Podcasts about Publishing

Publishing another press release won't make AI tools recognize your firm as an authority. As search shifts toward AI-generated answers, firms that earn credible media coverage separate themselves from those relying on syndication alone. Megan Braverman is the Owner and Principal of Berbay Marketing & PR, an award-winning agency that has specialized in law firm marketing and public relations for more than 30 years. She has led media strategies for nationally recognized plaintiff firms, managed communications around high-profile litigation, and helped Berbay earn back-to-back Top Public Relations Agency honors from legal news website The Recorder. In this episode, Megan explains why earned media has become one of the strongest trust signals for AI discovery, how law firms can turn ordinary case milestones into newsworthy stories, and why attorneys need media training to become credible public voices. She also shares how PR, SEO, social media, and intake systems work together to create a marketing engine that builds both authority and measurable business growth. You'll learn: Why AI Citations increasingly depend on earned media and authoritative coverage. How litigation milestones become opportunities for meaningful media exposure. What separates earned media from traditional newswire distribution. How PR, SEO, and thought leadership reinforce one another to improve discoverability.  If you're looking to dominate the search landscape and make sure your firm's brand matches the results you deliver in the courtroom, head over to Rankings.io. Like what you hear? Hit Subscribe! We do this every week. If you want to keep learning from the best voices in PI, join us at PIMCON 2026. Buy your tickets now! Subscribe to our newsletter and get the freshest news every Monday: newsletter.rankings.io Get Social! Personal Injury Mastermind w/ Chris Dreyer powered by Rankings.io is on Instagram | YouTube | TikTok

**Jeep Talk Show: Anthony Dreyer - "Moonchild" | AC-130 Avaiator, Combat Missions, PTSD & Recovery** In this powerful episode, we sit down with Anthony Dreyer — former U.S. Air Force Special Missions Aviator and **AC-130 Gunship Avaitor ** with over a decade in special operations aviation. Anthony flew high-risk missions around the globe as a gunner on the legendary Spectre and Spooky gunships, earning multiple accolades including the Air Force's Jolly Green Rescue Mission of the Year in 2018. From growing up in the Appalachian Mountains of Sylva, North Carolina, to orbiting battlefields at night delivering devastating close air support, Anthony shares his raw and honest story of service, trauma, addiction, and ultimate recovery. **Topics Covered:** - Life as an AC-130 Avaitor– malfunctions, miniguns, 105mm howitzer, and combat operations - Combat search & rescue missions (including the intense June 8, 2018 mission) - PTSD, prolonged exposure therapy, and choosing better over bitter - The brotherhood of special operations and the real cost of service - Writing his memoir "Moonchild" – turning pain into purpose - Military humor, call signs, and why freedom isn't free Anthony's memoir **Moonchild** is a gripping, emotional look at war, family, loss, and healing — must-read for veterans, first responders, and anyone wanting to understand the invisible battles many service members face. **Grab the book here:** - Amazon → https://amzn.to/4gxVK8O - Barnes & Noble and major retailers **Connect with Anthony:** - Instagram: @marco_brolo21 - Facebook: Moonchild - Signed copies: anthonyp.direcjmo.com If you're a veteran or struggling, remember: It's okay not to be okay — but it's not okay to do nothing about it. Reach out and get help. Thanks for watching Jeep Talk Show! Drop a comment below — what part of Anthony's story hit you the hardest?

New York Times bestselling author and Knopf Executive Editor, Jenny Jackson, spoke with us about balancing life as an #authormom, editing bestsellers, finding standalone books, and her anticipated second novel, THE SHAMPOO EFFECT. Jenny Jackson is the New York Times bestselling author of Pineapple Street, a graduate of Williams College and the Columbia Publishing Course, and a Vice President and Editorial Director of Fiction at Alfred A. Knopf. Her second novel, The Shampoo Effect (Pamela Dorman Books; June 30), was named a most anticipated book of 2026 by the New York Times, described as “a frothy novel of love, money, sex, and friendship,” [about] “an ambitious young woman [who] insinuates herself into a tight-knit social set, shaking up friendships and marriages in a small seaside town.” New York Times bestselling author Coco Mellors said, “Jackson has a rare knack for capturing the intensity of old friendships and the way love, jealousy, money, and history combust until everyone is behaving (deliciously) badly.” Jenny Jackson is a prominent figure in the publishing world, having edited numerous high-profile works, including Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin, Crazy Rich Asians by Kevin Kwan, Station Eleven by Emily St. John Mandel, and Cormac McCarthy's final books, among others. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Jenny Jackson, Milena, and I discussed: Why she has the "shortest resume in all of publishing" What 23 years at Penguin Random House have taught her How John Updike inspired her latest The number of pages it takes her to know if your voice works Why you need to reject “rise and grind”  culture and write whenever you can And a lot more! Show Notes: https://www.jennyjacksonbooks.com/ The Shampoo Effect: A Novel by Jenny Jackson (Author) Jenny Jackson Amazon Author Page Jenny Jackson on Instagram Milena Gonzalez | Writer | Reader | Book Reviewer diary_of_a_book_babe on Instagram Kelton Reid Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Mike and AJ talk about the pros and cons of hybrid and traditional publishing. Mike and AJ discuss their own personal journeys through publishing their books and why they chose the paths they did. Wherever you are in your journey of authorship, this episode will be full of information you need to know! Be sure to visit https://dwtbpodcast.com for more information and add your name to start receiving their newsletter. If you'd like to support this show, rate, subscribe, and leave a review on your podcast app. Books/Resources Mentioned: Take Breaks, Work Better by John Briggs Time Freedom by Brian Herriott Connect with AJ & Mike: AJ Harper, website  Write A Must-Read   Free resources AJ's Socials: Facebook LinkedIn Mike Michalowicz, website All books   Mike's Socials:  IG FB LinkedIn

Have you ever felt called to share your story but found yourself held back by self-doubt, fear, or the belief that nobody would care?In this episode of Conversations with Rich Bennett, Rich sits down with author, publisher, and storytelling mentor Nicolette Halladay, founder of Inspired Hearts Publishing and author of The Golden Thread and the Lineage of the Light. Together, they explore how writing a book can become much more than a publishing project. It can be a journey of self-discovery, healing, confidence, and personal transformation.Nicolette shares her own entrepreneurial journey, how she built Inspired Hearts Publishing, and why so many aspiring authors struggle with visibility, imposter syndrome, and trusting their own voice. She also explains her unique process for helping authors move from idea to published book while creating a lasting impact.In this episode, you'll learn:• Why your unique story matters more than you think • How writing a book builds confidence and clarity • The biggest fears aspiring authors face and how to overcome them • Why books can create opportunities beyond book sales • How community and accountability help authors succeedLearn more about Nicolette and Inspired Hearts Publishing: https://inspiredheartspublishing.comIf you enjoyed this episode, please subscribe, leave a review, and share it with someone who has a story waiting to be told.Your story matters. The world may be waiting to hear it.Send us Fan MailCelebrate the Magic of Words in Bel Air, Maryland!https://bookfairatbelair.org/Book Fair at Bel AirCelebrate the Magic of Words in Bel Air, Maryland!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showRate & Review on Apple Podcasts Follow the Conversations with Rich Bennett podcast on Social Media:Facebook – Conversations with Rich Bennett Facebook Group (Join the conversation) – Conversations with Rich Bennett podcast group | FacebookTwitter – Conversations with Rich Bennett Instagram – @conversationswithrichbennettTikTok – CWRB (@conversationsrichbennett) | TikTokSponsors, Affiliates, and ways we pay the bills:Hosted on BuzzsproutSquadCastSubscribe by Email

Click Here to ask your book writing and publishing questions!In this episode, Ann Garvin (who will release her 7th novel, Tell Two Friends, in September 2026 with Lake Union) discloses the often messy, unglamorous truth of how a story actually starts. For her, that's usually as some tiny thing Ann can't stop thinking about, long before it has a plot or even characters attached to it. We talk about how to take that one nagging "kernel" of fascination and slowly build a book around it, and why your characters' flaws are usually what make readers care. Ann also walks through a deceptively useful trick for getting unstuck: asking, "What's the worst possible thing that could happen to this character right now?" (and then doing that to them).Whether you write memoir, self-help, or fiction, this conversation is really about the same question every writer eventually has to answer: What am I actually fascinated by, and am I brave enough to explore it further? No matter how you're published or what genre you're writing, the part about having to sit down and write the damn book is the same for everyone!

What if the real secret to a lasting writing career isn't talent or luck, but learning to thrive in the mess? Why are in-person events worthwhile even if the maths doesn't add up? How do you protect your creativity when the machines never sleep and the community is at one another's throats? With Mark Leslie Lefebvre In the intro, Has AI Already Killed Non-Fiction [Tim Ferriss]; 9 ways that AI would disrupt authors and the publishing industry over the next decade; Pivoting towards The Transformation Economy; and Who do you serve? This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. 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 print and in-person events are making a comeback for indie authors The case for (and against) licensing your voice clone through ElevenLabs Why we keep selling books in person when the numbers rarely add up Measuring success by creative satisfaction rather than money Being honest about author earnings and the fear of being truly seen Managing stress, divisiveness, and the noise around AI You can find Mark at MarkLeslie.ca. Transcript of the interview with Mark Leslie Lefebvre Jo: Mark Leslie Lefebvre is the author of horror and paranormal fiction, as well as non-fiction travel and books for authors. He's also an editor, professional speaker, and the Director of Business Development at Draft2Digital. His latest book is Stark Realities: Stacked Up Lessons Every Writer Needs to Know About the Business of Writing and Publishing. Welcome back to the show, Mark. Mark: Oh, hey, Jo. It's always an awesome time chatting with you. Jo: You've been on the show lots of times over the years, but the last time was in September 2024, when we talked about selling books in person. So give us a bit of an update. What does your writing and publishing business look like at the moment? How do you manage it alongside the day job and everything else you do? Mark: Oh my God. Well, sleep is—no rest for the wicked, maybe. I'll sleep when I'm dead. It's so funny, it was just this last weekend in Waterloo. I was at Waterloo Book Fest, and somebody came up to my table—another author from one of the other tables—and said, “I heard you on the The Creative Penn Podcast. And then when you mentioned something about Waterloo, I said, ‘He can't be from Waterloo.' And then when you mentioned the skeleton, I said, ‘I know where he lives.'” Jo: That's scary. Mark: So I love the fact that there are so many of your listeners all over the world, and that's usually how people know me. No matter what else I've done, it's like, “Oh, you've been on Joanna Penn's podcast.” I'll say, “Yes, I have.” You know what's really funny? The last time I was on the podcast, we were talking about A Book in Hand, which I was supposed to release that year. Jo: Yes. Mark: I just added another 5,000 words to it this morning. Jo: Wait, it's still not published? Mark: No, and it's so funny. I actually have the first 60,000 words of it with an editor right now, and I told her I'd get her the rest of it, which I thought would be another 20,000 words, by the end of June. But I think it's going to hit 100,000. Here's the weird thing that happened with this. This is trying to accumulate my life of book selling, as well as doubling down on doing in-person events in the last several years. I thought I was going to have the book done in 2024. I ran into some issues where I didn't back it up properly. It was an old version, and I accidentally overwrote the only version I had. Jo: So, for everyone listening, Mark—how many decades have you been an author and a publisher? How come you're still missing deadlines and still not backing up your work properly? Mark: Yes, this is a lesson: no matter how long you've been doing something, you can still make boneheaded errors. So if you, dear listener, have made mistakes, just know that this old guy who's been doing this since the mid-'80s still makes mistakes like that. Don't beat yourself up. I probably did something worse. Anyway, that book I thought was going to be maybe 40, 45,000 words, it's going to be bigger than Wide for the Win—close to 100,000 words. Here's a really important lesson I learned in that, Jo. I thought the book would be something. It became something else. Through my own experiences of doing more in-person events, book signings, and library event. Also in talking to awesome folks like Johnny B. Truant, Katie Cross, Todd Fahnestock, and so many other authors I know, and seeing what Ben Wolf is up to, and a whole bunch of different people who are doing in-person events. In creating case studies for how they interact specifically with a bookstore or library, or how they do in-person selling—I really think the book wasn't ready then. It's like the recipe wasn't ready. I still needed to play with some things. I do sincerely have faith, since I got it into the editorial process, that this will be the year the book actually gets released. Jo: As you said, there are some really good lessons there around sometimes the book not being quite ready. I'd bought an early version from the StoryBundle, which is how I got this book as well, actually. Mark: Yes. Jo: That's another tip for people—storybundle.com. You can go and find some great bundles there. I was also thinking, as you were talking, that maybe one of the reasons this book about in-person events has got so big is because that's a real trend in the community. It feels like indies, we've moved… Back in the day, I said, “I'm not doing print. No way.” This was the early days of digital, because print was really hard back then. So I was like, “Oh, and we've got all the advantages doing digital, so I'm just going to focus on that.” It feels like the pendulum has swung, perhaps even more with the ease of mass production of digital with AI. The focus on print and in person is getting stronger and stronger. Do you think that's happening? Mark: Oh, yes, 100%. I did print in 2004. It was really hard back then, so that's gotten easier. I think there are a few reasons. One of the reasons is, yes, digital made it so much easier for indie authors to get out there and break into the community. But the reality is that print books still outsell e-books in general—overall—despite the fact that indie authors can make six and seven figures a year from selling e-books alone on a single platform. So print has never really gone away. It was just never something indie authors attended to. They were in a different business than traditional publishers were in. And second, obviously I've got these gorgeous books that you've created on Kickstarter, because I like the beautiful books. I've never stopped buying print books. I actually buy more print books. I read more because of audiobooks and e-books, but I buy more print books, especially when I can get a nice signed copy. Then the other reason comes back, again, to your advice—something I've been following for the longest time, and you've long been saying. I do repeat this, and I try my best to offer attribution to you every time I use it: to double down on your humanity, particularly in this age of digital generation and the ability for even non-writers to leverage tools to create content. I think it's so much more important for me, as a creative who will never be able to catch up with the machines, to exploit my humanity. I mean, we both have digital voices of ourselves, right? There's a digital Mark Leslie Lefebvre voice that people can use, and I'm making money off it because people are able to license it through ElevenLabs. But when I'm there in person, so far the holograms aren't good enough to fool people. I think I'm not just selling a book to somebody; I want to create an experience where, “Oh, I'm talking to the author, and we're signing a book together, and we're taking a selfie together.” For me, there's that tactile experience that's really enriching. And it may not be something that lines my pockets as easily, because the investment is more significant. For every $10 I make, it costs me six or seven dollars, as opposed to an e-book, where the cost is amortised in the most beautiful way over millions of copies. Jo: There are a few things there. First of all, let's talk about that ElevenLabs voice licensing, because, as you say, I also have a voice clone. Bones of the Deep, the latest book, that's my voice clone. I haven't gone with the licensing, partly because you don't have control over what someone can do with it. So, for example, someone could create Nazi content, or content that I might not agree with, in my voice. So how have you got over that? Because part of me really does want to license my voice, and the other part doesn't. Mark: This is a great question, Jo, and I'm glad you asked it. It's the same reason I don't worry about people stealing my books—adding DRM onto my e-books and things like that. I may as well make some money off it, because let's be honest: you and I, our voices are out there. Thousands of hours of our voices, right? In your podcast, my podcast, in various interviews we've done over the years. The technology exists for someone to make a copy of my voice themselves anyway. The tools exist. They can do it easily, so why not do it myself and at least make money? I'm actually getting money deposited into my account. Not a lot—maybe $30, $18, something like that every week. Again, I've taken a lot of my non-fiction books that I haven't had the time to record myself, as I like to do, and I can at least load those to ElevenLabs and make my voice the default voice. But wouldn't it be great to be able to listen to my book in your voice? It would sound so much better. Because you can do that. When you listen to a book on that platform, you can choose my voice if you'd rather hear it in my voice, or you can choose Burt Reynolds' voice, or some other folks who've licensed theirs. Again, for me, the whole concept of wide publishing has always been important. It's another small revenue stream that's adding to my numerous revenue streams. So I guess that's how I've justified just licensing the voice. If someone's going to do something with my voice that I can't control, they can do it regardless of whether or not I put it out there myself. Jo: I agree with you. That could happen, and neither of us is famous enough that it's likely to happen anyway. I do quite like the idea of people using our voices, say, for other books for authors, because that would make sense—that's where we fit in the niche. I will rethink that, because I think it's interesting. I wanted to come back to print books. You said sometimes there are easier ways to line your pockets, and I think that's funny. So, getting into the book, this leapt out at me quite near the beginning: Why do we keep doing this when the maths almost never adds up? Mark: Oh, I have a perfect example of that from an event I did a couple of weekends ago in Burlington, Ontario. I think it was a $60 table fee. It was a new event. I believe I made $90 or $95 in sales. So even after the costs of printing and all that stuff, I really didn't make money. I made my table back, which is always a good thing. There were a few encounters I had with people who were really excited to find my Canadian Werewolf series of books, and just so thrilled to get started. Among the four of them, they bought one copy, but they were going to pass it amongst each other. You know what? Okay, they bought a single copy, and I was like, “Well, the e-book is permanently free online. You don't even have to buy a copy”—which is anti-selling. I just want them to read the book and enjoy it. But if they read it and pass it along and start talking about it, they could become readers for a long time. It's an eight-book series, with the ninth book coming out later this year. There was another encounter I had that day. A woman and her teenage daughter came in, and they were looking at my traditionally published books that I buy at a reduced price from a local bookstore and resell. They were looking at these true ghost story books I had, and they were pointing: “Do you have that one?” “Yes, I have this one, I have that one.” And the mother's like, “Well, she collects all your books, and she wants to make sure she has them.” We had this conversation, and she was so excited to meet me in person and to get a signed copy of the book. That experience was such a vanity moment for me as an author. We're lonely. I'm a big loser. Nobody's buying my books. We're always down on ourselves. So that investment of time and energy, in order to get that little pat on the back or that feeling of, “Wow, I really connected with someone who likes my stuff”—those moments are really precious. They're difficult to explain if you only look at the world in a financial way. I guess I'm fortunate enough that I do have enough income from numerous streams, including the consulting I do part-time, that it's okay if not every bookish endeavour leads to more money in my pocket at the end of the day. I can still have these authentic connections with people, which I think is one of the reasons I'm a storyteller. Yes, it's the stories I have to tell, but it's also putting the story into somebody else's hands and eyes and heart and mind. Jo: You're very giving like that. You have that sense about you, whereas I'm just a curmudgeon in the corner. Mark: That is not true. Jo: It is, generally. I don't do events like you do for readers. Mark: But that's because it takes a lot out of you. Jo: Yes, but that doesn't matter. Why do I write? I write for me. Mark: Ah, very good. Jo: At the end of the day—just being entirely selfish about this—when people say, “Oh, if you won the lottery, what would you do?” I'm like, “Well, I'd do pretty much what I'm doing now.” Mark: Yes, I'd just do the same. Of course, I'd write more books. Jo: I'd write more books. So this is where I'm trying to get to for people as well: measuring success in a different way. You were talking about measuring success by how that girl loved your books, and how you feel when someone says they love your books. With Bones of the Deep, this thriller I've just done, I feel like I had the benefit of that book before anyone even read it. As soon as it was finished, I made a nice proof copy from BookVault, and I held it in my hand and said, “I made this. I'm proud of the story, I wrote the story, and it's outside my head now.” I feel like I'm creatively satisfied in that moment. Then, of course, the Kickstarter was great, and I love that the books are going out around the world, but— I think the happiest I felt was that moment of finishing—that creative satisfaction of holding the book in my hand. You know what I mean? Mark: 100%, Jo. I cannot agree with you enough. I love so many aspects of writing. Yes, the connection with people is amazing. But I often say this when I'm doing my one-on-one consulting with authors: focus on the projects that mean the most to you, those passion projects. The process of writing, and the painful rewriting and editing and all the things you go through—when you finish that book, like you said, you hold it in your hands and it is a thing of beauty. It's a huge achievement. You've won. Whether or not you sell a single copy, you've won by doing it. Everything else is gravy: the sales, the money in your pocket or not, the reviews, positive or not, the people who say, “Oh my God, Bones of the Deep, thank you for writing this book. I'm so glad you introduced this into the world and into my life.” Anything beyond the creation itself, which is a pure joy—I love it so much. It's just why I get up at 5:30 every morning and write for hours before the rest of my day begins. I try to get stuff done before the rest of the world wakes up. I want to get the writing done first, when I have the most energy to give myself to the page. Then the rest of the day is kind of gravy for me too. Jo: You talk there about giving yourself to the page, but in Stark Realities— You talk about the fear of truly being seen. What do you mean by that, and how do you manage that feeling? Mark: For anyone who has written anything—fiction, non-fiction, memoir in particular, since it's a bit more closely tied to reality—it's exposing yourself to the world. I'll never forget an interview I did with Canadian science fiction author Julie E. Czerneda, who, before being a fiction writer, was writing biology textbooks, but her real passion was science fiction and fiction. When her first novel came out, she said, “It's like standing naked on the front lawn.” When you release a book, even a novel, people look at it and they're going to judge you and rate you. I remember early on, Jo—we knew each other through Twitter, I think, where we initially met, and then interacted with and finally met in person at London Book Fair. I think you and I have a very similar reaction. When people know us as positive and upbeat and out there helping authors in the community, and then they read our fiction, they go, “Well, Jo, you burned a nun alive on page one.” Or, “Mark, what kind of… they're drinking from the skulls of dead people? What the heck is going on with you two?” We are exposing parts of ourselves in our fiction and non-fiction. That's a fear I embrace, but also never get over, if that makes any sense. I write scary stories because I'm a big chicken. So maybe the entire process is just cheap therapy for me. Or not cheap, because it's an expensive pastime, isn't it? Jo: It certainly can be, but I agree. I struggle with fear of judgment still. I think it's also because we do this in public, which comes back to the financial side of things. We do a lot of this in public, and then people judge us on our author businesses too. You could look at Bones of the Deep, which was just on Kickstarter, and compare my Kickstarter to another author's Kickstarter for a fiction book, and judge one or the other person based on numbers. I feel like this is because you and I have done so much in public—for me, almost 20 years, and for you, like 40 years or whatever. Maybe 30 years. You look that old. Mark: Listen there, dearie. Get off my lawn. Jo: Yes, get off my lawn—with those skeletons you have on your lawn. Mark: Yes. They're no longer in my closet. Jo: They're not in your closet. I wonder if that also plays a part of it—the pros and cons of doing this business in public. Mark: Yes, that is a part of it. One thing I try to be very clear about, because there's so much FOMO and so much out there about people thinking that everyone else is making a million dollars from their books and “I'm the only loser who's not”—I try to be clear that I have never made more than a mid-five figures as an author from my author earnings, ever. I haven't yet hit six figures. One of the reasons I try to be transparent in sharing that is I don't want people to think that everyone else is a six- and seven-figure success story, and they're the only one who's only made $100 last year on their books. The reality is, 90 to 99% of the people who are writing and publishing are not going to earn a significant amount of money. I realise I'm also very, very lucky that I've earned this much, and it's taken a long time. I just shared this in a Substack post I posted yesterday: it was 10 years of rejections before I got $5 for my first short story that was published in '92. It wasn't until 2001 that I finally made pro rate, six cents US a word, for a short story that, ironically, Julie Czerneda bought from me back in the day. For me, I've been lucky that it's always been a long, slow slog. It's been a marathon, and I've never instantly sprinted across any dramatic finish line. I've had some really phenomenal moments—doing a book signing in a Costco, walking into Walmart and seeing my books there. Even last night at the Burlington Public Library, going, “Wow, they have eight of my books here—four of my self-published books and four of my traditionally published books, in two different sections.” I was like, “That's kind of cool.” So I've had these amazing moments as a writer, but I've never had the blockbuster—the Brandon Sanderson, or even the Dungeon Crawler Carl, Matt Dinniman, kind of moments. I still think I've had a very fortunate and lucky journey. Even if I wasn't making the money I'm making, I'd still be writing, and I'm sure you would be too. Jo: Oh, yes, for sure. I actually think the thing most of us would probably let go is the marketing. If we won the lottery, we'd carry on with all the creative stuff, the writing, the community stuff, and we'd just literally do no marketing at all. Mark: Well, yes, of course. Or potentially say, “Oh, here, ad agency, here's some money. You just run it, whatever. Let me know if it works or not. I don't care.” Jo: That's a much better idea. Mark: At least I've got the extra disposable income, so I may as well, because I'm helping the world when my books are out there. I know my books will help people. I really honestly think that as storytellers—whether it's fiction or non-fiction, we're still storytellers—what we do in writing and podcasting and all the things we do, the re-sharing on social media, is really helping connect people. I think that is one of the most profound things we can do as writers. And I mean that the writing, in and of itself, is a reward. Jo: Like you said, we met on Twitter when Twitter was what it was back in the day. I do very, very little social media now. But you just mentioned your Substack, and you also have your podcast, Stark Reflections. So how are you balancing what you put on each? I only do this podcast now. I don't even blog. I write books, obviously, and then I do the podcast. So what are you doing differently on Substack to the podcast, and what part do they play in income and marketing? Mark: Great question. I realise most people have never heard of me, or read or listened to the things I put out into the world. And I've been a longtime fan of “reduce, reuse, recycle my IP.” My podcast is not as long-running as yours, but I'm in my ninth year, and I've not missed a single Friday in the full eight years, or eight and a half by now, that I've been doing this. Every week I reflect on what I learned from an interview, or I'll reflect on something you've posted and say, “This episode is not an interview, but Jo said this last week, and I'm going to talk about it.” The podcast itself takes a lot of work. I still do all of it myself, and I know I probably shouldn't, but I like doing it, so it's one of those tasks I enjoy. I also have reflections that aren't going to come out vocally but might come out in writing. Sometimes in the morning I'm not in the mood to write the novel or the non-fiction book I'm writing, but I'm writing some tangent. I just let the creative monster go. I find that re-sharing… I might have reflected on something for a couple of minutes at the end of an interview, but I really want to expand upon it, so I write the Substack article. I try to reuse some of that content. Someone's going to enjoy seeing it on a short video clip I share on YouTube, or whatever the platform is. Someone else is going to listen to it on a podcast, wherever they listen to podcasts, and someone else is going to want to read it. It could be the same information, just shared in a slightly different way, to potentially get it out to other people. So for me, it's part of that wide publishing mentality. I'm trying not to completely duplicate the work, although I am duplicating some of it. I'll give you an example. Hey, Canadian listeners—if you have not registered for Public Lending Right in Canada, please put something in your calendar for February 2027, because the deadline's over. It was May 1st of 2026. Put it in your calendar for next year. I even had somebody at this writers' event I was at this last weekend say, “You mentioned something in a presentation you did for the Canadian Authors Association about Public Lending Right, and thank you, because now I get thousands of dollars a year from this.” So just look up Public Lending Right. I've been saying stuff about Public Lending Right for at least 10 years now. Every time I get my beautiful multi-four-figure cheque from them in February every year, I post on social media and remind authors to check it out. I know it exists in the UK, and it exists in 36 countries in the world—just not the US. Jo: Not the US. Mark: They don't have a programme like this, probably because the big publishers—and probably one of the authors' associations—think that libraries are cannibalising book sales, which is not true. It's been proven time and time again, and that lobbying has prevented it from happening. Whereas here in Canada, the Canada Council for the Arts and the Writers' Union of Canada worked hard to make this happen. Anyway, I talk about something like Public Lending Right and I feel like I must have said this so much that people are sick of it, but every single time I mention it, someone goes, “Oh my God, thanks for saying that. I never heard it.” That's a good reminder, especially for folks like you and me. We know the basics. We know what an ISBN is. We know KDP Select means you can't put the e-book on any other retailer, or even sell it on your own website. We know all these things, but it's hard for us to remember that there are folks coming to this for the very first time who've never heard it, even though we feel like, “Oh my God, I've said this till I'm blue in the face.” I think I got that from retail. When I worked in retail, I recognised that somebody's going to come in and ask for “that blue book that Reese Witherspoon was talking about,” or Oprah was talking about, or whatever. And you do your darn best to help them figure it out rather than mock them. I try to take the same approach when people ask me those questions, because I'm trying to remember what it was like when I honestly did not know the answer, and having someone take the time to help me. I've been very, very lucky that I've had a lot of people take the time to help me. I'll never forget—God rest her soul—Nancy Kilpatrick, a horror writer here from Canada who passed away a few years ago. She gave me a blurb for my very first book in 2004 because she'd acquired one of my short stories for an anthology she'd edited. I was trying to call my short story collection an anthology, and she very kindly took me aside and said, “It's not an anthology if it's a single author. An anthology is a…” Jo: I didn't know that until, like, last year. I got that wrong as well. There are lots of words like that. I want to circle back, because you didn't really answer earlier about the time management. You just mentioned YouTube, on top of Substack and all the things you do. You also have a day job at Draft2Digital—it's part-time, right? You also do part-time at the university, teaching publishing, right? You do all kinds of things. How do you manage your time with all of that? Mark: Well, I mismanage my time more than I manage it, Jo. That's the God's honest truth. Fortunately, most of the things I have that aren't scheduled—like, scheduled to do this lecture at this time, or scheduled to have this meeting at this particular time with Draft2Digital—most of my work is very flexible. I do not work a regular 9:00 to 5:00, Monday to Friday. Well, I never did. I always worked way more. But I have a very flexible schedule. Every single day is a work day, and every single day is a play day for me. So I'm very, very lucky. I do schedule in the very important things, particularly where somebody else is reliant upon me—meetings and connections and stuff like that. Then I make the time first thing in the morning to get the writing done. Everything else is not as important, and it's part of… I guess it's part of playing. You know, like the social media sharing. I don't look at social media as marketing. I just look at it as another way to connect with people, with other creatives, and with readers potentially, all six people who read my stuff. I probably could do a better job of managing my time. I've tried several times over the years to adapt processes to make it better, but I consistently default back to what I do, and so far I guess I've been getting away with it. So I was like, “Do I want to waste more time trying to come up with a process, or do I just want to roll with it?” Because so far I haven't killed myself doing it, and I've been enjoying the journey. So, if it ain't broke… Jo: I think that's the point, if it doesn't feel like it's broken. Having known you for a long time now, and we work together—obviously we co-wrote The Relaxed Author—you do work very, very differently to me. You definitely are a little bit more chaotic. I'm chaotic in some ways too. Mark: Oh, you're very generous. “A little bit chaotic.” Thanks. That was generous, Jo. Jo: You're chaotic in your work practices and scheduling and all that, which I couldn't cope with very well. Even though I feel like a part of my brain is very chaotic—the creative side, I guess, can be quite chaotic—I think I'm actually quite controlling and very scheduled in my work practices. As you say, for someone else on the outside, it might feel to me like you have too many balls in the air. But if you don't feel that, then that's the way of working that works for you. So this is another important thing, isn't it? You can't adapt to what other people say your life should look like. It's what feels good to you. Mark: Oh, for sure. One thing I know about my procrastination tendency is that panic and fear motivate me. So, a deadline—”I have to get this into a publisher by this date, I have to get this manuscript to an editor by that date”—I'm motivated by fear. And I'm afraid of everything, so I guess I'm always motivated. Jo: But I also know that when you hear the word “deadline”—and I know a lot of people who do this—the deadline means you get it in on the deadline, or the day before the deadline. To me, a deadline means I have it ready a month earlier. Mark: I love that. I've done that a few times and shocked myself. I actually had a pre-order up—with the audiobook, the print, and the e-book—a month in advance, and I didn't know what to do with myself. I was like, “Well, what am I going to do now in the next month?” Jo: Work on the next thing. Mark: But I'm so used to working on it up to the last second that I was kind of like, “What do I do?” That actually caught me by surprise, and I honestly felt weird. I was like, “I've never felt this before.” I'm really lucky. I know you have a very supportive and amazing partner, and so do I. My partner, scarily enough, is maybe a bigger procrastinator than me, so she never gives me a hard time. She supports me, and I do the same thing with her own work. I'm up all night with her at the last minute so we can get something turned in. So, fortunately, we really understand one another, and we don't give each other a hard time. We just go, “Well, got away with it again. I guess I'm not going to change my ways.” Jo: We made it. And again, that's the point. You and I could stand up in front of people, both hold up the last book we wrote, and say, “We made this,” and our processes are completely different. Our brains are completely different. We come from different countries. There are lots of things that are different, and yet we both made a book. So hopefully that encourages people. You don't have to do anything that we're telling you, or anyone else tells you. But if you want to be an author, at some point you have to produce a book. Mark: Exactly. As Brian in the classic Monty Python film gets them to say: “Yes, we are all different.” Embrace that difference. I think that's such a powerful reminder that there is no one process for getting anything done. Jo: Given that we co-wrote The Relaxed Author back in 2021—and we did that because we had another show, and we were talking, and we said, “Oh, everyone's stressed and the anxiety levels are really high, and we think there's a better path”—we co-wrote that book, which I think is still a very good book. Definitely people should get it. Interestingly, I think the stress and anxiety might actually be higher now than it was. So what do you think the main stresses are in the community now? You also see a lot with Draft2Digital, I guess, as well. Mark: Oh, for sure. Honestly, Jo, I'm so glad we wrote that book, because I actually pick it up every once in a while to remind myself of the things we tried to help others with. Again, it's therapy for me as well, so I'm so glad we did it. I think we're 10, if not 100, times more stressed. The world events and things going on, the divisiveness—not just in the world in general, in politics and everything else, but the divisiveness in the author community. The witch-hunting that happens, people trying to tear down other authors either because they're successful, or because, “Oh my God, you dared use a new technology.” All of these things are happening, and everyone's at one another's throats. I need to pick that book up and reread it. I'm a lot more stressed than I was. I'm just getting over shingles, which is… Jo: Oh. Which is actually related to stress as well, isn't it? Mark: It is, yes. I was in LA for Writers of the Future—I'm a judge for that science fiction and fantasy conference. I went right from LA, like a week in LA, which was a phenomenal experience getting to mentor the winners. And I mean, come on, it's a free trip to Hollywood, hanging out with Kevin Anderson, having beers and stuff like that. Then I came back to the Toronto Indie Author Conference, run by Tao Wong, here in Toronto. I went right from the airport—didn't even go home—straight to the hotel, because I kicked into another conference. We did a display on how to set up an in-person booth, so I ended up having to hand-bomb boxes, blocks down the street from where I was parked. My chest was really sore when I got home on the Monday, and I thought it was because I hadn't used these muscles, because I'm not in the best shape. Then I took my shirt off and went, “Oh, there's a rash there.” Liz goes, “You have shingles.” Because the pain in my chest, which I thought was the muscle, was actually underneath. I'm one of those lucky people that it's taken the full five weeks, and I'm still in pain even afterwards. So, again, public notice: if you're an older person like me, and there's a vaccine available for shingles, you may want to consider it. Jo: Yep, get it. Mark: Oh my God, it hurts. But, yes, the stress, I think, is higher—even though I didn't know I was feeling it. It was happy stress, right? I was stressed out because I'm there in Hollywood, helping people and doing some good things, and then I'm doing the same thing, interacting with some amazing authors at the Toronto Indie Author Conference. I didn't feel anxious stress. I was happy stress. Is that a thing? Jo: I think possibly… your physical body masks stress, physical stress, because you enjoy all of that stuff. Whereas someone like me, I'll feel it quicker and withdraw. Although I say that, back probably a decade ago, Jonathan would say to me, “You're going too fast, and you're going to hit the wall. And when you hit the wall, it's not going to be fun.” And I did hit the wall. Then, probably in 2021—I mean, that was when I just started going into menopause, and obviously we had the pandemic, and I wrote Pilgrimage, and I was doing all those walks, which I think really helped me. I learned a lot about maybe stopping that before it happened. Becca Syme obviously talks a lot about this too. But I find it interesting with you, because I think you're so positively happy with these events you do that it might mask your physical symptoms in a different way. That's really hard to watch out for. I'll give a tip to you and everyone else listening: schedule the calendar, and look at your calendar and go, “I can't go back-to-back-to-back. I have to put in some rest days.” Mark: Well, thank you. You know, Jo, you and Becca Syme are two of my best unpaid therapists. I appreciate that. Jo: You just don't listen, Mark. Mark: Or sometimes I do. Jo: Just coming back to the community, and the divisiveness there is primarily over AI at the moment, I think that's one of the biggest things. And the arbitrary lines as to what you're allowed to use it for and what you're not allowed to use it for, which is just kind of crazy. Obviously, you know I've opted out of that whole discussion now. How do you think we can move through this [divisiveness over AI], move on? We remember when it was trad versus indie, and then it was wide versus KU. So this will pass—it's just hard, when you're in it, to know when it might pass. Mark: Yes. I think the more generic advice—for whatever may come, whatever has come—is: why are you doing this? Why are you a writer? Heads down, focus on what gives you pleasure, and do that, because everything else is noise. All the marketing tactics and strategies, and all the people yelling at one another. Write your books. Do the things that motivate you. Do the things that give you that intrinsic reward. It's hard to ignore. I get it, it is hard to ignore. I have difficulty ignoring the haters and the yelling and the screaming that happens, but I do my best. Like this morning, when I was in the throes of my manuscript and I looked up and went, “Oh my God, I've got to shower. I'm going to be talking to Jo soon, I should comb my hair”—which I have none of. Because I was so in my book that everything else melted away. That, for me as a storyteller, as a writer, is one of the most beautiful places to be. Jo: I think you're absolutely right. I have a little thing that pops up in my calendar sometimes which says, “If you're feeling all of these things, just go create something.” The moment you refocus on creation—whatever that means to you—things change. It changes the energy. That, or go for a walk. That's my other tip. Mark: Outside. And I have to say, Jo, Pilgrimage is still one of the most profound and powerful books you've written, and you've written a lot of amazing ones. Jo: Oh, you're very sweet. Mark: That one really resonates, not just for me, but with Liz. Because one of the things we often do when we get stressed is go for a walk, ideally in nature. The vitamin N. I think there's something really profound in that, and it really helps me a lot. And again, sometimes going for a walk listening to your podcast, or an audiobook, or sometimes just attending to the environment. A tip I picked up years ago from Brooklyn author Denis Hamill was: go for a walk with your character. Listen to what they see. What do they comment on? How do they approach this environment that you've seen a million times? How do they see it? What do they notice that you don't notice? That's such an incredible experience of creativity—when you're not writing, but writing. That really helps me a lot. Jo: Oh, nice one. Okay, so your latest book is Stark Realities, but you have so many more. Where can people find you and your books and your podcast online? Mark: Jo, you can find everything you want to know about me—and stuff you don't want to know about me—over at MarkLeslie.ca. It links to all the other places from there. Jo: Brilliant. Thanks again for your time, Mark. That was great. Mark: Thanks so much, Jo. Bye-bye. The post Creative Satisfaction, In Person Print Book Sales, And Author Mindset With Mark Leslie Lefebvre first appeared on The Creative Penn.

Ameena Saiyid OBE is a former managing director of Oxford University Press (OUP) in Pakistan. She became the head of OUP Pakistan in 1988, becoming the first woman to ever head a multinational company in Pakistan.The Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon:https://www.patreon.com/thepakistanexperienceTo support the channel:Jazzcash/Easypaisa - 0325 -2982912Patreon.com/thepakistanexperienceAnd Please stay in touch:https://twitter.com/ThePakistanExp1https://www.facebook.com/thepakistanexperiencehttps://instagram.com/thepakistanexpeperienceThe podcast is hosted by comedian and writer, Shehzad Ghias Shaikh. Shehzad is a Fulbright scholar with a Masters in Theatre from Brooklyn College. He is also one of the foremost Stand-up comedians in Pakistan and frequently writes for numerous publications. Instagram.com/shehzadghiasshaikhFacebook.com/Shehzadghias/Twitter.com/shehzad89Join this channel to get access to perks:https://www.youtube.com/channel/UC44l9XMwecN5nSgIF2Dvivg/joinChapters:0:00 Introduction1:50 Early Childhood education 6:50 Love for printed books 10:15 Reading culture in Pakistan 13:30 Military Inc, Jinnah and Restrictions 21:20 Fact Checking and Publishing Houses 30:05 Musharaf wanted Stanley Wolpert to write his biography 35:30 Publishing House stories, books and Jinnah's daughter 47:30 Pakistan's history, KLF and the OUP exit 1:10:50 Audience Questions

Molly Arbuthnott Brings Heart, Craft, and Children's Literature Wisdom to Comic Crusaders Comic Crusaders is thrilled to welcome Molly Arbuthnott to the show, an award-winning author, teacher, editor, and academic from Scotland whose work proves that children's literature is anything but small. Public bios and her official site describe a creative career built around storytelling, education, workshops, books, audio, and direct engagement with young readers and aspiring authors. Molly's journey stands out because she has experience across multiple lanes of the storytelling world. She has taught in classrooms, built books from personal inspiration, developed interactive reading sessions for schools and nurseries, and expanded her work into audiobook and screen-adjacent storytelling. Her official site also highlights workshops that combine story readings, sounds, activities, Q&A, and follow-on educational materials, showing that her work is not simply about publishing a book but creating a memorable literary experience. During this conversation, Al Mega and Molly explore the leap from teaching to authorship, the truth about traditional publishing versus self-publishing, how stories shaped by real life can still feel magical, and why children's books matter so deeply in a distracted age. They also discuss collaboration with illustrators, marketing strategies for authors, how to connect with readers through school outreach, and the exciting process of developing work beyond the printed page. Molly's current public-facing creative world includes books such as Eamonn the Bat, ongoing school visits, her "My Favourite Books" podcast presence, and an animation premiere linked to Oscar the Ferry Cat. That mix of literary passion and practical execution makes this episode especially valuable for authors who need both inspiration and strategy. This episode is a reminder that stories are not passive things. In the right hands, they become tools for empathy, courage, learning, and joy. Molly Arbuthnott is building exactly that kind of work, and this interview is packed with insight for anyone trying to turn imagination into impact. VOTE For Molly for The People's Book Prize: https://www.mollyarbuthnott.co.uk/the-peoples-book-prize-please-vote/ Follow Molly Arbuthnott Website: MollyArbuthnott.co.uk Instagram: @molly_arbuthnott_books Facebook: Molly Arbuthnott Books X: @mollyarbuthnott Subscribe to Comic Crusaders for more interviews with comic creators, indie legends, rising stars, and the wildest voices in pop culture. Thank you for Watching / Listening! We appreciate your support! Host Al Mega Follow on Twitter | Instagram | Facebook: @TheRealAlMega / @ComicCrusaders Make sure to Like/Share/Subscribe if you haven't yet Rumble/Twitch: ComicCrusaders YouTube: / comiccrusadersworld Visit the official Comic Crusaders Comic Book Shop: comiccrusaders.shop Visit the OFFICIAL Comic Crusaders Swag Shop at: comiccrusaders.us Main Site: https://www.comiccrusaders.com/​​​​ Edited/Produced/Directed by Al Mega

Ella es la Presidenta del Jurado de Print & Publishing de Cannes Lions 2026.Chief Creative Officer de Wieden+Kennedy México, la primera oficina de la red en habla hispana, después de haber sido CCO de Ogilvy Latinoamérica, donde bajo su liderazgo la red ganó en Cannes Lions, D&AD y One Show, y fue nombrada Regional Network of the Year en 2022. Antes de ser directora creativa, empezó su carrera como productora en MTV LATAM. Este año preside el jurado de Print & Publishing en Cannes Lions 2026.Arranca Cannes 2026 y esto es una belleza que estemos ya en el primer día de premiación. Tuvimos la suerte de encontrarnos con nuestra queridísima amiga que ya nos va a presentar Marley para contarnos lo que vivió ella como presidenta del jurado de Print and Publishing en esta edición del festival. Fue una belleza porque pasamos hablando de cómo se eligió el Grand Prix. Hablamos de la importancia del print versus la pantalla hoy en día y como eso sigue vivo. Además tuvimos la suerte de escuchar de primera mano y antes que nadie, el discurso que iba a dar ese mismo día en la noche. Fue una belleza porque hablamos de muchísimas cosas, obviamente de todo lo que fue su proceso como presidenta del jurado, pero también de cómo a veces vale la pena tomarse un poquito más de tiempo en el craft antes de mandar una pieza a Cannes. Pero de una cosa muy linda que me gustó, que es cómo México trae la felicidad al mundo y cómo eso debería ser una de las cosas que tengamos en cuenta cuando estemos haciendo creatividad para el festival. Pero bueno, no quiero contarles demasiado. Mejor ya que comiencen las hostilidades y que arranque Cannes la y en 2026 con el Martínez Popup que se abre y se cierra durante esta edición del Martínez Podcast Bar. Desde Cannes Lions 2026.Visítanos en https://www.elmartinez.net/ y suscríbete en Spotify, Apple Podcasts o donde lo estés escuchando ahora. Síguenos en FB o IG @elmartinezpodcast Hosted on Acast. See acast.com/privacy for more information.

In Other Lives Our Own (Spuyten Duyvil, 2025) Jason Weiss reflects on travel, language, memory, identity, and the stories we inherit and create. This conversation explores how we inhabit each other's stories, tracing how movement across places and languages reshapes our understanding of self and belonging. Drawing on experiences in New York, Paris, Mexico, California and beyond, Weiss reflects on what it means to be a foreigner, the shifting nature of home, and the limits of labels such as "American." Weiss reveals his gift for uncovering meaning in overlooked moments. He reflects on the value of curiosity, attentiveness, and recognizing significance in experiences that often go unnoticed. Whether discussing art, literature, family history, or everyday encounters, he argues that "in all our experiences there is more meaning than we normally give them." This conversation includes Jason Weiss, Jeffrey Herlihy-Mera and Jorge Rodríguez Acevedo. Other episodes of the Nuevos Horizontes podcast with Jason Weiss include discussions of his books Listenings (in English and Spanish) and Lights of Home: A Century of Latin American Literature in Paris. The Instituto Nuevos Horizontes is housed at the Universidad de Puerto Rico-Mayagüez. Topics, scholars, books and quotes mentioned: Susan Beegel Aurora Levins Morales "I think it [home] is a moving perspective." -Jorge Rodríguez Acevedo Heraclitus the Obscure "Where are you from? I think that changes." -Jorge Rodríguez Acevedo "If you say, 'you're from here' - you're too conscious of all that's missing from that answer." -Jason Weiss "Parisian as a temporary designation felt right, as I enjoyed being a foreigner." -Jason Weiss The Paradox of Choice "Most things are like lightbulbs; they burnout and we throw them away" -Jorge Rodríguez Acevedo John Steinbeck, Tortilla Flat Travel Writing "…lack curiosity about the ones who went away" (Other Lives Our Own 63). "Leaving disrupts a shared story, and the return doesn't quite fit the version of you they hold onto." -Jeffrey Herlihy-Mera "They thought [the US] was a land of boundless opportunities, not endless forgetting" (Other Lives our Own 37). "They didn't talk about the old country. The stuff to remember is predominantly not pleasant or they have that attitude that we have to look forward." -Jason Weiss on previous generations of Eastern European Jews "American culture has always been angled toward not remembering." -Jason Weiss "Myself, I find it complicated to work with [the word 'American']. But when you use it, I feel like I'm reading the cheeky, brilliant kid sitting in the back of the class, using it with all this other meaning." -Jeffrey Herlihy-Mera "Travel supercharged my desire to learn it [Spanish]." -Jason Weiss "It should be a requirement for everyone to know at least two languages...I think of it as a toolbox, it gives us the capacity to think in another way." -Jorge Rodríguez Acevedo "Every American should have to study Spanish.” -Jason Weiss Anti-intellectualism in the US "[A title can be] a wink at the reader." -Jason Weiss Juanes, "A dios le pido" "In another place, we are always someone else and maybe also the same. A little disoriented, almost lost, unsure of what we know. We speak another tongue, and our own tongue becomes different too: a secret among strangers, possibly a trap" (Other Lives our Own 21). Louis Leroy Claude Monet, Impression, Sunrise Bringing Back New Concepts to This Mad City, Caroline Hagood. Los Angeles Review of Books "The Gleaners and I," Agnès Varda "In all our experiences there is more meaning than we normally give them." -Jason Weiss "The crowd is at the Mona Lisa but in the room next door you see works that make you say. This is so great, how is no one looking at this? Those types of things are happening in our own lives." -Jason Weiss "UPR as a model for what US universities could do." -Jason Weiss "On the Puertoricanization of US Higher Ed," Jeffrey Herlihy-Mera "…recognizing the otherness in yourself." -Jorge Rodríguez Acevedo Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this episode of The Leader Assistant Podcast, Ashley Langlais, Chief of Staff at DVx Ventures, shares her unique approach to being a strategic partner to a CEO. Ashley details her journey in supporting her CEO through a "big first," such as writing his first book, making his goal her own from day one. Jeremy and Ashley chat about how to provide support beyond calendar management for major initiatives like book writing, speechwriting, keynote prep, and internal/external messaging. Ashley also covers the Chief of Staff role as a true strategic partner and shares valuable lessons learned for next time.Show notes -> leaderassistant.com/381--It's the last day of the offsite and it was exactly what the team needed. The CEO pulls you aside to say, “Thank you. This was next level.”Your secret? You used Offsite. They handled the venues, negotiations, and logistics – so you could focus on shaping the experience.Sound too good to be true? It's actually within reach. (And it can even save you money.)See how at leaderassistant.com/offsite. --Are you ready to level up? Enroll in The Leader Assistant Academy at leaderassistant.com/academy to embrace the Leader Assistant frameworks used by thousands of assistants.More from The Leader Assistant...Book, Audiobook, and Workbook -> leaderassistantbook.comThe Leader Assistant Academy -> leaderassistantbook.com/academy Premium Membership -> leaderassistant.com/membershipEvents -> leaderassistantlive.comFree Community -> leaderassistant.com/community

  What does it take for an ordinary American to start documenting the unraveling of everything she thought she knew? In this episode, we sit down with Sidney Pines, a Texas author whose personal notes for her grandchildren became the number one ranked book series, A Patriot's Diary. Sidney shares her journey from a non-political citizen to a dedicated researcher, uncovering media omissions, scripted narratives, and the global nature of the current "awakening." We discuss the intentional division in society, the reality of "selection vs. election," and why it's more important than ever to continue living your life while standing in your truth.     ⏱️ Accurate YouTube Chapters & Timestamps 0:00 Welcome & Introduction to Sidney Pines   1:24 The Turning Point: Noticing the oddities in the 2008 economy   1:50 2019 Omissions: Realizing the "fake news" was reading from a script   2:46 The 2020 Election: Witnessing votes flip live and the global realization   3:18 Down the Rabbit Hole: Realizing history and politics are not as they seem   4:06 Documenting for Descendants: Why Sidney started writing for her grandkids   5:00 The Intentional Division: How family and friends were turned against each other   6:12 Publishing the Truth: Why Sidney decided to share her "conspiracy theories"   7:51 Two Cheeks of the Same Mask: Realizing both sides are controlled   8:41 Navigating the Depression of Research: How to stay grounded   10:16 The Propaganda Backfire: How obvious brainwashing woke people up   11:28 Don't Bank on Dates: Avoiding the trap of "arrests are coming"   13:00 The Importance of Living: Why you can't shrivel up in fear   14:40 The Stress of Politics: Therapists seeing a new kind of patient   16:00 It's Not a Coincidence: The global nature of the division   17:00 Infiltrated Systems: Education, legal, and the height of corruption   18:00 Selection vs. Election: Sidney's thoughts on the voting system   20:00 History as Fiction: Realizing our past was written by fiction writers   22:00 The Power of the People: Nipping corruption in the bud at the ground level   23:38 Where to Find Sidney: X (@Sidney1776) and the Patriot's Diary series   25:00 Outro: RoyCoughlan.com and the Awakening Podcast Network   62:00 End of Episode    

We are here today in Portland, Oregon, at the Independent Publishers' Booksellers Association conference. During the Independent Book Publishers Association Conference in Portland, OR, Keith Riegert spoke about the changes in the Amazon algorithm and how, given a good book, discoverability is an author's major challenge. He explained how AI is a tool to solve this. Keith is the president of The Stable Book Group and CEO of Brooklyn-based independent publishing companies, Ulysses Press and VeloPress Books. Keith is also CEO of Perfect Bound Technologies Corporation and a co-founder of the book publicity and digital marketing firm, Pacific & Court. Keith is a member of the board of advisors at NYU's School of Professional Studies in the Center for Publishing, where he also teaches Analytics and Consumer Insights. Keith also serves on the boards of the Independent Book Publishers Association (IBPA) and the AI firm, Inkbloom. Learn more at www.keithriegert.com/

We are here today in Portland, Oregon, at the Independent Publishers' Booksellers Association conference. During the Independent Book Publishers Association Conference in Portland, OR, Keith Riegert spoke about the changes in the Amazon algorithm and how, given a good book, discoverability is an author's major challenge. He explained how AI is a tool to solve this. Keith is the president of The Stable Book Group and CEO of Brooklyn-based independent publishing companies, Ulysses Press and VeloPress Books. Keith is also CEO of Perfect Bound Technologies Corporation and a co-founder of the book publicity and digital marketing firm, Pacific & Court. Keith is a member of the board of advisors at NYU's School of Professional Studies in the Center for Publishing, where he also teaches Analytics and Consumer Insights. Keith also serves on the boards of the Independent Book Publishers Association (IBPA) and the AI firm, Inkbloom. Learn more at www.keithriegert.com/ United Public Radio & UFO Paranormal Radio www.uprntalkradio.com

Goldylocks Productions presents The Transformational Soul with Ruth SoltmanWith Divine Love and Guidance from her Angels and Guides, Ruth Soltman haswritten and self-published books to spiritually guide you through yourjourney. Metamorphosis A Journey of the Soul is her journey to connect with hertruth. She offers practical tools to help you connect with the Truth of Who YouAre. In The ABCs of Unconditional Love, The ABCs of Forgiveness and TheABCs of Self-Healing, she guides you as you delve deeper into discovering yourTRUTH. Ruth has an empathic understanding and deep compassion for thehuman condition and it is reflected in her writing. She gives you practical tools towork through your issues so that you can live your BEST LIFE.Ruth has remembered her purpose of service to others in this lifetime...to helpthem heal their past issues so they can live an Authentic Life. She does thisthrough her writing, speaking, energy work, and readings, helping them toconnect with the Truth of Who They Are. In addition to writing, Ruth is a ReikiMaster Teacher, Angelic Reiki Practitioner, Spiritual Intuitive, Oracle CardReader, Spiritual Advisor/Life Coach and host of The Transformational Soul onGoldylocks Productions. Ruth goes where Spirit guides her and is currently livingin the Houston area.http://www.ruthsoltman.comhttps://www.facebook.com/thetransformationalsoulhttp://www.ruthsoltman.com/spirit-within-us-blog Ruth's Oracle Card Decks: https://www.makeplayingcards.com/sell/angelworks-Publishing 365 Days of Gratitude Facebook Group: https://www.facebook.com/groups/571824651377425/?ref=shareGoldylocks Productions: http://www.goldylocksproductions.com Receive links and updates for our Shows, Special Events and Sales! Subscribe to The Goldylocks Zone Blog: https://www.whitesagewoman.me Join us on Telegram: https://t.me/+YSquH-U8Vib501QU Hosted on Acast. See acast.com/privacy for more information.

Goldylocks Productions presents The Transformational Soul with Ruth SoltmanWith Divine Love and Guidance from her Angels and Guides, Ruth Soltman haswritten and self-published books to spiritually guide you through yourjourney. Metamorphosis A Journey of the Soul is her journey to connect with hertruth. She offers practical tools to help you connect with the Truth of Who YouAre. In The ABCs of Unconditional Love, The ABCs of Forgiveness and TheABCs of Self-Healing, she guides you as you delve deeper into discovering yourTRUTH. Ruth has an empathic understanding and deep compassion for thehuman condition and it is reflected in her writing. She gives you practical tools towork through your issues so that you can live your BEST LIFE.Ruth has remembered her purpose of service to others in this lifetime...to helpthem heal their past issues so they can live an Authentic Life. She does thisthrough her writing, speaking, energy work, and readings, helping them toconnect with the Truth of Who They Are. In addition to writing, Ruth is a ReikiMaster Teacher, Angelic Reiki Practitioner, Spiritual Intuitive, Oracle CardReader, Spiritual Advisor/Life Coach and host of The Transformational Soul onGoldylocks Productions. Ruth goes where Spirit guides her and is currently livingin the Houston area.http://www.ruthsoltman.comhttps://www.facebook.com/thetransformationalsoulhttp://www.ruthsoltman.com/spirit-within-us-blog Ruth's Oracle Card Decks: https://www.makeplayingcards.com/sell/angelworks-Publishing 365 Days of Gratitude Facebook Group: https://www.facebook.com/groups/571824651377425/?ref=shareGoldylocks Productions: http://www.goldylocksproductions.com Receive links and updates for our Shows, Special Events and Sales! Subscribe to The Goldylocks Zone Blog: https://www.whitesagewoman.me Join us on Telegram: https://t.me/+YSquH-U8Vib501QU Hosted on Acast. See acast.com/privacy for more information.

For more than five decades, Trent Angers has dedicated his life to journalism, publishing, and preserving the stories that define Louisiana and its people. As founder, editor, and publisher of Acadian House Publishing, Trent has edited and published 126 books over a 45-year career while also authoring six books of his own. His work has ranged from Cajun history and Louisiana political figures to military ethics, faith, and inspirational storytelling. A graduate of LSU’s School of Journalism, where he was named Outstanding Graduating Senior and received the Hodding Carter Award for Responsible Journalism, Trent followed in the footsteps of his father, Bob Angers, founder of Acadiana Profile magazine. Trent would eventually spend 36 years as editor and publisher of Acadiana Profile, helping build it into one of the longest-running regional magazines in America before selling the publication in 2010 to focus full-time on book publishing with Acadian House Publishing. During our conversation, Trent reflects on a life immersed in words, ideas, and the people behind them. “Born with printer’s ink in my blood” Trent jokes that journalism was his destiny. “You could say I was born with printer’s ink in the blood.” His father purchased the Franklin Banner-Tribune in 1953, and Trent grew up watching the realities of community journalism firsthand. When Bob Angers launched Acadiana Profile in 1968, regional magazines were virtually unheard of. “I thought he had lost his mind because there was almost no such thing as a city or regional magazine in this country at the time.” Instead, Bob Angers proved to be a visionary. More than fifty years later, the publication remains an important voice for South Louisiana. Acadian House Publishing: More Than Books Today, Acadian House Publishing is one of Louisiana’s most respected independent publishers. Its catalog includes biographies, history, cookbooks, inspirational works, faith-based books, and regional classics. Trent describes publishing as far more than simply printing books. “Publishing involves careful acquisition of titles, careful editing, fact-checking, correcting, perfecting, marketing, warehousing, accounting, and distribution.” Acadian House receives approximately 150 manuscript proposals each year but publishes only three or four books annually. “No is the most powerful word in the English language.” With limited capacity, Trent looks for books that move people, educate readers, and inspire meaningful reflection. Dispelling Myths About Cajun Culture At age 40, Trent wrote his first book, The Truth About the Cajuns, a work designed to challenge stereotypes and misconceptions about Acadian people. “The first book I actually wrote is when I turned 40. The book was titled The Truth About the Cajuns. The book was designed to dispel the myths and stereotypes about the Acadian people. We’re very proud of our Acadian heritage. We’re not simple minded people who aren’t so bright. We don’t all dwell in the swamp. Our lives do not revolve around eating, drinking and dancing Trent wanted readers to understand that Cajun identity extends far beyond the caricatures often portrayed in popular culture. The book remains one of the most thoughtful examinations of Cajun identity and heritage. Dudley LeBlanc: The Original Champion of Cajun Pride Another of Trent’s works is Dudley LeBlanc: A Biography, which chronicles the life of the legendary founder of Hadacol and one of Louisiana’s most colorful political figures. “Dudley LeBlanc, who founded Hadacol, was also known as the political and almost spiritual leader of the Acadian people. He had a French language radio show emanating from from Abbeville. The truth is, Dudley started the French Renaissance movement before Jimmy Domengeaux formalized it through CODIFIL. Dudley LeBlanc would bring it up and say, ‘Let’s stand up for our Acadian heritage and be proud and not ashamed of who we are, not ashamed of our heritage and culture.” While many remember LeBlanc for his wildly successful patent medicine business, Trent argues that his greatest contribution was cultural. Long before organizations formalized the movement to preserve Cajun culture, LeBlanc encouraged Acadians to embrace their language, traditions, and identity. According to Trent, both Dudley LeBlanc and James Domengeaux deserve tremendous credit for preserving and advancing Acadian culture in Louisiana. The Forgotten Hero of the My Lai Massacre Perhaps no project has shaped Trent’s career more than The Forgotten Hero of My Lai: The Hugh Thompson Story. The book tells the story of Hugh Thompson Jr., the American helicopter pilot credited with stopping the My Lai Massacre during the Vietnam War. “I became Thompson’s biographer and spent lots and lots of time with him in Vietnam, in Norway, and throughout the United States, in Washington, D.C., etc. I wrote his speech when he received the soldier’s medal in Washington at the Vietnam Wall, which is the highest award a soldier can earn for anything other than direct combat with the enemy,” Trent said. Trent devoted more than 3,000 hours of research across three continents to tell Thompson’s story. “That book was my opus.” The defining moment came when Thompson landed his helicopter between fleeing Vietnamese civilians and advancing American soldiers. “Not on my watch,” he said. Thompson ordered his gunner to protect the civilians, even if it meant turning their weapons on fellow Americans. His actions saved lives and ultimately helped bring the massacre to an end. Trent explains why Thompson’s story continues to resonate: “They were willing to give up their lives just because it was the right thing to do.” The book has since been placed on the reading list of the Joint Chiefs of Staff because of its lessons on leadership, battlefield ethics, and moral courage. Publishing Louisiana’s Most Influential Voices Over the years, Acadian House has published works by an extraordinary range of Louisiana authors and leaders. Among them are books by: Dale Brown Lt. General Russel L. Honoré Marcelle Bienvenu Camille Pavy Claiborne Brian Sibley Chad Judice Trent speaks admiringly of each, emphasizing not only their accomplishments but also their character, intellect, and ability to inspire others. Dale Brown and Human Dignity One of Trent’s most meaningful publishing relationships has been with legendary LSU basketball coach Dale Brown. Acadian House published Brown’s Getting Over the Four Hurdles of Life, and Trent later authored Dale Brown: Caught in the Battle for Human Dignity. He also played a significant role, along with Lafayette attorney Glenn Armentor, in the effort to have LSU’s basketball court named in Brown’s honor. “Every generation needs role models.” For Trent, Brown represents integrity, courage, compassion, and leadership. “Dale Brown is a role model of integrity, courage, bravery, intelligence.” Those qualities made him not only a successful coach but also one of America’s most sought-after motivational speakers. The Secret Life of an Editor One of the most fascinating parts of our conversation centered on the editor-author relationship. After working closely with writers for months or years, Trent says editors often develop a deep understanding of how authors think. “We call that mind meld.” His philosophy is simple: “The job of an editor is to make the writer look like a genius.” That requires more than correcting grammar. It involves improving structure, strengthening logic, checking facts, and helping authors communicate their ideas as clearly as possible. Cookbooks Outsell Almost Everything Despite publishing biographies, history, and inspirational works, Trent admits one category consistently surprises him: Cookbooks. Acadian House’s most successful title is Marcelle Bienvenu’s iconic cookbook Who’s Your Mama, Are You Catholic, and Can You Make a Roux? The book has sold approximately 200,000 copies. “That book is in the top one percentile of books ever published in America.” For Trent, the success is both gratifying and humbling. “You do a cookbook and you sell the heck out of it.” The enduring popularity of Louisiana food culture continues to introduce readers around the world to Acadiana traditions. Freedom of the Press As a lifelong journalist, Trent remains deeply passionate about the First Amendment. “Freedom of the press is the hill I would die on. This country is free, in part because of the free press. Because of the free flow of information. It’s the press’s job to educate, to inform, to entertain. We serve the public, not the government. The press exists to serve the public.” He argues that a free society depends upon the free flow of information and a press willing to challenge power when necessary. “The press exists to serve the public, not the government.” Regardless of political affiliation, Trent believes journalism’s highest calling remains informing citizens and protecting democratic accountability. What’s Next: Orphan Train to Louisiana Among Acadian House’s upcoming projects is Orphan Train to Louisiana, a book examining the little-known story of thousands of orphaned children transported from New York City to families across America. The project was inspired by a staggering historical reality. “At one point in New York City there were 30,000 babies and children on the street, homeless.” The book explores the efforts of religious organizations and charitable groups that worked to place children with loving families, including many in Louisiana. For Trent, it is exactly the kind of story Acadian House loves to tell: forgotten history that reveals the best of humanity. Faith, Service, and Gratitude Outside of publishing, Trent is active in the Secular Franciscan Order, whose members seek to live according to the spirit of Saint Francis of Assisi through service, humility, and care for others. Reflecting on his blessings, he says: “We’re among the luckiest people in the world, in the history of civilization.” That perspective of gratitude, combined with a lifelong commitment to storytelling, continues to shape his work today. Whether preserving Cajun history, documenting battlefield courage, promoting faith-filled voices, or introducing readers to remarkable Louisianans, Trent Angers remains one of Acadiana’s most important cultural storytellers. To learn more about Trent Angers and Acadian House Publishing, visit their website and explore a catalog that reflects the rich history, culture, faith, and character of Louisiana.

This week on the pod, J. Hunter Bennett, author of "More Punk than the Public Library" joins Joe and Elly to talk curating Little Free Libraries, writing the books YOU want to read, and why policing other folks' tastes is anti-punk behavior.Get the book: https://microcosmpublishing.com/catalog/books/62128************Thank you for catching the People's Guide to Publishing vlogcast!  We post new episodes every Thursday about publishing, authors, and the book industry. You can also listen via your preferred podcast app, or by visiting linktree.com/microcosmGet the People's Guide to Publishing book: https://microcosmpublishing.com/catalog/books/3663Get the workbook: https://microcosmpublishing.com/catalog/zines/10031More from Microcosm: https://microcosmpublishing.comSubscribe to our monthly email newsletter: https://microcosm.pub/newsletterFind us on social media:Tik Tok: https://www.tiktok.com/@microcosmpub/BlueSky: https://bsky.app/profile/microcosm.bsky.socialInstagram: http://instagram.com/microcosm_pubFacebook: http://facebook.com/microcosmpublishing************

Send us Fan MailMany writers spend years polishing a manuscript, waiting for the "right" time to publish. But what if the pursuit of perfection is actually slowing your growth? Today we're talking about why getting your work out into the world sooner rather than later can build momentum, accelerate learning, and help you reach your writing goals faster.

In this episode, AJ and Mike discuss and reflect on the publishing industry and its evolution over the years. They even share what their predictions are for the future of book publishing. Mike and AJ will be making some pretty bold statements, you do not want to miss! Be sure to visit https://dwtbpodcast.com for more information and add your name to start receiving their newsletter. If you'd like to support this show, rate, subscribe, and leave a review on your podcast app. Books/Resources Mentioned: The Coaching Habit, by Michael Bungay Stanier The Comfort Crisis, by Michael Easter Connect with AJ & Mike: AJ Harper, website  Write A Must-Read   Free resources AJ's Socials: Facebook LinkedIn Mike Michalowicz, website All books   Mike's Socials:  IG FB LinkedIn

Most SaaS founders in the messy middle are making the same expensive mistake — building first and validating never. In this episode, Jeff Mains sits down with Corinne Kavanagh, founder of CAC Media & Publishing and former Microsoft Azure Data team contributor (part of a team that drove $500M+ in revenue with 76% YoY growth), to unpack what it actually takes to scale past the growth plateau.Corinne shares why your top-of-funnel obsession may be quietly killing your growth, how to validate demand before writing a single line of code, and why a fractional CMO may be the smartest hire you're not making. She also introduces her CARE re-engagement method, her SaaS Marketing Playbook, and the SCALE framework for building an AI-first marketing department without homogenizing your brand.If your business is growing and suffocating at the same time, this episode is for you.Key Takeaways0:24 — Welcome & episode framing: Why the messy middle is where most SaaS companies stall out3:22 — Guest intro: Corinne Kavanagh, founder of CAC Media, fractional CMO firm for SaaS & tech companies4:10 — Startups vs. enterprise: What big companies do differently — and what smaller companies can learn from retail validation models5:12 — Feature prioritization trap: Why founders rush to build before validating demand, and how to use micro-testing ($5–$10 ad spend) to validate before committing resources15:30 — Pre-development checklist: ICP study → messaging tests → distribution partner conversations → pricing research → competitive analysis17:09 — Competitor vs. customer time allocation: Why founders should be "in all channels" — and how AI tools can automate competitive monitoring23:04 — AI modernization in marketing: Efficiency gains without sacrificing brand authenticity — plus the importance of an AI use policy23:49 — Early churn warning systems: The retention play most SaaS teams ignore — and how to re-engage customers before they leave24:24 — The CARE Method: Corinne's re-engagement framework for growing lifetime value and sealing the leaky bucket25:08 — Account-based marketing (ABM): Why a focused list of 100 ideal accounts beats a massive TAM for execution27:01 — Growth plateaus: How to read your revenue chart — what "bubbles" mean vs. a flat line, and what each signals about your acquisition and retention engines29:48 — Aligning marketing, product & sales: Breaking down the wall between sales and marketing through co-invention, shared messaging, and CMO-level integration40:38 — The SCALE Framework: How to build an AI-first marketing department without producing brand slop45:24 — #1 marketing shift for 2026: Stop running your company — start building systems that run it for youTweetable Quotes"You can beat everyone else to market — but if your customer is not ready and chomping at the bit to buy it, it doesn't matter." — Corinne Kavanagh"Stop thinking about top of funnel only. Retention is half the story, and most SaaS companies are ignoring it." — Corinne Kavanagh"A consultant does a drive-by. They drop strategy and leave. That's not how you actually scale." — Corinne Kavanagh"If you're in the feature rat race, step back. Ask yourself: am I creating a category, or just chasing competitors?" — Corinne Kavanagh"Your marketing team should feel responsible for the P&L — not just the pipeline." — Corinne Kavanagh"Don't give sales a playbook and say 'go sell it.' Alignment has to be co-invention, or no one buys in." — Corinne Kavanagh"The most dangerous thing you can do with your runway right now might be shipping the next great feature." — Jeff Mains"Pretend you have a $200M company. What would you stop doing that you're doing right now?" — Corinne KavanaghSaaS Leadership Lessons1. Validate demand before you build — always. Retail companies won't spin up a new product line without marketplace testing. SaaS founders should apply the same discipline. Run micro-ads ($5–$10), talk to a pre-engagement cohort, and confirm that desire is "fiery enough to click the buy button" before writing a line of code.2. Your leaky bucket is as dangerous as an empty funnel. Pouring money into top-of-funnel while ignoring churn is a losing strategy. Build early churn warning systems using platform data (login frequency, monthly active users) and re-engage customers proactively before they silently leave out the back door.3. Bring marketing into R&D — not just into launch. Marketing shouldn't receive a finished product and be told to "figure out how to message it." A CMO-level voice in early R&D conversations means better competitive analysis, more relevant feature decisions, and messaging that actually lands in the marketplace.4. Break down the wall between sales and marketing. The old grudge match — "sales can't close our leads" vs. "marketing gives us garbage" — is a systems failure. Solve it through collaborative co-invention: shared meetings, shared messaging, and shared accountability for what's working.5. Category creation beats feature competition. If you're in a feature rat race with competitors, you've already lost the game. Step back and ask: how do we position ourselves so far apart from the competition that comparison becomes irrelevant? Companies like WooCommerce and GoDaddy didn't win by having more features — they won by creating new categories.6. Systems are your most important 2026 marketing investment. The #1 shift every SaaS founder needs to make: stop running the machine manually. Build systems around what's consuming your time, project forward to what a 100X customer base would require, and install those systems now. That's what gets you out of the messy middle for good.Guest Resourcescc@cac-media.comhttps://cac-media.comhttps://www.linkedin.com/in/corinnefss/https://www.instagram.com/corinnecava/https://twitter.com/Corinne_C_WAEpisode SponsorThe Futureproof Series - https://www.youtube.com/playlist?list=PLfkXKUPZ5xuOqMPR7_gzGybncTtavyR1NThe Captain's KeysSmall Fish, Big Pond – https://smallfishbigpond.com/ Use the promo code ‘SaaSFuel'Champion Leadership Group – https://championleadership.com/SaaS Fuel ResourcesWebsite - https://championleadership.com/Jeff Mains on LinkedIn - https://www.linkedin.com/in/jeffkmains/Twitter - https://twitter.com/jeffkmainsFacebook - https://www.facebook.com/thesaasguy/Instagram - https://instagram.com/jeffkmains

Es un gusto tener la oportunidad de entrevistar en persona a Silvia Sesé, directora editorial de Anagrama. Su trayectoria dentro de la industria editorial la ha llevado a trabajar en grupo como Planeta y Círculo de lectores. Ella es licenciada en Filología Hispánica por la Universidad de Barcelona, completó su formación con un máster en Publishing por Stanford University. En 2023 impulsó la colección Fundación Feltrinelli–Archivo Anagrama, orientada a la recuperación y difusión de materiales editoriales y literarios relevantes. La conversacion nos muestra el trabajo, equipo, catálogo, los premios y la filosofía de una de las editoriales más importantes en el mundo de los libros en español. Nos cuenta tambien sobre cómo el sello ha cuidado estar pendiente de la produccion de escritoras con nombres como Mariana Enríquez, Cristina Morales, Leila Guerriero y muchas más. Tiene cuatro premios: narrativa, crónica, ensayo y de literatura catalana.

Through PIN–UP, the German-born, New York–based editor, curator, and founder Felix Burrichter continues to expand the possibilities of what an architecture magazine can be. He constructs intuitive bridges between creative sectors—whether art, design, and music, or fashion, film, and food—and shows how the built environment shapes and responds to larger societal and cultural forces. Amid endlessly scrollable, algorithmically controlled digital feeds, PIN–UP remains committed as ever to a print-forward, human-led approach. 2026 marks the 20th anniversary of this self-described “magazine for architectural entertainment” and the launch of its 40th issue, a special edition devoted to the notion of “Independence”—a north star for Burrichter, who has long championed slower, more intentional forms of media rooted in curiosity, discovery, and pleasure. On the episode, Burrichter reflects on why he sees magazines as intimate dinner parties; how slowness and experimentation have become his publication's defining strengths; and why, despite our precarious present, he continues to strive toward utopia. Special thanks to our Season 13 presenting partner, L'ÉCOLE, School of Jewelry Arts. Show notes: Felix Burrichter [00:50 ] PIN–UP Magazine [08:48] India Mahdavi [11:40] Alexandra Cunningham Cameron [14:35] Moriyama House by Ryue Nishizawa [20:34] PIN–UP Home [30:21] Jay Osgerby [34:12] Theaster Gates [34:12] Solange Knowles and Saint Heron [34:30] Solange's “Losing You” (2012) [35:21] Luther Vandross's “A House Is Not a Home” (1981) [47:18] KPF [50:55] Jop Van Bennekom and Gert Jonkers [50:55] Stephen Todd [51:44] Dylan Fracareta [51:44] Geoffrey Han [52:36] “Taking It Slow With Spencer Bailey” [52:56] Paulo Mendes da Rocha [55:30] Bijoy Jain [1:03:09] The Barbie Dreamhouse [1:03:27] “Isamu Noguchi: ‘I Am Not a Designer'” [1:06:03] Dozie Kanu [1:10:21] Ben Ganz [1:12:51] Travis Scott [1:17:18] Rana Toofanian

Darlene Williams on the Black Authors Festival, AI Plagiarism Traps, and the Truth About PublishingDarlene Williams is the founder and president of the Black Authors Festival, held annually in Sag Harbor, New York and Atlanta, Georgia. She is also a certified personal and professional development coach, college educator, literacy advocate, and founder of the Higher Level Method publishing imprint.In this episode of Diversified Game, Darlene Williams joins Kellen Coleman for a powerful conversation on literacy, publishing, banned books, AI writing risks, and the deeper cost of illiteracy in Black America.Darlene shares why literacy is more than reading. It is access, power, political awareness, economic mobility, and self-determination. She also discusses the story of her husband, whose life shows what literacy can unlock: from juvenile detention and prison, to teaching himself to read behind bars, earning his GED, tutoring more than 200 inmates, graduating summa cum laude with his master's degree, teaching at the college level, becoming a licensed social worker in two states, and graduating from Columbia University.This conversation goes deep on why banned books matter, how Black history is being erased, why critical thinking must be taught early, and what authors need to understand before trusting AI to write or publish their work.Coach Darlene does not give quick fixes. She gives truth.Connect with Darlene Williams:Black Authors Festival:https://www.blackauthorsfestival.comContact:Marcia Davis / EPi Media Groupimari@epimediagroup.comLinkedIn:Search Darlene Williams directly on LinkedInChapters:0:00 Introduction and Guest Intro0:36 Who Is Darlene Williams and What Is the Black Authors Festival2:15 Why Literacy Is More Than Reading4:10 The Numbers: Over a Third of Black Adults Below Fourth Grade Reading Level7:29 Illiteracy, Voting, and Why Local Elections Matter Most10:55 Banned Books and the Erasure of Black History11:50 Critical Thinking, Self-Banning, and How to Raise Discerning Children17:00 Book Recommendations That Build Critical Thinking23:40 The Testimony: From Prison Illiteracy to Columbia University MSW29:05 Audiobooks vs. Physical Books: What the Data Says31:00 The Business of Publishing and What New Authors Get Wrong32:23 The Higher Level Method, Anthologies, and the Path to Becoming an Author38:17 How Darlene Monetized Literacy Without a Rich Uncle43:52 Black Authors Festival: Honorees, Contacts, and What You Actually Gain49:12 The Peach Tree: A Lesson on Doing the Work Without the Expectation53:29 How Many Editors You Need and Why AI Cannot Be Your PublisherSponsored by MillionaireX AIAI tools, automation, and wealth-building intelligence for entrepreneurs and professionals.Visit:https://www.millionairex.aiDiversified Game PodcastHosted by Kellen ColemanWebsite:https://www.diversifiedgame.comConsulting:https://www.cprfirm.comInstagram, Twitter, and YouTube:@KellenColemanSuggested Videos:Janean C. Armstrong | Sis, Get Your Purse in Order | Financial Literacy for Black WomenL. Kevin Morrison | Morrison Group LLC | U.S. Africa Business and Legacy StrategyDr. Stanley Andrisse | From Prison to PhD | Advocacy, Education, and RedemptionRelated Search Phrases:Black literacy statistics, banned books Black history, Black Authors Festival Sag Harbor, literacy advocacy, critical thinking skills, how to become a published author, AI plagiarism danger, audiobooks vs reading, Black homeschool resources, Darlene Williams coach#DiversifiedGame #DarleneWilliams #BlackAuthorsFestival #LiteracyMatters #BannedBooks #BlackHistory #CriticalThinking #BlackAuthors #PublishingTips #AIWriting #KellenColeman #MillionaireXAI #HigherLevelMethod #FathersLove #DGPDGP&x%

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After retiring from a 45-year career in education, Ashland author Barry Vitkov returned to writing and has published six books, with a seventh on the way.

Yo yo, nerds! Welcome to episode 234 of Up Yours with More! MODOK and BC are joined again this week by Homer J. and Princes Kelsey for the UUA 20th Anniversary Spectacular! As always they've got comic book and pop culture headlines, the top 10 books from last week, and a very special Ask Me Anything where we ask Homer the questions YOU want answered! Buckle up, dear listener... It's a long one!NewsAbsolute Catwoman #1 Returns To Press With New Second Printing CoversDC Unleashes the Weird: Batman/Superman/Weird Al: World's Weirdest #1MAD Has Issues—600 of Them!Celebrate the Marvel Mangaverse's 25th Anniversary with Five Epic One-Shot ComicsAvengers #1 by Chip Zdarsky and Marco Checchetto Assembles Earth's Mightiest SurvivorsSpider-Woman 50th Anniversary Special #1 Sets the Stage for Jessica Drew's Darkest EraROM Joins Energon UniverseAct 4 Publishing & Skybound Announce Beta Ray Bill By Daniel Warren Johnson Artist's EditionVIZ Media Spring 2027 AnnouncementsFind Us Online at the Following Outlets Website :: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠upupandawaycomics.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube :: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/@upupawaycomics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook ::  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/upupawa⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠y and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/uuablueash⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram :: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/upupawaycomics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter :: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠twitter.com/upupawaycomics⁠⁠

In this episode, Lauren & Matt explore how authors can use AI to buy back their most valuable resource: time. Generative AI tools like Claude, ChatGPT, Gemini, and Perplexity can't replace human creativity, but they can give you more time to be creative by helping you streamline your…

In this week's historic episode, we revisit a conversation with Beeson professor Frank Thielman on the topic of Bible translation.

Click Here to ask your book writing and publishing questions!The woman. The myth. The legend: Jordan Roter. She's a TV writer, screenwriter, author, and one of the funniest and most genuine people I know. I truly could talk to her for days (and I'd like to, as it would preclude the need any sort of formal abdominal workout). Her novel, Moms Like Us (2025, Little A), was recently optioned for the screen, and she's back to give her hot takes on:Midlife transitions (welcome, all my fellow perimenopause travelers!)Self-publishing versus traditional publishingThe currently hot TV shows I was previously afraid to watch (Heated Rivalry, Off Campus, and Euphoria)Navigating publicity and marketing as an author The importance of remembering that you only need 1 "yes"

Embrace your weird! Literary tastemaker and Debutiful founder Adam Vitcavage talks about championing debut authors and working to demystify the cloak and daggers publishing ecosystem. Listen in as we juggle topics like dealing with the pressures of early pitching cycles, the importance of independent booksellers, and the rise of influencer culture. As we hustle for connection in an attention-fractured culture competing with streaming, games, and AI, reading remains a vital art form for making people feel seen. Debutiful Website: https://debutiful.net/ Adam's Website: https://vitcavage.com/ Social: @debutiful Good Story Company: If you have a story in your head, we're here to help you get it out into the world. We help writers of all skill sets, all genres, and all categories, at all stages of the writing process. Need a hand with brainstorming? Want to find a critique partner? Looking for an editor to help polish up your pitch, your idea, or your entire manuscript? We have all of it and more in our community. If you're ready to take the next step (or the first step) on your writing journey, we're here to help you. Website: https://www.goodstorycompany.com Membership: https://www.goodstorycompany.com/membership Writing Workshop: https://www.storymastermind.com Mary Kole: Former literary agent Mary Kole founded Good Story Company as an educational, editorial, and community resource for writers. She provides consulting and developmental editing services to writers of all categories and genres, working on children's book projects from picture book to young adult, and all kinds of trade market literature, including fantasy, sci-fi, romance, and memoir. She holds an MFA in Creative Writing and has worked at Chronicle Books, the Andrea Brown Literary Agency, and Movable Type Management. She has been blogging at Kidlit.com since 2009. Her book, Writing Irresistible Kidlit, a writing reference guide for middle grade and young adult writers, is available from Writer's Digest Books. Manuscript Submission Blueprint: https://bit.ly/kolesubWriting Irresistible Kidlit: http://bit.ly/kolekidlitIrresistible Query Letters: https://amzn.to/3yg511KWriting Irresistible Picture Books: https://amzn.to/3SrApRUHow to Write a Book Now: https://BookHip.com/ZHXAAKQWriting Interiority: Crafting Irresistible Characters: https://amzn.to/4evsX0BWriting Irresistible First Pages: https://amzn.to/4gxgslqNEW! Show and Tell: https://amzn.to/4kCc4no Follow us on social: YouTube: https://youtube.com/c/goodstory Bluesky: https://bsky.app/profile/goodstory.bsky.social Instagram: https://instagram.com/goodstorycompany TikTok: https://www.tiktok.com/@goodstoryco Facebook: https://facebook.com/goodstoryco Substack: https://goodstoryco.substack.com/

On this week's episode of Excelsior Journeys: The Road to Creativity, host & producer George Sirois sits down with fellow author Michael Hilton. While the two have similarities in their respective paths to the same publisher, Michael talks about his debut novel "Bobby Robot" was launched in 2020... right before COVID shut down the world. During that time, Michael focused on expanding his universe by writing Parts 2, 3, and 4 and taking them all to their new home, Roan & Weatherford Publishing Associates. Learn more about Michael by clicking HERE.Excelsior Journeys: The Road to Creativity exists primarily as a platform for creatives of all kinds (authors, filmmakers, stand-up comics, musicians, voice artists, painters, podcasters, etc) to share their journeys to personal success. It is very important to celebrate those voices as much as possible to not only provide encouragement to up-and-coming talent, but to say thank you to the established men & women for inspiring the current generation of artists.If you agree that the Excelsior Journeys podcast serves a positive purpose and would like to show your appreciation, you can give back to the show by clicking HERE.Excelsior Journeys: The Road to Creativity is now a proud member of the Podmatch Podcast Network, and you can access all shows in the network by clicking HERE.

In this episode of The Paywall Podcast, Pete sits down with James Baldacchino, fractional CMO of Leaky Paywall and AI SEO specialist at Ellipsis, to break down what publishers need to do as AI reshapes search and reader revenue: how to optimize your content for LLMs like ChatGPT, Claude, and Gemini, why most publishers underprice their content and how to run a silent price test that lifts revenue without spooking subscribers, plus a live teardown of a high-traffic B2B publication that exposes the exact paywall friction points costing publishers paid conversions.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Isaac Hayes III.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Isaac Hayes III.

After dedicating his career to understanding and sharing the power of transformative ideas, entrepreneur and author Eric Jorgenson has seen how the right book can inspire action and drive personal growth. Best known for “The Almanack of Naval Ravikant,” Eric shares how reading sharpens decision-making and unlocks new opportunities. In this episode, he discusses his latest work, “The Anthology of Balaji: A Guide to Technology, Truth, and Building the Future,” featuring insights from visionary entrepreneur Balaji Srinivasan, and offers a sneak peek into an exciting project on Elon Musk's groundbreaking innovations. In this episode, Darius and Eric will discuss: (00:00) Introduction and Guest Introduction (03:08) The Impact of Books on Personal Growth (05:49) Eric's Journey to Writing “The Almanack of Naval Ravikant” (08:54) The Process of Writing and Publishing (12:00) The Influence of Naval Ravikant (14:53) Exploring Wealth and Its Definitions (17:53) The Role of Leverage in Success (21:01) The Importance of Knowledge and Skills (24:11) Elon Musk: A New Book Project (27:01) The Future of Network States (29:59) Final Thoughts and Greatness Question Eric Jorgenson is an author, investor, and creator known for distilling complex ideas into accessible wisdom. His bestselling book, “The Almanack of Naval Ravikant,” guides readers to wealth and happiness through Naval's most impactful insights. Following its success, Eric published “The Anthology of Balaji,” showcasing the visionary ideas of engineer and futurist Balaji Srinivasan. As the founder of Rolling Fun, Eric invests in early-stage tech startups, writes at ejorgenson.com, and hosts the Smart Friends podcast. His blog has engaged over a million readers since 2014. When not working, he's on a mission to craft the perfect sandwich. Connect with Eric: Website: https://www.ejorgenson.com/ LinkedIn: https://www.linkedin.com/in/erjorgenson  Instagram: https://www.instagram.com/erjorgenson/  Books: https://www.ejorgenson.com/books-1  Twitter: https://twitter.com/EricJorgenson  Connect with Darius: Website: https://therealdarius.com/ Linkedin: https://www.linkedin.com/in/dariusmirshahzadeh/ Instagram: https://www.instagram.com/imthedarius/ YouTube: https://www.youtube.com/@Thegreatnessmachine  Book: The Core Value Equation https://www.amazon.com/Core-Value-Equation-Framework-Limitless/dp/1544506708 Write a review for The Greatness Machine using this link: https://ratethispodcast.com/spreadinggreatness.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Jeff and Rebecca talk about the growth of the number of books (and authors) vying for reader dollars, continue to lament the long 2025 award season, wonder about the expansion of PRH's audio initiatives, talk about recent reading, and more. Follow the podcast via RSS, Apple Podcasts, and Spotify. Join The Book Riot Podcast Patreon for bonus content and ad-free listening. Subscribe to The Book Riot Newsletter for regular updates to get the most out of your reading life. The Book Riot Podcast is a proud member of the Airwave Podcast Network. Discussed in this episode: Amazon's best  of the year so far US audiobooks sales increased 9% in 2025 j/k we weren't done with 2025 book awards - Stoker Award winners and Nebula Award winners And we're also starting this year's: The 2026 Barnes & Noble Discover Award finalists Authors Guild survey looks at why author income is declining Reese's Book Club launches Fan Fest event series The Marriage Plot is getting an adaptation This content contains affiliate links. When you buy through these links, we may earn an affiliate commission. Right now, Merit Beauty is offering our listeners their Signature Makeup Bag with your first order at meritbeauty.com. Thanks to our sponsor, Quince! Go to Quince.com/bookriot for free shipping on your order and 365-day returns. Now available in Canada, too! Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Isaac Hayes III.

Send us Fan MailIn this episode, we delve into the remarkable journey of Providence Monthly magazine as it marks its 30th anniversary. Host Bill Bartholomew sits down with Chris Revill, a media veteran and current account manager at Hayrode Media, to explore how the magazine has thrived in a changing media landscape and its vital role in fostering community connection.In this episode:The origins and resilience of Providence Monthly since 1996The importance of genuine journalism and community focus in mediaHow local media reflects and influences Providence's cultureThe evolving landscape of media, from legacy outlets to new mediaThe upcoming 30th anniversary party as a community celebrationThe unique appeal of print and local media in a digital ageThe role of authenticity and passion in media successThe personal impact of media work on professional and life transformationsThe significance of community events in strengthening local bondsTimestamps:00:00 - Introduction to Providence Monthly and its legacy00:49 - The history and survival of a print magazine in a digital world01:36 - The story behind the magazine's 30-year milestone02:57 - The challenge of maintaining relevance post-COVID03:34 - Community, love, and storytelling as core values of Providence Monthly04:12 - Announcing the 30th anniversary celebration at Medici Lounge05:24 - The importance of community and connection over politics06:20 - The craving for local media and the nostalgia it provides07:05 - How legacy media is embracing new media trends08:15 - Rhode Island's media ecosystem and national attention09:01 - The emotional and cultural significance of fostering community through media09:56 - The enduring appeal of print, radio, and magazines in the digital age10:14 - Personal stories of media impact and career pivoting11:19 - Reflection on local media's role in amplifying voices and ideas11:36 - The power of authentic relationships and external validation12:22 - Personal growth through media ventures and the importance of passion13:02 - Closing remarks and upcoming 30th anniversary celebrationSupport the showFollow Bill on Instagram and YouTube

Celebrate America's aviation heroes:

Watch as a full video episode on YouTubeThis week, we discuss why the publishing industry is pointing fingers at libraries for declining author incomes, but we wonder about the reasons they aren't talking about. Plus, have you heard of Elias Thorne? We talk about AI's repetition problem and why that may be good news for authors. And we revisit the thorny issue of book lists - after we criticised the Guardian's first 'Best 100 books', is their Readers' list any better?00:00 Intro01:14 Declining Author Income - Libraries to Blame?14:13 Thorne in the Machine - AI Running Out of Ideas?23:38 Guardian Top 100 - Readers vs Critics30:40 Stranger Than Fiction - Nadine's Idea Factory38.23 The Final Chapter - Horrifyingly GoodLinks:Authors Guild Looks at Why Author Incomes are in DeclineChatbots Keep Telling Stories about Lighthouse Keeper 'Elias Thorne'. We Might Know WhyWikipedia may have built the best AI writing detection guideThe Guardian Readers top 100 novels of all timePokémon Go data trained AI that could assist military drones in war zonesAdventures in Publishing-land is brought to you by STET Podcasts - the one stop shop for all your writing podcast needs, featuring Page One - The Writer's Podcast, The Conversation with Nadine Matheson and more! Find all our shows here!Follow us on BlueskyFollow us on Instagram Hosted on Acast. See acast.com/privacy for more information.

When is a writer not alone?You sit at a keyboard wrestling with plot problems, self-doubt, unfinished drafts, and that nagging voice asking whether you're good enough to keep going.This week on Tell The Damn Story, Chris Ryan shares what happened when he pushed past those doubts and attended StokerCon, the annual conference of the Horror Writers Association.What he found wasn't just panels, workshops, and industry professionals.He found a room full of people facing many of the same struggles every writer faces.Imposter syndrome.Creative uncertainty.Publishing questions.The search for community.Along the way, Chris talks with authors, organizers, and publishing professionals about why conferences matter, what new writers can gain from attending them, and how finding your tribe can change your creative journey.You'll also hear practical insights on:• Networking without feeling awkward • Meeting editors, agents, and publishers • Pitching your work • Learning directly from working professionals • Building a support system that understands the writing lifeBecause sometimes the most important thing a writer learns is this:You are not alone.https://horror.org/Have any questions, comments, or suggestions?Then, please leave them in the Comments Section.Write: TTDSOnAir@gmail.comAnd follow us on ...⁠⁠⁠⁠⁠⁠@Tell The Damn Story⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠www.TellTheDamnStory.comwww.Facebook.com/Tell The Damn Story⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube.com/ Tell The Damn Story⁠⁠⁠⁠⁠⁠⁠⁠Stories change lives. They always have. At *Tell The Damn Story*, we believe in lifting voices and passing stories on. Your support keeps them alive for future generations. Help us by supporting TTDS → ⁠Buy Me A Coffee⁠⁠⁠⁠!⁠⁠⁠⁠⁠

Could using AI in your book create a legal problem you never saw coming?What if parts of your manuscript are not actually protected by copyright? And what should authors know before using AI for research, outlines, editing, or content creation?In this eye-opening conversation, legal expert Elissa Hecker breaks down what nonfiction authors need to understand about AI, copyright, contracts, and protecting their intellectual property in a fast-changing publishing world.This episode answers the questions many authors are afraid to ask.Key TakeawaysCan You Copyright AI Content? The surprising truth about what parts of AI-assisted work may not be legally protected.Are You Using AI Safely? Smart ways to use AI without risking ownership, credibility, or control of your content.The Contract Clause Authors Cannot Ignore Why publishers are paying attention to AI use and what disclosures may soon become standard.Your Biggest Competitive Advantage in an AI World Why your voice, experience, and originality matter more than ever and how to protect them.One Copyright Mistake That Could Cost You The difference between “having copyright” and protecting it when problems arise.If AI feels exciting, confusing, or a little intimidating, this conversation will help you separate hype from reality and make smarter decisions about your book, your ideas, and your intellectual property.Here's how to connect with Elissa:Email Elissa for your complimentary 30-minute consultationWebsiteResources: US Copyright OfficePatent and Trademark Office*************************************************************************When Book Marketing Feels Overwhelming, Clarity Changes EverythingIf you know your book deserves more visibility, but marketing feels confusing or inconsistent, the Author Influencer Circle helps nonfiction authors build authority, attract opportunities, and market with confidence.Learn more about the Author Influencer Circle and turn your book into money making opportunities!*************************************************************************

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. 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 Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.