David seems to have been a man who definitely was in touch with his emotions and quite possibly he would have passionately loved multiple women at the same time. Anyway, I enjoyed the show. While I am not an expert, I probably have a higher than average level of Old Testament knowledge. So when the show expanded on something from 1 Samuel (such as the role of Doeg, the murderous Edomite shepherd), I could see where they were coming from. Or the subplot where Jonathan falls in love with an Israelite woman since in the Bible, David took care of Jonathan's son, Mephibosheth, logically, Jonathan had a wife at some point. Related to that as Saul continues his descent, in a moment of rage in 1 Samuel, he calls Jonathan "the son of a perverse and rebellious woman" and the show has a subplot explaining how Saul came to see Queen Ahinoam as a "perverse and rebellious woman". So I enjoyed this and will definitely watch Season 3 when it comes along. That said, the opening battle with the AI generated battle scenes is still definitely the weakest part of the series, though. Overall Grade: A- Next up is Maul: Shadow Lord, which came out in 2026. And in my opinion, this was pretty good. I think he could call the plot Sith Noir. Maul, desiring vengeance against the Emperor for all the pain he has endured, has decided to rebuild his criminal syndicate (previously destroyed in the Clone Wars) and use it to bring down the Empire. Meanwhile, Captain Lawson, a detective on a minor world, is trying to rebuild his relationship with his teenage son and keep his career afloat. This becomes tricky when a pair of fugitive Jedi fleeing from the Inquisitors turn up on their world. But in the younger of the two Jedi, Maul sees a potential apprentice for himself, one he could corrupt to the dark side. The animation has improved by quantum leaps and bounds since the days of the Clone War show. The lighting and the shadows are excellent. Maul looks spooky and a little uncanny. The lightsaber fights are quick and fluid. No spoilers, but the final episode is absolutely excellent. I also think one of the best things about the Star Wars animation shows is how Maul's character has evolved from simply the cool swordsmen at the end of The Phantom Menace to a sympathetic yet still evil warrior-philosopher, a tragic figure whose every effort always contains the seeds of its own downfall. Overall Grade: A Next up is Emma, which came out in 2020. This is an excellent adaptation of the Jane Austen's novel. Good performances, good cinematography, and it captures the essence of the novel quite well and it's probably a must for Austen fans to see. I don't really have anything negative to say about it, say that it has the three seconds of unnecessary nudity that can be cut in cable broadcasts. Ironically, and quite amusingly, that three seconds of nudity is quite literally the only thing this movie has in common with Airplane!. Overall Grade: A Next up is No Packers, No Life, which came out in 2025. This was a fun documentary about a group of Japanese Green Bay Packers fans. Obviously, there are fairly large cultural and linguistic divides between the United States and Japan, so American football is not hugely popular in Japan. However, the Green Bay Packers are the only community owned team in the NFL to this day and so they're quite a bit more sympathetic than one that's owned by a faceless billionaire. Anyway, an American businessman goes to Japan and stumbles across a Japanese man wearing a Packers jersey at a bar. From there, he learns of a small club called the Japanese Packers Cheering Team that gathered to watch Packers games. This businessman in question happened to be from Wisconsin, so he befriended the Japanese Packers Cheering Team and invited them to Green Bay for a game. The invitation snowballed and so the entire club and their families arrived to watch the game. Sports fandom really isn't one of my interests, so it's always interesting to look at it from the outside. That said, this was an enjoyable documentary about cross-cultural communication at its best. Overall Grade: A Let's close out this episode with my favorite thing I saw in spring 2026, which was Project Hail Mary, which came out in 2026. This is another "science man solves space problem that saves the day with math and science", type science fiction adventure like The Martian, though some new twists on the formula. Dr. Ryland Grace wakes up alone on a spaceship with all the other crew dead and no memory of how he got there. Gradually, he partially remembers and works out that he is part of Project Hail Mary, a last ditch effort to stop Earth's sun from dimming due to an extremophile organism called the Astrophage. Only one other star in Earth's stellar neighborhood was showing no signs of Astrophage infection, so Grace's ship was sent there on a suicide mission to try and recover some means of defeating the Astrophage. While there, he encounters an alien ship with a sole survivor and he slowly works out how to communicate with the alien, who he dubs Rocky. It turns out Rocky's people sent him there on a mission to solve the Astrophage problem as well and together Grace and Rocky try to work out how to save their respective home worlds. Quite enjoyable and worth seeing. At the time I typed this in March of 2026, it was the highest-grossing movie of 2026 and I think it deserved that, though it did eventually get overtaken by Super Mario Galaxy. Overall Grade: A I suppose that was an eclectic range of movies, wasn't it? Interestingly, I actually saw three of them in theaters: Project Hail Mary, Super Mario Galaxy, and The Mandalorian and Grogu, so I went to the theater three times in three months. I think that's the most I've been to the movie theater in a single year in the entirety of the 2020s. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show interesting. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.  

This week from a galaxy far, far away with Jon Justice.- Mandalorian & Grogu Review- Why the Sequels are as good as the OTSUPPORT JON JUSTICE AND PICK UP YOUR COPY OF THE EMBARK, SPACE OPERA SERIESAn exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70's - 2000'sEMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!EMBARK Battle Planet (Book 7) is now available!https://www.amazon.com/dp/B07K7LLFZYEmail: TalkShowNerd@gmail.com@X @JonJusticeInstagram TheJonJusticeFacebook Jon Justice

This week, we're joined by one of the greatest, Veronica Roth, whose new book, Seek the Traitor's Son, features one of her most beloved of tropes: Sad Boys Who Punch Things. We were delighted when she suggested we do an episode on this very particular, very delicious romance concept, and of course, we invited her to join us! We talk about how it works, why we love soft boys who are full of rage, and how we stan a hero who is willing to stand back and let his partner be awesome. We also talk about The West Wing & Ladyhawke (makes sense). And of course, we talk about her books!If you'd like to continue the conversation about sad boys who punch things or about Veronica's deep backlist, please join the Fated Mates Discord, which is accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is Seven Days in June by Tia Williams. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.NOTESVeronica Roth's newest release is Seek the Traitor's Son, the first in a dystopian fantasy duology with a strong romance subplot.We love the follow sad boys: Toby Ziegler, Angel, Fox Mulder, Tobias from Animorphs, and Rutger Hauer from Ladyhawke.The Sixth Faction is coming soon! SPONSORSPiper Rayne, author of The Hotshot, available in print, ebook, audiobook and with your monthly subscription to Kindle Unlimited.Rose Prendeville, author of A Faire Affair, available in print, ebook and with your monthly subscription to Kindle Unlimited.Blue Box Press, publishers of Dylan Allen's beautiful new print editions of The Daredevil, The Mastermind & The Wild Card. Available in print and ebook from Amazon and Barnes & Noble.Lumi Gummies. Go to lumigummies.com and use code FATEDMATES for 30% off your order.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/5/18/s0835-sad-boys-who-punch-things-with-veronica-roth If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

This week from a galaxy far, far away with Jon Justice.-  Mandalorian & Grogu Prę-Show -  Why the Sequels are as good as the OTSUPPORT JON JUSTICE AND PICK UP YOUR COPY OF THE EMBARK, SPACE OPERA SERIESAn exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70's - 2000'sEMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!EMBARK Battle Planet (Book 7) is now available!https://www.amazon.com/dp/B07K7LLFZYEmail: TalkShowNerd@gmail.com@X @JonJusticeInstagram TheJonJusticeFacebook Jon Justice

In this episode pulls a theme from Day 5 of the Courage to Believe Devotional, and our focus is a heavy but deeply necessary one: Grief and Coping with Loss.Most people automatically connect grief with a funeral. We think it only belongs when someone passes away. But as today's interview with Coach Chi illustrates, grief happens profoundly when we lose a relationship through divorce.The brain processes the loss of a mapped-out future the exact same way it processes a physical death. You are mourning a timeline that suddenly no longer exists. Because we build such strong emotional connections, a breakup hits us with a physical, devastating force. And if we don't realize we are grieving, that hidden pain will eventually find a way to show up in other areas of our lives.This episode is for you if you're having trouble coping with the loss of your relationship.Curious about what Day 5 of Courage to Believe 21 Day Christian Devotional for Single Moms covers? Grab your copy in English, German or Spanish. Available on the free Kindle app. Also free on Kindle Unlimited: https://amzn.to/4eY841phttps://solomomstalk.mysites.io/podcast-2-copy/dating-yourself-after-divorceThis podcast is hosted by Captivate, try it yourself for free.Mentioned in this episode:Addressing Our Messy EmotionsGod is not surprised by our messy emotions. But He patiently waits for us to cast our cares upon Him. Whatever stage of life you're in, know that God cares for you. And He sees you.Intro to GriefThis podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

We are thrilled to have two of our favorite people with us today to discuss one of our favorite genres! Ali Hazelwood and Adriana Herrera, the masterminds behind the AH2 Kickstarter of Historical Trailblazers are here to talk about all the ways historical romance is unmatched! We talk about the new Historical Trailblazer special edition box set that AH2 launched this week, about the power of historicals, and about some of our favorite historical romances, past and present.The Historical Trailblazer Box Set of books, including Indigo by Beverly Jenkins, Butterfly Swords by Jeannie Lin, The Magpie Lord by KJ Charles, Lord of Scoundrels by Loretta Chase, and (of course) Dreaming of You by Lisa Kleypas. The box set includes stunning hardcover editions, gold foil, sprayed edges, original artwork and letters from the authors. Learn more at the AH2 Kickstarter page.If you'd like to continue the conversation about historical romance, please come join the Fated Mates Discord, which is accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is Seven Days in June by Tia Williams. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.SponsorsBlue Box Press, publishers of Larissa Ione's Legacy of Desire, available in print, ebook or audiobook at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Juniper Butterworth, author of The King in the Forest, coming soon in print, ebook and with your monthly subscription to Kindle Unlimited.Elle Kennedy, author of The Off Campus series, beginning with The Deal, now a television show on Amazon, available in print, ebook and audiobook, at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.Dawn Banks, author of The Spreadsheet Situation, available in print or ebook at Amazon, Barnes & Noble, free with Kobo Plus, or wherever you get your books.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/5/11/historicals-with-ali-hazelwood-and-adriana-herrera If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

In this encouraging episode, I discuss how solo mothers can move from survival mode to a life of healing, transformation, and purpose through Christ. Drawing from biblical principles and personal experience, I share three powerful tools every solo mother needs: renewing your mind with God's truth, embracing your current mission as a mother, and finding strength through Godly mentorship and Christ-centered community.If you've ever felt overwhelmed, emotionally exhausted, stuck in fear, or uncertain about your future, this episode will remind you that God still sees you, loves you, and has a purpose for your life.Key topics include:Renewing your mindset through ScriptureBreaking generational cyclesWriting a family mission statementHealing from trauma and disappointmentThe importance of mentorship and communityTrusting God in difficult seasonsYour story is not over. Transformation begins when you have the courage to believe.Sample family based, Christ-centered or biblically based mission statements:Example 1: With God's help, I am building a legacy of healing, faith, peace, and purpose that will impact my bloodline going forward.”“But as for me and my household, we will serve the Lord.” — Joshua 24:15Example 2: “I choose faith over fear and transformation over survival as I lead my family toward the future God has prepared for us.”Forget the former things; do not dwell on the past. See, I am doing a new thing!” — Isaiah 43:18–19Example 3: With God as my co-parent and guide, I am raising a family grounded in faith, character, courage, and purpose.”“Train up a child in the way he should go, and when he is old he will not depart from it.” — Proverbs 22:6This episode is inspired by Courage to Believe 21 Day Christian Devotional for Single Moms. If you're inspired and the message resonates, consider grabbing a copy to delve into its transformative message. Available in ebook from Amazon in English, Spanish, and German: https://amzn.to/4trZdbOFree with Kindle Unlimited or download on the free Kindle app.Join the SoloMoms! Talk community at SoloMoms! TalkConnect with J. Rosemarie at JRosemarie.comhttps://solomomstalk.mysites.io/podcast-2-copy/from-survival-modeThis podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

We're deep diving into one of our favorite historicals from the 00s today — Jennifer Ashley's The Madness of Lord Ian Mackenzie. It's a great follow up to our Paris episode last week, but we also talk about how Ashley really wrote the heck out of this book. We talk about widows, about sex in historicals, about autism rep in historicals, romance families, and the way this series electrified us as readers. This book is a straight up banger.If you're interested in learning more about the AH2 Historical Trailblazer Kickstarter, featuring beautiful, hardcover special editions of Lord of Scoundrels, Indigo, The Magpie Lord, Butterfly Swords and Dreaming of You, head over to the Kickstarter page and sign up for updates!If you'd like to continue the conversation about The Madness of Lord Ian Mackenzie or any of Jennifer Ashley's other books, please come join the Fated Mates Discord, which is accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is Seven Days in June by Tia Williams. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.NotesCheck out the AH2 kickstarter, partnering with Fated Mates and Julia Whelan's Audiobrary. It goes live next week!Dua Lipa met her fiance Callum Turner because they both were reading the same book, Trust by Hernan Diaz. Dua Lipa's book club is called Service 95.You, too, might enjoy reading Dungeon Crawler Carl. Or Reacher. Or Murderbot. Jen is thinking of going to bedazzle a copy of Dungeon Crawler Carl, but is that too silly?Dorchester Publishing was a house that published mostly mass market paperbacks, and it shuttered shortly after the publishing of The Madness of Lord Ian MacKenzie. The editor of the book, Leah Hultenschmidt, is now at Forever.There's a new-ish translation of The Odyssey by Emily Wilson that you might like. Xenia is the ancient Greek word for hospitality, and Wilson talks a about how the word comes from the root xenos, meaning both stranger and friend. Maybe if we were all a little more open to those we don't know, things would be different.SponsorsHarperCollins, publishers of Laurie Gilmore's The Daisy Chain Flower Shop, available in print, ebook or audiobook at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Michelle Ruoff, author of A Summer to Stay, available in print, ebook and with your monthly subscription to Kindle Unlimited.Jennilynn Wyer, author of All Our Next Times, available in print, ebook and audiobook, or with your monthly subscription to Kindle Unlimited.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/5/4/0833-the-madness-of-lord-ian-mackenzie If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

This episode shares an inspiring introduction to the Courage to Believe 21 Day Christian Devotional for Single Moms, focusing on faith, resilience, and emotional strength. Whether you're a solo parent or seeking spiritual encouragement, discover practical insights and biblical guidance tailored for your journey.Key topics:- Overcoming emotional turmoil as a single mother through faith- How Scripture can provide comfort during life's challenges- Practical spiritual practices for daily encouragement- The importance of community and connecting with faith groups- Personal stories of overcoming grief, fear, and uncertainty- Resources and tools to support your spiritual journey- The significance of acknowledging emotions and modeling emotional literacy for children- Ways to incorporate prayer into everyday routines- How to rebuild trust with God post-divorce or hardship- Encouragement to find hope in God's promises, especially 1 Corinthians 2:9 and 1 Corinthians 10:13Timestamps:00:07 - Welcome and introduction to the devotional for single moms 00:37 - The promise of 1 Corinthians 2:9 and its relevance to solo parenting challenges 01:07 - Personal story of overcoming panic attacks and emotional overwhelm 02:04 - Finding hope through prayer, Scripture, and faith during difficult times 03:01 - How reading the Bible may help if you're unfamiliar or distant from God 03:30 - The importance of acknowledging and expressing emotions in front of children 04:28 - Breakdown of the three sections of the devotional on spiritual growth and trust 04:57 - Encouragement from Proverbs 11:14 on seeking wise counsel 05:26 - Personal growth, sharing struggles, and connecting story with divine grace 05:48 - Using prompts and journals to deepen your spiritual journey 06:16 - Practical nightly prayer tip: whispering simple words to invite God's presence 06:45 - Emphasis on responsibility and resilience in solo parenting 07:15 - The path to peace through trusting Jesus Christ, even from a distance 08:13 - Building community, online or local church groups, for support 08:42 - Navigating faith with secular or alternative resources 09:10 - Inspirational closing: trusting God's promises and His faithfulness 09:40 - Resources, book purchase options, and encouragement to explore the devotional Resources & Links:- Courage to Believe 21-Day Devotional for Single Moms https://solomonstalk.com/books- Solo Mom Toolkit: https://solomonstalk.store- Amazon - eBook Purchase: https://amzn.to/4f6fLTa - Download on the free Kindle app. Free on Kindle Unlimited: https://amzn.to/3R5XRWHConnect with J. Rosemarie Francis:- Website https://solomonstalk.com| LinkedIn: https://www.linkedin.com/in/jrosemarie/Thank you for listening! May this devotional inspire courage, faith, and resilience on your parenting journey.https://solomomstalk.mysites.io/podcast-2-copy/between-faith-and-motherhood-navigating-solo-parenting-with-courage-and-scriptureThis podcast is hosted by Captivate, try it yourself for free.This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

This week from a galaxy far, far away with Jon Justice.- Happy Star Wars Day!- LISTENER FEEDBACKSUPPORT JON JUSTICE AND PICK UP YOUR COPY OF THE EMBARK, SPACE OPERA SERIESAn exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70's - 2000'sEMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!EMBARK Battle Planet (Book 7) is now available!https://www.amazon.com/dp/B07K7LLFZYEmail: TalkShowNerd@gmail.com@X @JonJusticeInstagram TheJonJusticeFacebook Jon Justice

We Love Paris in the Springtime and we love Paris in The Paris Match by our very favorite, Kate Clayborn. Today, we're talking about the City of Love itself, with Kate! We talk about the magic of the City of Lights, about the weight it has in romance, and about the mythology it carries with it whenever it's included in a book. Yes, of course, we talk about Jessica and Dain, but we also celebrate Kate's new release, The Paris Match! We're also covering sex workers, chocolatiers, cigarette smokers and heroes who gnaw off their own legs, the Champs de Elysee be damned. Thanks, as always, to Kate for joining us and putting up with our shenanigans.If you'd like to continue the conversation about Paris, please come join the Fated Mates Discord, which is accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is The Madness of Lord Ian MacKenzie by Jennifer Ashley. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.NotesWelcome Kate Clayborn. Her first episodes way back in Season 1 were about Siblings' Best Friends and then Sexclamation Points!, and since then, she's been on about a million other times. Cormac McCarthy has some strong feelings about punctuation and Random House doesn't like the interrobang, but Sarah's a rebel.Green screen technology has come a long way. In this interview, Heated Rivalry cinematographer Jackson Parrell describes how he used the technology in the show, including the scene on the beach in Tampa. Cinematographer Valentina Vee did a really interesting set of videos talking about the use of green screen technology in the show.The Edna St. Vincent Millay sonnet about place that Sarah quoted is Time Does Not Bring Relief.Kate wrote a round up for People magazine about great books set in and about Paris.Jen heard about Puppets by Jenna Ryan after being tagged in an Instagram post by WendieReads. But in digging around, Jen discovered the Passages podcast did a deep dive of the book in 2025.You can read more about the puppet theaters of Paris in this New York Times article from 2019.SponsorsElle Kennedy, author of Love Song, available in print, ebook, audiobook and with your monthly subscription to Kindle Unlimited.Claire Wilder, author of Nailed, available in print, ebook and with your monthly subscription to Kindle Unlimited.Blue Box Press, publishers of Donna Grant's The Dragon Chronicles, beautiful new print editions of seven books in the series, including Dragon King, Dragon Fever, Dragon Burn, Dragon Night, Dragon Claimed, and Dragon Lost. Available in print and ebook from Amazon and Barnes & Noble.Lumi Gummies. Go to lumigummies.com and use code FATEDMATES for 30% off your order.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/4/27/0832-the-paris-match-by-kate-clayborn If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

How can you navigate uncertainty in a constantly changing market? Why is persistence the key to a sustainable creative career? Plus why distribution is so important, and the four ways to monetise your creative work. All this and more with Adam Leipzig. In the intro, my reflections on running an author-publisher business after a fantastic e-commerce workshop run by Blubolt, and why you will always pay for marketing with either your time or your money; AI-Assisted Artisan Author webinars; and last call for my Kickstarter Bones of the Deep – J.F. Penn. 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 Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing books still matters in a world saturated with visual media The Jeffrey Katzenberg “next” lesson and the power of fearless persistence How uncertainty and the “long middle” are essential parts of the creative process What film editing can teach writers about cutting, shaping, and refining their work The 10 Laws of Culturenomics, including why awareness is not desire and why distribution is everything How generative AI is changing filmmaking — and why creatives should be the architects, not the tools You can find Adam at AdamLeipzig.com. Transcript of Interview with Adam Leipzig Jo: Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. Welcome to the show, Adam. Adam: Thank you so much for having me, Jo. Jo: I'm excited to talk to you today. You have written several books, but you have worked on many more films. So I wondered, why do you think books still have a part to play in reaching people? What do you love about writing books that is different to your filmmaking work? Adam: You can put so much information in a book, and the beautiful thing about a book is that you can pick it up wherever you want, whenever you want, and leave it off and go back to it. It's just waiting for you and it's there. It really allows me, and other authors like me, to share information in a different way, with more details and more stories and more specificity. I love the ability to just share that information and have it always available. You don't need a device, you don't need to have a subscription. You can just go to it whenever you want. You asked me what I love about writing. Like a lot of writers, I'm not sure I love writing, but I do love having written. The thing about a book is that it's a very solitary exercise. A film is a highly collaborative exercise. No movie gets made by one person. It's made by hundreds or sometimes thousands of people. But this book is just me and a laptop and notes and a lot of thought. It's a very introverted, almost monkish existence while you're doing that, and then it has to go out into the world—and that's when it really starts to interact with people. So there's this huge difference between being alone and being always in a collaborative environment, which is what happens when I'm making a movie. Jo: Most listeners will be independent authors in some way, and a lot of us do this because we're control freaks. We like being the only people. So how is that different? You mentioned collaboration in the film industry, but is it almost freeing to do a book without having that? I mean obviously you have editors and publishers and stuff, but— Is it freeing in some creative way? Adam: It is really nice, because there is not another point of view in the room and I can just say what I feel and know that that's there. At the same time, you're right—I have had some amazing editor help and I've had some great early readers that have given me feedback on it and helped me make it so much better than it was when I finished the first draft. I knew that going in. I always test and share what I'm doing to make sure that it lands in the way that I wanted it to land, and it can be helpful for people. Jo: Getting into the book, you have a chapter on “what you do matters.” I feel like this is super hard. This is not a political show, so we're not doing politics, but there are a lot of big things going on in the world. It can be very hard as writers to think, is writing my book actually going to make a difference? So how can you encourage people? Adam: That's the hardest thing, Jo, because there is a lot going on in the world right now. Everything that's going on in the world right now exists because it's following a certain narrative. I don't believe that narratives are come up with because people look at things that are happening and say, “Oh, well let's just write what happened.” I think that we do things from micro experiences that we have with ourselves, our relationships, our families, to the macro experiences of politics and global situations. I believe that happens because there is a narrative that is being followed. So what I say to all creative people is that it's our job to craft and express the narratives that matter—and different narratives—so those narratives can be followed. One of the points that I make in the book is that poets are not overtly really dangerous people. Poets are generally lovely people, a lot of them don't talk too much. They're great to have dinner with, and they just work with words—and often not a lot of words, right? Because beautiful poetry is often concise and simple and spare. Yet there are places where poets are in jail. Because the narratives of those concise, spare, gorgeous idealistic words matter so much that those voices need to be silenced, which means those narratives are dangerous sometimes. Those narratives present an alternate world, an alternate view of reality. I think it's really our job as creative people, as entrepreneurs, as people who are essentially creating narratives out of the soul of our lives and our experience—we want to express those to the world. It's really important for us to express those to the world, especially now, especially because so much is going on. Those narratives are going to become pathways that others can look at and maybe follow. I think that's really important. It's the reason why we do our work. Jo: I absolutely agree with you around writing the narratives that we want in the world. “Be the change you want to see in the world” and all that. I also want to call out the fact that there are hundreds of thousands of books now published, and you come from the film industry, and many more people really watch films or play games than read books. I've wondered about this myself. I've written a few screenplays and sometimes it feels that wouldn't it be better to try and put our words into a visual medium? A lot of authors listening will do micro video like TikTok and all of this. So this is back to the question of— Why books? How can we change these narratives when we feel like we're drowned out by all the media? Adam: I think it's great for authors to express themselves in other media. I have a pretty active Instagram channel, and I love doing that, but it's a really different thing. I'm talking to people in two-minute bursts with very specific things. It's not the same and not the same detail as a book. If we let our understanding of the ocean of content that is always coming to us stop us from doing anything, we wouldn't do anything. That's also true about movies. There are probably 10,000 movies made every year. There are a few hundred that are released. So if every day I thought, “Oh, the movie that I'm working on is maybe not going to be released because there's only a small percent of movies that are made that are released.” Or worse than that, “Of all the movies that are made, there's 500 different shows on Netflix and Apple and Amazon and there's so many choices.” If I thought that everything I was going to do is going to be drowned out, I wouldn't do anything. I just don't believe that's true. I think it's our job to do things. Yes, there's an ocean of content out there, but what we do really matters, and it doesn't have to matter at gigantic scale. We don't know the scale that our work is going to achieve over time. One of the early films that I worked on is a film called Dead Poets Society, and that script was passed on by every studio at least three times. It's probably a film that I couldn't get made now for all kinds of reasons, because it's not a sequel and it doesn't have superheroes or visual effects. When we made that movie, we didn't know the impact it was going to have. It could have been drowned out by things, but it rose to a level that everywhere in the world I go, someone has seen that movie, including people who were not born when that movie was made. We don't know the long arc of our work and the people that it affects. Jo: I love that movie too. “Oh Captain, my Captain.” I can hear everyone saying that behind the screens. This brings us to the title, Fearless Persistence, because of course Dead Poets Society ended up being an incredible success, but not everything turns out so well. I wondered if you could talk about this persistence. How do you keep creating after something you perceived as a failure, or perhaps all the things that didn't get made? Why is persistence so important that you use it in the title? Adam: I've been super fortunate. I've worked with amazing people and on great projects. I've made 40 films at this point, and I'm making more. I've tried to make 400 films. I failed at getting them made 90% of the time, and that's okay. I just keep going. When I was working at Disney and I was an executive at Walt Disney Studios for seven years, there was one movie that we were opening and nobody had really high expectations for it. But it opened huge on a weekend and it beat the competition. We were in our Monday morning meeting and we were dancing on the tables and we were so excited. Jeffrey Katzenberg, who was running the studio at that time, came in, looked around the room, put his hands on his hips, and said, “Next.” We just had to move on. I really learned the meaning of the word “next” about four months later when we had a film that we all knew was going to be hugely successful and make a lot of money and give everyone their bonuses, and it completely bombed at the box office. It was like you gave a party and nobody showed up to eat the hors d'oeuvres. We were in the Monday morning meeting, very glum and not sure what was going to happen. Were we going to be fired? What was going to happen? And Jeffrey walked into the room and said, “Next.” Jo: Mm-hmm. Adam: And we just keep going. I think that is the great and defining quality of people who really have sustainable lives, either as creatives or business people or entrepreneurs. We're persistent. We're just like those little birds—you put their beak in water and they just keep bobbing up. We just keep going. It's not about the people who are the most talented, because I'm certainly not the most talented. I'm certainly not the smartest. I'm certainly not the most creative. There are people who are smarter and more talented and more creative than me all the time, and I get so much energy in being able to know them and work with them. But I am super persistent. I don't stop. If there's something that I really believe in, I'll just keep going. I started taking notes on this book 10 years ago. There are movies that took 12 years to get made. You just keep going. There are times, as a producer, where everybody's fallen away. There was a director attached, there was a star attached. They all left, they did other projects. The material is no longer under option. You don't even have legal rights to it anymore. You just keep blowing on the embers and then eventually maybe it gets made. That's what it's about. Jo: Do you think there's some kind of serendipity or something more that makes a book or a film? Is it timing? Is there just some chemistry? You talked earlier about testing and sharing things to see if they're going to work, but as you mentioned, some films you think are going to be amazing and they bomb. Other things are a slow burn. How do you know when to make a film if you just can't predict this stuff? Adam: You can never predict it, but I think you start with: do you really, really think about it all the time? Do you really care about it? It's not like you're in a meeting or you read a script or you hear an idea and you're super excited about it—but are you still excited about it tomorrow morning? The next day and the next? If you keep waking up every morning thinking, “Wow, that's great, I've got to get that forward,” then I think that is the first indication for me that it's going to have some staying power. I don't think I am that different from everybody else. So if it's something that consistently excites me, I feel like there's going to be at least some other people in the world that it's also going to excite. Jo: Do you think you have a voice, I guess, as a filmmaker as much as a writer? Are there things that excite you consistently that you're drawn to? Or do you think it's much wider as a filmmaker than a writer? Adam: I think it's a lot wider as a filmmaker. Part of it's also just my capacity right now as a writer. I really like the writing in Fearless Persistence and I also recorded the audiobook. I love listening to the audiobook experience. I think it's some of the best writing I've ever done. I have not yet found the capacity to write a novel or to write fiction in the way that other people can. So part of it's just my skill and capacity at this point in my writing career, where I think I'm pretty good at expressing ideas in a nonfiction setting, but I haven't developed the skill set for fiction. In movies, I make documentaries. I make fiction feature films. What attracts me is character. It's always the character, the people, the journey. Are the people really interesting? Do I want to spend two hours of my life in a cinema with them, or 10 hours of my life watching those episodes on a streaming channel? That's what always starts with me. If the character is interesting, then I'll keep going. Jo: I think the book, Fearless Persistence, has a lot of your character in it and your experience. It's not just a nonfiction book of prescriptive rules. You did bring a lot of voice into it, I think. Adam: Thank you. I try to make it be like we're sitting down and we're talking and we're having a conversation. Jo: Coming back to the book—a quote from the book: “Uncertainty isn't the enemy of creativity. It's its greatest ally.” You talk about these messy and unpredictable times. I'm what we call a discovery writer. Some people say “pantser.” It mostly is quite chaotic and unpredictable. Could you talk about this uncertainty and messy creativity? Adam: One of the things I really try to do in Fearless Persistence is give support to all of us in this messy, unpredictable—what I call “the long middle”—where stuff is happening, but you're not seeing obvious results out there. You're either in the world or in your project, and you're just in this mess. That mess is a beautiful place, and I'm trying to give support to the fact that that mess is gorgeous and it's part of the process. It's part of everybody's process. We shouldn't feel as though we are not doing our job when we're in that long, unpredictable, uncertain middle. Because out of that, we discover what we actually want. It gives us a way to refine our taste and refine our direction because we are so uncertain. Then there's this moment—and I don't know if you find this in your own writing, Jo—but there's this moment where that uncertainty changes into: there's no choices here at all. This is just what I have to do. I actually think that the greatest freedom is when there's no choices. Where the path is just there, but we've got to get through the thicket to get to that path. And there's always a thicket. Jo: There's a moment for me where the chaos becomes more certain and I'm like, okay, that's the story. I thought it might have been something else, but now that's what it is. I often have too much material as well. So I wanted to ask you about this too, because as an author with a book, editing is hard for us. Of course there are lots of words and we have to go through it all, but editing on a film—I can't even imagine how hard the editing process is. Could you talk about editing and how you cut and organise these massive projects? Adam: Yes, editing is really hard, but it's also so fun. I think being on a set is great. It's the most fun a kid could have. But being in an editing room is also the most fun a kid could have, because you have all of the pieces and there are so many ways to do it. This is where a film is actually made—in the editing room. Probably the way books are made also is in the editorial process between the writer and your own brain as the editor, or if you have someone who's helping you edit it. Editing is really interesting because it's the only craft that did not exist before filmmaking. Everything else existed, right? There were scripts, there were actors, there were costumes, there was art direction, there was production design, there was music. Editing was a craft that had to be invented for film. So it's a craft that's only about 120 years old. When we make a film, the first thing that the editor does is just put all of the scenes together in a first editor's cut, a rough assembly. It's basically every scene that was in the script as it was shot, and the editor just tries to choose the best angles. That generally comes out maybe a week or two after we wrap photography, and that first cut could be three or four hours long because it's got everything in it. Then the process is: let's take that out. Let's take that out. You don't need this. You can move this scene here and move it there before the other scene. We don't really need that shot. Or can we get to a closeup there? And you get it down, down, down—just like in writing where you kill your darlings. I actually find editing the most fun I have. “Oh, I don't need that sentence.” Or, “I can take out three words here and the sentence is better.” We go through exactly the same process in film editing and squinch it all down to the most compelling and efficient way to tell the story. Jo: I'm glad you say it's fun because I also like editing. I find the editing much more creatively fulfilling because I actually can figure out the book that way. It's so funny, I think as writers, many people either love the editing or they love the first draft. It seems like you enjoy the whole process. Adam: I like the editing so much more than the first draft. I feel like I had to get through the first draft. That was my long middle, that was my uncertain period, that was my thicket. Then my editing was, “Oh, great. Let's cross this out. Let's change that word. Let's lose that paragraph.” That was fun. Jo: So let's say we now have a book or we have a film. In your book, law eight of culturenomics is that “without distribution, there is nothing.” So now we have to get this out there, and this is really difficult. Can you talk about how film distribution has changed? Can you also reflect on how it is for writers, because our distribution has changed a lot too? Adam: So, as you mentioned in the last section of the book, I've observed over the past 30 years that when a work is both aesthetically really excellent and also economically viable and sustainable for the creators, it always observes these ten principles. I call them the 10 Laws of Culturenomics. One of them is “without distribution, there is nothing,” by which I mean: unless your audience, your market, the people that you are seeking to share or serve with the work—unless they can get it, it doesn't really matter. It's like that tree falling in the forest and no one's around to hear it. I always think about my market and my distribution before I start making the movie. I was thinking about that as I was writing the book, because I really want it to be there to meet people where they are and I want them to be able to get it. Film distribution has changed a lot, especially during the pandemic. People stayed home and cinema admissions have fallen off 30% from pre-pandemic levels, so people are going out to cinemas less. That means fewer films are being distributed in cinemas for any viable period of time. Sometimes some movies will be out there for one or two days, literally, in cinemas, and then they go right to streaming. On the streaming side, there was a glut of streaming content. All the streaming channels overinvested in streaming. There were too many shows. I don't know about your Netflix queue or your Amazon queue, but it's unnavigable. There is so much stuff. Now they've cut back a lot—they're just doing a lot less. We're in a situation now where anything can get out there somehow. The question is, does your market, does your audience know about it? Do they want to invest the time to experience it? One of the other Laws of Culturenomics is that “awareness is not desire.” There's a lot of things that we're aware of that we don't want to spend our time with. Everybody was aware of Disney's new Snow White movie. Nobody wanted to go see it. Jo: I must say, I'm not the key demographic for that! Adam: But you knew about it? Jo: Was that a live action one? Adam: Yes. Jo: I don't understand those live action ones, to be honest. Maybe that's why— Adam: I think we are sequelled out. I look at the movie business and I just think what audiences really want is something new, please. Something we haven't seen before. We don't want the 95th iteration of something from the MCU. The studios, because the movies cost so much and they're so risk-averse, talk a lot about “pre-aware titles.” In other words, titles that you've heard of before, so you're going to go see the movie. It works to a certain extent, but I just think it's cinematically boring. In that world, you never could have predicted Oppenheimer. You never could have predicted Barbie. Movies that really don't have a precedent, but they did so well because they're different. I think audiences are craving something different right now. Jo: It's interesting though, isn't it? I agree on one level, but then I also watch Bridgerton and we watched the latest series as soon as it came out. I guess that is pre-aware to a point. I don't read historical romance, yet I really like the show. I think it's because of Shonda Rhimes. I watched Grey's Anatomy for about 20 years. Adam: She's great. Jo: She's amazing. So I feel like this is why it's hard, isn't it? It's hard to know. As fiction writers particularly listening, we have very specific genre audiences, and they often don't cross over into other genres. They love their genre fiction. So it is hard to balance original work that may not be easily sold and the other stuff. I guess that's why the studios do it, right, because they think they can make enough money with the next Marvel movie. Adam: Yes, but I'm curious to know what you think about this, because even within a genre, a really good genre movie or a really good genre book is not the same as all the other books or films in the genre. It's familiar in that it does what the genre says you have to do, but it's different. It's got those unique things that make us feel like super fans, that we really love it. It's familiar enough to fall within the genre—and yes, genres have rules that you've got to follow—but then there's something unique and different that's exciting. And that's why we say, “Hey Jo, you've got to read this book.” Jo: I agree with you. I love that you said “awareness is not desire.” This is another problem with our creative work, right? We have to do marketing. We can throw all this stuff out there, and yet it may or may not work. So let's talk about your book marketing. Obviously you are on this podcast, and I presume your publicists are pitching lots of podcasts, but— What are you doing to promote the book that might be different to a film release? Adam: Well, I don't have a hundred million dollars. Jo: Surprise! Adam: Right? I've got a few hundred dollars, so we're just doing it this way. As you know, once upon a time, legacy publishers actually did marketing. Legacy publishers barely do any marketing now. Every author has to do it themselves. So we have to do this ourselves. It's been the hardest thing. I think it's the hardest thing that we've all had to adopt, that we have to do this thing where there used to be a marketing department and you just hand it over to them and we could just be in our own little creative space. But no, we've got to do this also. So what am I doing? I've amped up my social media. I'm speaking. I am on podcasts like this. I'm sharing as much as I can. I'm asking circles of people who have been early readers of the book. I'm really grateful because I've had really enthusiastic response to it, both from creatives and also some business people, which was surprising to me, but really great. Someone said, “This is the best business book in the past 10 years,” which is really interesting, right? Because you read it, Jo, as an author, but she read it as someone who sits on the board of major companies. That was a pretty interesting response. I'm just asking them to be advocates and share it around. I'd just like to be those people who blow on the embers and let's see if we can make a fire. Jo: We talked about the fun bits earlier. I'm enjoying our conversation, but I know that marketing is not necessarily in the fun bucket. Are you finding bits of the marketing you enjoy? Adam: Yes, I love meeting the audience. I love meeting the people that I'm writing the book for and sharing it with. I've been fortunate enough to be asked to run a writer's workshop in Greece for the past few years. It's a retreat centre called Rosemary's House. It's on the east coast of Greece. A dozen writers. I work with writers all the time, but they're always writing a specific thing, like a screenplay or something. This was a dozen writers all writing different things, and I'd never done that before. I had an extraordinary time. The first year I went, I'd had all these notes for this book, Fearless Persistence, that I'd been compiling for some time. But there I was in the room and I was with the people that I was really intending to write the book for, and that kicked me in the butt and I wrote the book. Then the next year I was back and I finished it while we were there at the writer's retreat. So that was great, and I was with another group of writers. I'll be back there again later this year and the book will be out. So it's this fabulous continuation of really engaging with and meeting the people that I'm seeking to serve with this book. I really enjoy encouraging and mentoring and sharing the systems that are undergirding the creative process, and then the process of how do you build a sustainable life, including all these super practical things that they don't teach you in art school or writing school or film school or even business school. How do you actually build a sustainable life in this practice? I love that. I guess that's marketing, but it's also just being with the people that you're there to serve. Jo: I love that you use “serve.” I use the same word. I say, “Who do you serve?” And that can help people, because I feel like creative people are like, “We don't want to be marketers, we don't want to be salesy.” So if you reframe it as service—who are you trying to help, who are you trying to entertain—that actually helps. Coming to the business side, you mentioned systems. You are right, the book has a lot of business in it, which I love because we talk a lot about business on this show. In one section you say there are only four ways to monetise your creative work. So could you talk a bit about those different ways to monetise your creative work? Adam: Yes. This has been true for maybe 5,000 years because it's not about technology, it's just about how work is monetised. There are only four ways that any piece of work is monetised. For sale. You have a book, and you go to your favourite bookstore and you buy the book, and now you own the book. For rent. You could rent a book from your library, or in a movie context, what you're really renting is the seat for two hours to watch the movie. On subscription. People have subscriptions to Kindle Unlimited or other platforms, or people have subscriptions to a streaming service. Free. When it's ad-supported. That's like linear television where there's ads, or Amazon where there's ads and you don't pay for it. For sale, for rent, on subscription, or free—those are the only ways anything is ever transacted. When it's ad-supported, for example, some people have YouTube channels that are very successful. YouTube is free, and then YouTube is making money from the ads and the creators are getting a tiny little slice of the ad revenue. Jo: Like this podcast. I have sponsors who pay, and they're all related to the author industry. They're companies that I use and work with. I personally recommend them, and that means this podcast is free. Adam: Thank you, sponsors. Jo: Yes, thank you, sponsors! I also have patrons—people who subscribe to the show to support it as well. So I guess we don't have to be in one bucket or another. We can have our work in different buckets. Adam: Ideally, you can have your work in every single one of them. Not always, not necessarily always at exactly the same simultaneous moment, but at a certain point as the work gets out there into the world, as it's lived long enough, it probably will be in every bucket. That's great because we want our work to be as accessible to the people that we're serving in any way they want to get it. Jo: I totally agree. And your audiobook, as you mentioned, will be available in those different formats as well. Adam: Yes. Jo: I find that, especially with nonfiction audio, what I love is being able to listen to just a chapter, just a chapter in a specific part. Someone could actually listen to the 10 Laws of Culturenomics separately to some of the rest of the book. I love that. Adam: I'd never done that before. It was so powerful to record the audiobook because up until that moment, my relationship with this book was fingers typing keyboards, electrons on a screen. It was a completely silent experience. Then I was in this recording booth in Los Angeles and I started speaking the words, and I was visualising the people that I was writing it for as I was doing it. It was so powerful. Then I listened to it and I thought, wow, this is actually a really good experience. It was so powerful that I was recently in Paris because I'm working on some films that are in Europe, and I decided to create a special advanced listener edition of the audiobook, where I took the chapters and put them into individual or grouped listening units. In a recording studio in Paris, I recorded some prefaces and reflections on those listening units, which are now thematic. I'm really proud of that edition. It's not for everybody. The regular Audible audiobook is going to be out there, but this version, which is on my website, I think is a really wonderful version for someone who just wants me to walk with you as you go through the experience of the book. Jo: Are you selling that direct from your website? Adam: Yes, I'm selling it direct on the website. Jo: Brilliant, because we all do that too. You can actually make more money selling audio direct than you do from the streaming. Adam: Yes. Jo: I realise we don't have much time left, but I need to ask you this because the film industry and publishing are in this great time of change with the advent of generative AI. We've seen in the last week the actor Ben Affleck's company, InterPositive, has been acquired by Netflix. So it seems like technology is disrupting a lot. How do you think we can navigate this time? What are your feelings around this new wave of generative AI? Adam: It's a great tool. It's not a great writer. It's actually really a terrible writer. You can always tell when generative AI has written something because it has a certain very annoying style, but it's a great tool. I use it in my production. I teach at the business school at UC Berkeley. We train people on how to use it for various kinds of problems and solutions. But the important thing is that you are the architect of the machine. It's a machine. It is like a paintbrush, but it is not the hand that holds the paintbrush. So I am not concerned that AI is going to go make movies that we all care about, and I am not concerned that it's going to disrupt, in the largest sense, the employment picture. Certainly some jobs are being lost, but new jobs are being gained. It's really interesting. For example, you mentioned Ben Affleck's company, which Netflix just partnered with. It's not making new content. It's creating a better production workflow. It's taking what is shot or what is planned in the production workflow and just making it better and more efficient and implementing it and adding to it. That is a really good use of AI. All the creative power retains within the hands of the creative humans, but it's giving the humans more tools. Jo: I've been reflecting on the idea of the film director, in that people often know their names and they win awards, and yet they didn't necessarily write the script. Some do, obviously, but they didn't act in it, they didn't do all the editing, they didn't do all the different jobs, but it's their creative vision. So is that how you see us playing that part? Adam: I do. I think that's a really good analogy. And look, AI—it's good. It's going to keep getting better. It still has massive error rates, so we still have to be very careful about what we attribute to it and what powers we give it, and what facts we believe from it. Jo: So what are you excited about next? Obviously you are promoting this book, you are doing speaking things, but are you looking to your future continuing to work across film and books? What are you excited about in terms of your creative projects? Adam: The big arc of my creative life is creating ecosystems where creative people can do their best work. This book is part of that. With the movies that I make, as a producer, I try to create the ecosystems where people can do their best work. I envision, and I'm excited about, continuing to do that. Whether it is in a book or in a workshop or in a film that I'm making. I just want to keep doing that: creating these ecosystems where people can really do great work and express themselves creatively, entrepreneurially, and with a positive view of the world to come. Because that is a responsibility, coming back to the first question you asked me. Jo: Brilliant. So where can people find you and your book and everything you do online? Adam: You can find me at my website, which is AdamLeipzig.com, just like the city. Of course, the book is available wherever you buy your books, and the Kindle and the audiobook are exactly where you would expect to find them. You can also find me on Instagram at @AdamLeipzig, and you can find me on LinkedIn as Adam Leipzig. I love interacting with people, so come and find me. AdamLeipzig.com is the best place to find everything. Jo: Brilliant. Well, thanks so much for your time, Adam. That was great. Adam: Jo, thank you so much for having me. It was great talking with you.The post Navigating Uncertainty And Fearless Persistence In A Long Term Creative Career With Adam Leipzig first appeared on The Creative Penn.

This season, we're expanding our traditional Trailblazer series to include the modern romance writers who we believe will be considered trailblazers in the future. Our first guest on this branch of the legend tree is Ruby Dixon, author of the Ice Planet Barbarians series. Ruby joins us from her home to talk about how she became Ruby Dixon, what inspired the Ice Planet Barbarians series, how she thinks about writing this ever expanding world, the business of the Barbarians, and what's next. We're very grateful to her for making time with us.If you'd like to continue the conversation about Ruby Dixon, her work and the Ice Planet Barbarians, head over to join the Fated Mates Discord, which is accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is The Madness of Lord Ian MacKenzie by Jennifer Ashley. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.NotesWelcome Ruby Dixon, bestselling author of the Ice Planet Barbarians series.Authors, Publishing Professionals, and Influencers Mentioned: author Anne McCafferty; author Edgar Rice Burroughs; author Andre Norton; author Bertrice Small; author Julie Garwood; editor Cindy Hwang; Ellora's Cave authors Evangeline Anderson, Laurann Donner, and Jaid Black; author R. Lee Smith; Dani Lacey's Ice Planet Pod; TikTokker and now author Charlotte Swan; agent Holly Root; Ruby's writing group, Alexa Riley, Kati Wilde, & Ella Goode.Books and Movies Mentioned: Clan of the Cave Bear by Jean Auel, Last of Mohicans by James Fenimore Cooper, Amarna Sunset by Aiden Dodson, Beneath the Sands of Egypt by Donald Ryan, Daughter of the Forest by Juliet Marillier, Villain Origin Story by Ruby Dixon, Dungeon Crawler Carl by Matt Dinniman.SponsorsLittle Brown & Company, publishers of Elin Hilderbrand and Shelby Cunningham's The Academy, available in print, ebook and audiobook from Amazon, Barnes & Noble, Apple Books, Kobo or wherever you get your books.Lucy Score, author of Mistakes Were Made, available in print, ebook or audiobook, or with your monthly subscription to Kindle Unlimited. Get it wherever you get your books.Lumi Gummies, Go to lumigummies.com and use code FATEDMATES for 30% off your order.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/4/19/0831-trailblazer-ruby-dixon If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

We are BACK with one of our absolute favorite types of episodes, our Current KU Reads!! These are books that we have recently read and would recommend on Kindle Unlimited. As always we've got everything from romantic suspense, mafia, romantasy + more!! No spoilers for any of these & please let us know if you've read any of these books & what you thought of them!!Books Mentioned :Secret Haven by Catherine Cowles (Sparrow Falls #6)  The Sweetest Oblivion and Maddest Obsession by Danielle Lori (Made #1 & #2)  My Favorite Fake Romance by Elizabeth O'Roarke (The Favorites #3)  Direbound by Sable Sorenson (The Wolves of Ruin #1)  Mother Faker by Brittanee Nicole (The Momcoms #1)  Slaying the Vampire Conqueror by Carissa Broadbent (Crowns of Nyaxia #2.5) If you enjoyed this episode, don't forget to ⭐ rate and review the show! Your support means the world to us!Book Rec Episodes - Spotify playlist  Patreon Instagram TikTokWebsite

By request, we're talking about the characters who have been exiled from family, from community, and from themselves—the irredeemable characters in romance. This is Morality Chain all over again. We're talking about characters that have done terrible things on and off the page, to the detriment of their reputations in the text and outside, with readers, and somehow, by the end of their own book, are made whole and worthy of love. Here lies St. Vincent, Mr. Vivisection, and more.Tell us about your favorite irredeemable characters in romance on our social media or head over to join the Fated Mates Discord, which is accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is The Madness of Lord Ian MacKenzie by Jennifer Ashley. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.NotesWe have been so inspired by all the moon joy in the world. Here is the Artemis II path from the Astronomy Picture of the Day; splashdown was awesome; the dark side of the moon isn't like a real thing, exactly; and here's a bunch of other stuff from NASA. Check out our episode from season 1 with astronomer Summer Ash (her interview is at the end of the episode), and learn all about that golden record they sent out to space on Voyager.Michael Corleone was irredeemable! Tommy Shelby? Well, apparently that's open to interpretation!SponsorsNeyha Liu, author of Midnight at Soulfield, available in print or ebook, or with your monthly subscription to Kindle Unlimited.Avery Maxwell, author of The Forgotten Billionaire, available in print, ebook, or with your monthly subscription to Kindle Unlimited.Little Brown & Company, publishers of Ruth McKell's Honey in Her Veins, available in print, ebook and audiobook from Amazon, Barnes & Noble, Apple Books, Kobo or wherever you get your books.Claire Contreras, author of Isle of Wrath, available in print, ebook, audiobook, or with your monthly subscription to Kindle Unlimited.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

It's time to fill those TBR piles again! April means the start of Spring and also another quarterly upcoming romance episode! We're talking about romances hitting shelves and ereaders during April, May & June 2026! Whether historical, paranormal, contemporary or Romantasy, we've got something for everyone in fifty or so recs across every single genre. As a reminder, we haven't read most of these, but we have big plans!If you want more recommendations and more people with whom you can discuss 2026 romance novels, maybe you want to join our Patreon? You get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord! Support us and learn more at fatedmates.net/patreon.Our next read along is The Madness of Lord Ian MacKenzie by Jennifer Ashley. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.AUTHORS: Do you have a book coming out in 2026 that you'd like to make sure we know about? Or, are you a debut romance author who'd like to make sure we know about your debut? Fill out the forms here:2026/2027 Upcoming Romance Novels2026 Debut Romance NovelsSponsorsLavinia K. Darcy, author of Return to Kingscote, available in print or ebook. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Metaltail Press, publishers of SE McPherson's A Villain's Hope, available in print or ebook. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.Neyha Liu, author of Midnight at Soulfield, available in print or ebook, or with your monthly subscription to Kindle Unlimited.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

It never fails to surprise us when we realize we've never talked about a really classic trope even now…eight years in. This week, we're talking about kids in romance—which we've somehow never done before?! We're covering Romance Babies, Romance Kids, and Single Parents in Romance — but so sorry to the Secret Baby lovers out there, that one deserves its own episode (someday). We're talking babies, toddlers and teens, the appeal of the single parent romance novel, and that one Erin St. Claire book that Sarah can't get out of her head.If you want more Fated Mates in your life, or you want to talk more about Romance Babies/Kids, please join our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.Our next read along is The Madness of Lord Ian MacKenzie by Jennifer Ashley. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.NotesThe Silhouette Intimate Moments line eventually turned into Harlequin Romantic Suspense. Erin St. Claire is one of Sandra Brown's many pen names.Wet nurses have been around for a very long time, baby bottles not so much. I say this only because Sarah said “Bottle service” and that's something different.Red ink has been around for a long time, actually. So maybe that's how Sophie had access to it during the Regency?So there's not a whole lot of evidence that birthmarks are hereditary. Shocking, I know.SponsorsThe Romantasy Letters, a new kind of romantic fantasy storytelling, delivered right to your door twice monthly. Use the code FATED to get 20% off your year's subscription. Learn more at RomantasyLetters.com.LJ Andrews, author of Heir of Twisted Lies, available in print or ebook. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Neyha Liu, author of Midnight at Soulfield, available in print or ebook, or with your monthly subscription to Kindle Unlimited.Lucy Score, author of Mistakes Were Made, available in print, ebook or audiobook, or with your monthly subscription to Kindle Unlimited. Get it wherever you get your books.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.