Podcast appearances and mentions of sarah baxter

Kickstarter has become a key part of the author business for those who want to make more money per book, connect directly with readers, and produce beautiful editions they're proud of. In this episode, I share excerpts from interviews with Oriana Leckert, Head of Publishing at Kickstarter, Russell Nohelty, and Sacha Black, alongside my own hard-won lessons from six campaigns that have now made over $140K combined. Whether you're considering your first campaign or looking to refine your process, we cover everything from overcoming your fears to rewards, fulfilment, shipping, marketing, and why I keep coming back for more. In the intro, Writing StoryBundle; Spotify Expands Audiobook Features and Printed Books; Draft2Digital Activation and Maintenance Fees; comment by Kevin McLaughlin; and Barnes & Noble Press change to Minimum Retail Price for Printed Books; AI-Assisted Artisan Author webinars. This show is supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Joanna Penn is an award-winning New York Times and USA Today bestselling author of thrillers, dark fantasy, short stories and travel memoir under J.F. Penn and also writes non-fiction for authors and hosts The Creative Penn Podcast. What Kickstarter is and why it works differently from a normal book launch The fears that held me back for almost a decade — and whether they were justified Starting small: Why you don't need sprayed edges and special hardbacks to run a successful campaign. Creative reward ideas beyond merch: digital rewards, experiential rewards, naming rights, and bundling your backlist Common mistakes that sink campaigns: overestimating your reach, getting shipping costs wrong, and not allowing enough time Fulfilment realities, printing timelines, and reinvesting profit into future stock Marketing your campaign: pre-launch signups, content marketing, email lists, social media scheduling, and Facebook/Meta ads My update for campaign #7, Bones of the Deep: what's changed, what I'm doing differently, and how AI tools are part of my process now Why I now love Kickstarter campaigns and how the spike income model fits a sustainable creative career You can find my Kickstarter campaign for Bones of the Deep here (until 5 May, 2026) and all my previous campaigns here. Introduction Jo: In this episode, I've included excerpts from my own previous solo show about Kickstarter, as well as excerpts from interviews with Oriana Leckert, the Head of Publishing at Kickstarter; Russell Nohelty, who has done lots of successful Kickstarter campaigns and teaches direct sales; and Sacha Black, who did a six-figure campaign last year. I've also added my updates to the end of the episode filling in any last thoughts. You can listen to the full episodes here: Kickstarter for Authors with Oriana Leckert The Mindset and Business of Selling Direct with Russell Nohelty Lessons Learned and Tips from Pilgrimage, My First Kickstarter Campaign Two Different Approaches to Selling Direct with Sacha Black and Joanna Penn What is Kickstarter, and why use it instead of a normal book launch? Here's Oriana Leckert, Head of Publishing at Kickstarter — and the numbers she shares will be higher now, as the episode is from February 2025. Oriana: Kickstarter is a crowdfunding platform. We are unique in the crowdfunding landscape for a few reasons. We are only for creative projects, so you can't use Kickstarter for medical bills, investment funding, or charitable donations. Every project has to create something new to share with the world. Jo: Have you got any numbers on how big the Kickstarter industry is now with publishing, or anything you can share around that? Oriana: Yeah, I would love to. First I'll tell you Kickstarter overall by the numbers. Since our inception, there have been 273,000 projects funded, eight and a half billion — with a “b” — billion dollars pledged, from more than 24 million backers. In publishing specifically, we've had 69,000 projects launched, 3.2 million unique backers, and over $380 million pledged to campaigns. I have lots of other stats, but a few things I'll share. The publishing category keeps growing The publishing category has grown year over year, every year since 2017, in terms of number of projects launched, number of projects successful, and the overall success rate. There has never been a dip since 2017. Another stat I really love about the publishing category: if you look at campaigns that have at least 25 backers, the overall success rate is 84%. I think that's really telling, because 25 backers is a little bit more than your mum, your best friend, the folks who are essentially obligated to support anything you do. So if you can get a little bit beyond that inner circle, your chances of succeeding on the platform are tremendously high. Backers are paying more — and waiting longer Another thing I wanted to call out — I just got some new numbers around this. The average backing amount per backer across the whole category has nearly doubled since 2020. We used to see an average backing around $40, and it's currently at $72 per backer. I think this is clearly around the trend of special and deluxe editions, but it's a great indication that backer behaviour on Kickstarter is just very different from your general book-buying public. People don't come here looking for 99-cent ebooks — the lowest bargain-basement prices. Folks are really willing to pay more because they understand this is a different kind of thing. It's not exactly a purchase. It really is supporting, bringing a strange and wonderful new thing into the world that wouldn't exist before. People are also much more forgiving about timelines. If you buy something from most online booksellers, you're expecting to have it in your hands within a couple of days. People wait months and sometimes years to get their Kickstarter rewards, and they don't mind if the creator is clear and transparent. You're also doing the work of demystifying the publishing process. Why does it take so long? Where are books printed? How long does it take them to ship via freight over the ocean? What do all these things really look like? So it's really interesting just figuring out what your backers want and will bear versus the general book-buying public out in the world. Kickstarter is not just for “desperate” authors anymore Oriana: People used to think Kickstarter was just for desperate folks who couldn't get a book deal through the traditional systems. The change has been so dramatic — people now understand that Kickstarter can be transformative for an author's career, and that it can work for traditional publishing, indie publishing, hybrid publishing, all kinds of authors. Kickstarter is really about collapsing the boundaries between a writer and their readers, a publisher and their fan base, any creative person and their audience. And there are so many benefits to doing that. You get to really thrill your backers with new and exciting rewards. You get to turn what can be a standard book release into a moment. You get to build your brand, your profile, get press, test out ambitious projects. You get to understand so much more about your audience and what they want and how you can give it to them. It's been really marvellous seeing the great success that people can have on our platform and outside of it. Why do a Kickstarter campaign? Jo: Why Kickstarter and not a usual book launch? Benefits for backers If you back a Kickstarter, you get special editions, bonus content, interesting merchandise, bundles, digital specials, print specials, early access. All of them pretty much are really cool books from creators you either already love or those you've never heard of, because you just want to see their cool stuff. I've started buying books from people I have never heard of because I think their books are really cool. Once you start supporting campaigns on Kickstarter, the algorithm will recommend campaigns for you. It's essentially a different way of shopping for great books and other products, and it's just another part of my ecosystem for how I shop. It's a form of direct sales, so you also have a closer connection with the creator. You can message them, for example, and they get it — rather than buying through an online retailer or bookstore. Benefits for creators In terms of benefits for creators, you get to know people in a more personal way through the campaign, messaging with people and connecting more than you would when selling through a retailer, when you don't know who is buying your books. As an author, you can make more money more quickly and retain a higher percentage of the royalties, rather than wait months or years to get paid and have a large percentage taken out by everyone down the chain — publishers, platforms, distributors, and retailers. Brandon Sanderson's $41 million Kickstarter was clearly the pinnacle of what can be achieved, but many authors are happy making a few thousand for their book project upfront and use campaigns multiple times during the year. Kickstarter takes 5% for their fee, although of course you have to factor in the cost of production and marketing. But even then, I make more profit on my book sales through selling ebooks and audiobooks direct, and also printing with BookVault, than I do with KDP Print or IngramSpark print on demand. Higher average order and faster payment Another way you make more money is that the average order per customer is higher with Kickstarter than sales on the usual stores. The average order on my campaign was £37.24 — that's around $45 US — which is at least four times higher than I might have made selling Pilgrimage in the usual way on the major retailers. You get paid two weeks after the campaign finishes, so the money is in your bank account much faster than if you sell on retailers. In terms of cash flow, make sure you time your campaign so you get the money before you have to pay for printing, shipping, and other significant bills. Spike income vs monthly income There are many creators who now make Kickstarter the core of their business. It's a spike income model rather than a monthly income, which most indie authors are used to. The monthly income model is fantastic — I love getting money every month — but it also has the effect of making indie authors behave as if this is a normal job: work every month, get paid every month, put out another book so you get paid in another few months' time. With the Kickstarter model, you can get a bigger chunk of money in one go, so you could potentially move to a big launch and then take more time off before ramping up to the next launch months later. And amusingly, this sounds a bit more like traditional publishing. It's just that as an indie author, when you get that amount of money, it's much bigger. So that kind of launch tempo is an attractive prospect if you think about it: if I just get this big spike of money even once a year, that's really cool. And then of course you can sell it later. What are some of the fears that might stop you? Jo: I held back from doing a Kickstarter for years — almost a decade, in fact — where I backed campaigns and resisted doing a campaign for my own books. Here are some of my fears. Prepare to face your fears Jo: This entire experience thrust me out of my comfort zone and into a new way of creating, launching, and connecting with readers. Pilgrimage is my first memoir, my first special hardback with colour photos, and my first Kickstarter crowdfunding campaign. So I had a lot to learn. The book is very personal and I bare my soul about some dark times, so that was terrifying in itself, let alone trying a new product edition and publishing platform. On the evening I clicked the launch button — and yes, you have to actually click an actual launch button — my heart was hammering out of my chest. I have not felt that nervous since probably the first time publishing on Amazon. I was afraid of failure. I was afraid of being embarrassed if my campaign didn't fund. I wrote a book on marketing — how to market a book — so I would be mortified if I had not funded. In fact, I even changed my target from £5,000 to £1,000 the night before, as I was so terrified it wouldn't fund. I was afraid of getting something terribly wrong and ending up out of pocket through issues with printing and shipping. I was afraid of letting backers down by promising something I might not be able to deliver. I was afraid I had overcommitted myself to a whole load of work I might even resent doing. I am a one-person business, and although I work with freelancers, I still do pretty much everything myself. I am a control freak — you might have noticed. So yes, there was a lot of apprehension and fear. You don't have to go huge Another fear might be the fear of failure — that you'll put up a campaign and no one will buy from you. But one answer is just to do a modest campaign. You don't have to do special hardbacks or merchandise. As Russell says: Russell: Somehow all of the teaching that we have given over the last two years has been executed in a way that makes it seem like you have to do this enormous campaign with sprayed edges and big, beautiful hardcovers and interior illustrations and vellum and all of that stuff. And I want to say first: that is absolutely not true. You don't have to do any of those things. If you look at two of the last three campaigns I've done, all I was offering was paperback books and ebooks, and then audio commentary for one of the campaigns. You can do a Kickstarter — and I often will tell people, especially if they're not an already successful author — do a campaign that is small and easy to get data on before you do something big. The direct connection is actually the point Jo: One of my resistances to this was a sort of, “Oh, I'm actually going to have to do a more higher-touch thing.” But as you say, the reframe is: oh my goodness, this is amazing, because I actually do get to connect with people. Just yesterday I sent a signed book — Pilgrimage, which I did my last Kickstarter on — and this guy was like, “I bought it for myself. Can you sign it to me, because I'm going to do the Camino in a wheelchair?” And I was just so touched. Emailing him back, I just felt, oh my goodness, I'm having a connection with this person that if they'd just bought a book on Amazon, I would not have had. So now it's almost like — it's this totally different view of my business, which is that direct-first means a much more personal way. It really is like we're in that thousand true fans moment that we first talked about 20 years ago. Were my fears realised? Jo: Just to recap, I was afraid of failure and embarrassment if I failed to fund, of getting something wrong and being out of pocket, of letting backers down, and of overcommitting myself and resenting the workload. Really, the only thing that happened was overcommitment and a lot more work than I expected. But the time I put in was also likely the reason for the campaign's success and the reason that the other things didn't happen. I had to learn a new platform and a new approach to publishing and book marketing, so it was kind of a mini degree at the same time. So yes, I will do another Kickstarter — but only for special projects that are suited to this kind of intensive campaign. Tips for campaigns In this section, Oriana shares her thoughts on rewards, and then I'll go into some more of my tips. Thinking beyond merch Oriana: The rewards are really at the heart of the Kickstarter proposition and what makes this kind of fundraising so interesting and thrilling. Basically, your process is you're inviting people on a creative journey. You're saying, “I'm going to make this cool thing. I want your support, and in exchange, you're going to get stuff, you're going to get to be part of my process.” Obviously your main reward is going to be your book, or your series, or if you're a publishing company, your season — whatever it is. That's your main tier. Then you're going to build everything else out above and below that. A lot of people think rewards means swag and merch. Which is fine, but merch can add a lot to your production costs. It's causing you to learn how to produce all kinds of things that maybe you've never done before. So that's not the only way to do it. If you're going to do some merch, I think it's nice to come up with some custom items that feel really related to the work that you're doing. If you've got a romance novel with a pivotal scene on the beach, maybe you'd make some candles that smell like the ocean. Maybe you do some kind of handkerchief that's printed with the pattern of the dress your heroine is wearing. Digital and experiential rewards Oriana: But you can really think beyond merch into digital rewards and experiential rewards. There are a lot of parts of the writing process that can be pulled out and packaged as rewards — things like notes from the field, outtakes, deleted scenes. I've had people write bloopers, as if it were a comedy movie, added new scenes or novellas, other pieces from different works that you've done. Certainly your backlist and other books you've written can all be included. We've seen people do tours of the writer's studio, things like that. Also think about what skills you have in addition to your writing. Perhaps you're excellent at marketing or social media or poetry — you can offer webinars on those sorts of things. Other kinds of ways that people can experience your creative practice. High-end and naming rewards Oriana: Then you can get into high-end, one-off, crazy rewards. One whole section of rewards I love is naming rights. We've seen all kinds — “We'll name the dragon after your dog, or after your mother-in-law. We'll name the hero after your son.” There's a LitRPG novelist named Matt Dinniman who does this really well. He writes these big-cast novels — there are dungeons, and you're in an intergalactic reality TV show with hundreds of characters. In his last campaign, for $666 he would kill you off in his next book, and for $777 he'd let you live and write a whole scene around you personally. You can also do book release parties. You can do book clubs. If you're writing children's books, you can do colouring pages or supplemental material for teachers or other educators. The sky is really the limit, and it is based on your creativity and the things that both you can make and that your audience wants. This is another opportunity — talk to them. Ask them: if I'm going to do a piece of swag, would you rather have an enamel pin or a makeup bag? If I'm going to do alternate covers, would you like the blue cover or the red cover? See what your people are interested in, and then figure out whether it's possible for you to deliver it to them. Learn about the platform from experts Jo: I've been publishing and selling books through online retailers, as well as my own store, since 2008. I know what I'm doing, but I still had a lot to learn. With Kickstarter, it's essentially a completely different ecosystem, with different rules and a different audience, so you have to learn the ropes. Even if you're super successful in other places, you might crash and burn on Kickstarter unless you understand how it works and change your approach accordingly. Start backing campaigns Jo: See how it feels to back Kickstarter campaigns and discover what draws you in as a reader and a fan of specific things. You might find projects you love outside of books — there's plenty of other projects outside of books. You can browse the publishing category to find new books, and also use the search to find things you might like. In this way, you can support fellow creators and learn how the Kickstarter site works for discoverability and marketing. Make sure you go through the Kickstarter.com resources — they have a creator pack which will give you direction on the campaign. Also, their terms of use are really important to read, as there are some assumptions you'll have because you've published on another platform that are incorrect. So do not assume you know what you're doing if this is your first campaign. Ask for feedback before launch Jo: Once you have a draft of your campaign, ask specific people to review it before it launches. You can share a preview prior to launch and get feedback on your page. This helps you refine your story and the rewards, answer any questions before the campaign goes live, and it can also help pique the interest of your audience. I asked specific people who had done Kickstarter campaigns for help at different stages of the process, and this was really useful too. Review common mistakes from other campaigns Jo: If you examine how others made mistakes, you can learn from them. The most common seem to be: Not finishing the book before the campaign Getting the financials wrong for production, shipping, and any other rewards. I know some authors who have ended up breaking even, or sometimes even out of pocket from campaigns. Don't do that. Not making the most of the story sales page and not including everything necessary, so backers don't understand and don't want to support the campaign — essentially, not being clear enough Setting unrealistic goals, like expecting to make six figures on a first campaign Not allowing enough time for everything Not seeking feedback from people who have done it before Not marketing the campaign enough Overpromising and under-delivering Poor communication with backers about the status of rewards Set aside more time than you think you need Jo: The campaign ended up being far more significant than I expected in terms of workload and time to complete. Everyone told me that beforehand, but it was still a surprise. It took time to prepare the multiple editions for the rewards. I usually produce an ebook, paperback, and a large print edition, and I narrate my own nonfiction audiobooks. But for this Kickstarter, I also wanted to do this special hardback with colour photos, a flyleaf cover and silver foil. I wanted to create a special print product I could be proud of. I'm proud of all my books in terms of the content, but the usual paperback print-on-demand books are more about the content than the true beauty of the product. For Pilgrimage: A Book of My Heart, I wanted a special edition, so I worked with Jane on the design, going through my photos from the various pilgrimages to find those that resonated with the content — for example, the cadaver tomb at Canterbury, and my Compostela from the Camino de Santiago. Once we finished, I had that proof copy rushed so we could turn around everything. And I love, love, love the hardback. It has a silken-finish cover and it feels lovely and weighty. The pictures came out well, as the paper is of a higher quality and weight to allow for colour printing. Overall, I am incredibly proud of the finished product. I even sent a copy to my mother-in-law, which I have never done before. And yes, she thinks it's good. I definitely should have allowed more time, as I spent most of the Christmas and New Year period working on the book, recording and editing the audiobook, and preparing for the campaign. I also didn't have time to prepare, record, edit, and produce the Writing Setting and Sense of Place course until after the campaign, and it was really hard to find the energy to do this afterwards. Building the campaign page Jo: It took time to build the Kickstarter campaign page, create the video, and incorporate feedback. Most authors don't write sales pages anymore. Sure, we write a sales description for the book page on the retailers, but we don't often do a whole page for multiple editions. On Kickstarter, you are basically writing a sales page for your campaign, which they call a “story.” Some of your existing audience might just click through and back the campaign without reading it, but most backers will check out the details to find answers to any questions they have. It is a very long page, and you also need a video — or you don't need one, but it's highly recommended. It's best to record the video at the last stage when everything else is done. You can still see my Kickstarter video on my campaign page, so I won't go through everything in detail. But the key aspects are: Who the campaign is aimed at Why the campaign is important to me and the book What products are available Pictures of everything — the page should be really visual — and I included the images in the video as well Sample chapters and sample audio Specifications, with weight, pages, listening time, table of contents About me, the author Stretch goals Add-ons Any questions, risks, and challenges So it's pretty long. Then the reward levels have to be set up carefully for each pledge level with shipping costs, and specific details about what's included. Eventually, I felt like my page had way too much information, but since I didn't really get many backer questions, I guess it did what it was supposed to do. I rewrote and edited that page so many times — adding and changing the order of things, responding to feedback, switching things around. But hopefully I can use that as a template for other campaigns. Marketing takes time too Jo: It took time to prepare the marketing for the campaign. I'm pretty low-key for most launches these days — I publish a book, send a few emails to my lists, announce it on the podcast, do a little social media, update my websites, and move on to the next book. So this was probably my biggest effort in terms of a launch since my first novel back in 2011. I only had a two-week campaign, so I needed to make the most of that window. I'm going to detail the marketing in a separate section, but it took a lot of time to prepare the various things and execute them, as well as keep the energy up for promotion during the campaign. Two weeks was definitely the longest I would want to do — I was really over it by the end. Delivering stretch rewards Jo: It took more time to create and deliver the extra stretch rewards I promised. Since I had pretty low expectations of funding, I set my first stretch goal at £10,000 for “Lessons Learned from Writing a Travel Memoir.” When I promised it, I thought it might be a few pages of tips, and I didn't even think we would get there. But I'm incapable of delivering something that is half done. So when we did hit £10,000, I wrote essentially a short book on the topic, which I then formatted as an ebook and recorded as an audiobook. I'm actually going to turn that into a proper book at some point, so the content will get reused. But that definitely took more time than I expected, because I hadn't prepared it in advance. The backer spreadsheet and fulfilment Jo: It took time to figure out the backer spreadsheet and check all the fulfilment details. Once you finish your campaign, you send out surveys for mailing addresses and to fulfil rewards. I also needed to turn the backer report into a printing order for BookVault, and that was nerve-wracking. The spreadsheets were different formats, and then we spot-checked the orders to make sure people got the right books based on their orders. I was petrified that some people might get the wrong book, and I checked and checked and checked — both on the spreadsheet, and then once the orders were loaded, I checked BookVault as well. I was worried I'd have to resend the right book, which would end up with me out of pocket because they'd have to do double printing and shipping. But thankfully, all the checking made everything good, and I haven't heard from anyone who got the wrong book. Following up with backers Jo: It took time to follow up on failed payments and address issues. Most backers were easy to deal with — they received the updates and Kickstarter emails, they filled in the surveys, and I didn't have any problems. But there were problems with about 5% of backers, most of which were not their fault. There were failed payments when banks thought Kickstarter might be fraud. There were missed emails because of issues with deliverability, so backers didn't receive the rewards, or they didn't fill in the survey and return their address, which meant I couldn't do the order with BookVault — I had to do it later or manually. I had to follow up with every single one of these, some of them multiple times, and I slowly reduced my list of outstanding backers. A tip: If you back a Kickstarter campaign, please log on to Kickstarter a few weeks after the campaign has finished and check for updates. It's possible that you're not receiving the emails from Kickstarter, and the creator may need details from you in order to fulfil your pledge. Tax implications Jo: It took time to figure out the tax implications. This is not legal or financial advice, and your taxes will vary by jurisdiction. Please ask your accountant how you need to treat Kickstarter or any other book-related income. Wherever you are in the world, you will need to pay tax on the income, because we all have income tax, but the complicating factor is whether you also need to consider sales tax. And this definitely differs by jurisdiction. I went to my accountant, who said we should handle it as per any other book sales. I followed my accountant's advice, which treats backers the same way as my customers who buy on Shopify. Ask a professional in your jurisdiction about taxes and finances, even if you are in the UK. I cannot answer any questions. I'm not an accountant. Closing the loop Jo: I haven't had much time to do anything else, as I felt like I couldn't start anything new until everything in the campaign was finished. As soon as the campaign window closed, I felt like I had an open loop in my brain. I desperately wanted to close it in order to say the project was done. I have now delivered all the book and course rewards, and these lessons learned are really the last part of it. I've talked before about the different kinds of energy you need as an author — starting energy, pushing-through energy, and finishing energy. Once the campaign was funded, my finishing energy kicked in and I was driven to get everything finished as soon as possible. I sent the digital rewards out within a few days of the campaign closing, and also shipped the unsigned books, ordered the print books, then went and signed them, and then recorded the course. It has been my primary focus for the last few months, and I haven't been able to do much else except the podcast, which is my weekly commitment to you. Once again, I should have blocked out the time. Bonus tip: Don't plan an international speaking and book research trip during the campaign. International shipping and fulfilment Jo: Be careful with international shipping and fulfilment of signed books or products. Shipping costs can sink your campaign if you get them wrong, so be very careful with this area. I have sold books in 175 countries, and this podcast has a listenership in 228 countries, so I really wanted to have a completely international campaign. I wanted to ship Pilgrimage in any format to any country. Originally I thought I would just charge a bit extra for the book and include shipping. But once I set the book editions up at BookVault and I had the weight and dimensions sorted, I started checking the shipping costs to different countries. For example, we lived in New Zealand for seven years — my husband is a New Zealander, so we go back — so I definitely had to sell in New Zealand. And of course the shipping to New Zealand is very, very different to the US, for example. It is crazy how much shipping costs vary. I discovered I couldn't just assume it would all wash out and I'd end up making a profit somehow. I had to be a lot more careful with the calculations. So I focused on my biggest markets, which in terms of my book sales are the US, UK, European Union, Canada, Australia, New Zealand, and South Africa. I added a note on the campaign to say I would add any other country for print shipping if people contacted me. As it turned out, no one asked for any other countries, so that was the best way to go in the end. If you're in a country where the shipping is outrageous — if you're willing to pay for the shipping, then that's absolutely fine. It's just that for the campaign, I had to focus. When the unexpected happens Jo: Of course, you can try to prepare for everything and then something unexpected and out of your control happens. A big spanner in the works for my campaign was the Russian hack, which took down the UK Royal Mail just before my launch. If you're not in the UK, you wouldn't have heard about this, because in some ways it's a very small issue — but it basically took down Royal Mail and a lot of shipping went into flux. It specifically hit the international side, and other shipping firms ramped up to take the slack. But it made planning for the launch difficult, as the prices were shifting and I didn't know how delivery was going to work. Even for posting in the UK it was hard, because the mail offices were getting backed up. Once again, I'm grateful for BookVault's adaptability, because I could check different addresses and shipping prices even as things changed, and they added new providers for shipping. About 95% of my shipping ended up being within an acceptable range of what I charged. So do your research, weigh and measure your items so you can get exact quotes for each. Check what kind of packaging you need. If you're doing your own shipping, you have to actually type in the shipping costs per reward and per country — it's a lot of manual setup to get it right. But this is critical, so check and double-check — and in fact, I triple- and quadruple-checked, then went to sleep, and then the next day checked again. Having spent 13 years as an IT consultant prior to this career as an author, I will always remember and have learned from the fact that something just might not be working, and then literally if you just go away, go to bed, come back the next day, it'll probably just be working. Sometimes it actually works. So yes, I did that, and every time I checked, pretty much I found something I'd typed in that didn't quite match, because you also have to retype — if you include all the books in the add-ons, you have to type it again. I didn't stop checking until the day before the launch, and then it was right. I was happy, and everything seemed to be fine. Shipping is always a moving target Jo: Revisiting this section made me laugh, because as I record this, in the week before I launch Bones of the Deep, international shipping is disrupted again — by the war in Iran, and the Strait of Hormuz being closed, which is affecting fuel prices. This underscores yet again how important it is to check your shipping. Of course, you can add shipping on later — Kickstarter allows this, as does BackerKit and other services. But as a backer, a customer of people on the platform, I hate being asked to pay shipping later. And since I hate that myself, I don't want other people to feel the same way. So just add a little buffer in, as asking people to pay an extra dollar in their pledge is not that big a deal, but you being out of pocket for every book shipped may well be. Sacha Black on pre-launch and fulfilment In an interview I did with Sacha Black, who writes as Ruby Roe, in December 2025, we talked about her issues with fulfilment. Sacha does a lot of complex printing, shipping, and custom book boxes and more. Her last campaign made over six figures, but of course it had its challenges. Here's Sacha with some of her tips, and then Oriana to close out this section with some other mistakes. Sacha: The first thing is — even before you start your Kickstarter — the pre-launch followers are critical. A lot of people think, “Well…” I guess there's a lot of loud noise about all these big numbers about how much people can make on Kickstarter, but actually a lot of it is driven by you, the author, pushing your audience to Kickstarter. You need more pre-launch followers than you think you do. Lots of people don't put enough impetus on the marketing beforehand. Almost all of our Kickstarter marketing is beforehand, because we drive so many people to that follow button. The other thing we do is early-bird pricing. We get the majority of our income on a campaign on day one. I think it was something wild, like 80% this time was on day one, so that's really important. Fulfilment takes longer than you think Sacha: The second thing is, it takes so, so very much longer than you think it does to fulfil a campaign, and you must factor in that cost. Because if it's not you fulfilling, you're paying somebody else to fulfil it. And if it is you fulfilling it, you must account for your own time in the pricing of your campaign. The other thing is that the amount of time it takes to fulfil is directly proportionate to the size of the campaign. So you do have to think about that. The other lesson we have learned is that overseas printing will drag your timelines out far longer than you think. So whatever you think it's going to take you to fulfil — add several months more onto that, and put that information in your campaign. Reinvesting profit and exclusive rewards Sacha: The last thing — if you have some profit in the Kickstarter, because not all Kickstarters are actually massively profitable. They either don't account enough for shipping, or they don't account enough in the pricing. Thankfully, ours have been profitable, but we've actually reinvested that profit back into buying more stock and more merchandise, which not everybody would want to do if they don't have a warehouse. However, we do have one. We are stockpiling merchandise and books so that we can do mystery boxes later on down the line. It's probably a year away, but we are buying extra of everything so that we have that in the warehouse. So it depends on what you want to do with your profit. For us, it was all about buying more books, basically. The other thing to think about is: what is it that you're doing that's exclusive to Kickstarter? Because you will get backers on Kickstarter who want that quirky, unique thing that they're not going to be able to get anywhere else. But what about you? You've done more Kickstarters than me — what do you think is the biggest lesson you've learned? Tiers, bundles, and AI for planning rewards Jo: Well, I think all of mine together add up to the one you just did. Although I will comment — you said something like £75 per pre-launch backer. That is obviously dependent on your tiers for the rewards, so most authors won't have that amount. My average order value, which I know is slightly different, but I don't offer things like book boxes as you have — so a lot of it will depend on the tiers. Some people will do a Kickstarter just with an ebook — just with one ebook and maybe a bundle of ebooks — so you're never going to make it up to that kind of value. So this is important too: have a look at what people offer on their different levels of Kickstarter. In fact, here's my AI tip for the day. What you can do — what I did with my Buried and the Drowned campaign recently — is, you know, I'm happy uploading my book. I uploaded it to ChatGPT and said, “Tell me, what are some ideas for the different reward tiers that I can do on Kickstarter?” And it will give you some ideas for what you can do, what kind of bundles you might want to do. So bundling your backlist is another thing you can do — as upsells, or you can just do it like I did for Blood Vintage, where I did a horror bundle of four standalone horror books in one of the upper tiers. Bundling is a good way to do it, and also upselling your backlist is a really good way to up things. And also, if you do it digitally — for ebooks and audiobooks — there's a lot less time in fulfilment. Oriana on the biggest mistakes Jo: What are some of the top mistakes you see that mean the campaign doesn't fund, or there are other issues? Oriana: Totally. I mean, the biggest mistake I think authors make — or any creator — is overestimating their ability to reach their crowd. Making sure that your ambition matches your reach is the number one most important thing to come close to guaranteeing that you will be successful. If you're an emerging writer and you're still building your audience and you don't have that many followers or subscribers out in the world, you should not try to fund a multi-volume leather-bound omnibus. Do a real honest assessment of who's in your crowd, how to find them, what percentage of them are likely to support what you're doing, and then find a project that feels realistic based on those numbers. That's really the biggest thing, conceptually. Building a strong project page Oriana: As far as tips for a project page — again, back campaigns and look at what other people are doing. A project page can be either as simple or as complicated as you want to make it. You definitely want to talk about the book: what is in it, what you're writing. Do a trope card if you want — we're seeing those all over the site. Say what kind of book it is, and the specs: page count, trim size, cover design. Obviously if you're doing a special edition, exactly what sorts of bells and whistles, with a prototype if you can. But you can be really expansive from there. What are your inspirations? Who are your collaborators? What brought you to this work? What are some of the things that make you excited about your writing practice, your timeline, your budget? What made you choose these rewards and how you're going to produce them? All those sorts of things will make backers feel both more trusting that you will do the things you're promising, and just more excited to be part of your journey. Marketing your Kickstarter campaign Let's talk about marketing. First, a snippet from Oriana, and then I'll share specifics around marketing tips — many of which are useful if you're launching in any other way. Kickstarter's algorithm rewards attention Oriana: Being on Kickstarter will help you grow your audience, but it's definitely not everything. You really do need to bring your people first. Our algorithm works on attention, so any project that's getting clicks, getting backings, getting comments — our algorithm says, “Oh, people want to look at this. We will expose it to more and more people.” That means raising it up in search results, slotting it into various of the macros and carousels around the site. Our recommendation engine powers recommended projects on the top of campaigns and at the bottom of emails. We are doing a lot to make sure that projects are being surfaced to folks who want to see them. Talk about the book while you're writing it Jo: Talk and share about the book while you're writing it, even though you might not know what it will turn into. I always share my book research and projects in progress, so this was nothing new. But Pilgrimage was years in the making, so I had years of sharing aspects of it. I've shared pictures from every pilgrimage walk on Instagram at @jfpennauthor and Facebook at J.F. Penn Author, and sometimes Facebook The Creative Penn. I've talked on this podcast about each walk, and I've done solo episodes and blog posts about each on my Books and Travel podcast and blog. I also did a poll and shared my book cover design process, and then I did an article on why I ignored target-reader feedback in the end. All this meant that many in my community — including you listening — became aware of my solo walking and also my ecclesiastical interest, my architecture interest, and you enjoyed my photos along the way if you follow me on social media. So when I announced the launch, it was the culmination of years of build-up. Use the pre-launch page early Jo: Set up the Kickstarter pre-launch page as early as possible, and keep promoting it. You can launch a pre-launch page once Kickstarter has approved your project, and you don't have to have finished everything to make it available — just complete the personal and business setup, and fill in enough detail so they can verify your identity and judge the campaign to be real and within the guidelines, and not a scam or spam campaign. I started to promote my pre-launch page, and by the time we went live, I had people signed up on launch. Those people get an email from Kickstarter. Those people were responsible for my campaign funding within the first few minutes, and then taking it to 5x the target within the first 24 hours. Then I started to email my lists, and all of this type of thing. But it was those pre-launch signups that really kick-started — see what I did there? — the whole thing. The benefit of using Kickstarter for multiple projects is that previous backers are notified of your new project. This compounds the effect over time, and is why those who use Kickstarter successfully do multiple campaigns. Kickstarter SEO and on-platform marketing Jo: Kickstarter has its own ecosystem. There's a discovery algorithm that can help you find projects you might like as a backer, and there are different ways to search, but only certain aspects appear in the search. So your title, subtitle, and your header image need to be optimised so people can find you. Your story sales page needs to be clear, with a compelling pitch. People also have to want your rewards, so marketing has to be baked into the products you're offering and who you're trying to attract. Your video doesn't need to be a professional-level product, but it does need to connect with potential backers, so take the time to make a good one. If you've never made a video before, you will need time to upskill. Kickstarter also has social media. Use #KickstarterReads and tag @KickstarterReads. If your project funds quickly and has a good trajectory, you might get picked for the “Projects We Love” badge, which also gives you better discoverability. I got that pretty fast. You can also tag Kickstarter on social media and inform them of your campaign. Content marketing Jo: Content marketing is offering something useful or interesting or inspiring or funny or entertaining for free, in order to attract your target market so they buy your book. This might be an article or blog post, video, audio, podcast, social media, whatever. For fiction, it's usually a free book or a short story or other free examples of your writing that draw people in. Content marketing is my favourite form of marketing, as it is about attraction, not interruption. It also involves creating something in the world that lasts over time, as opposed to an ephemeral spike ad or a social media post that quickly disappears. Each has its place, of course, and I use them all. This podcast is content marketing, although it now also provides direct revenue in the form of corporate advertising and Patreon support. Thank you, patrons and advertisers — and I consider this to be part of my creative body of work. My Books and Travel podcast is also content marketing. Guest appearances for the launch Jo: For this launch, I did content marketing on my own sites and shows, as well as other people's, which I arranged and recorded in advance. I've also mentioned the campaign in the introduction to every one of these shows leading up to the launch and during the launch. I was on some podcasts: Sacred Steps with Kevin Donahue, Wish I'd Known Then… For Writers with Sara Rosett and Jami Albright, Travel Writing World with Jeremy Bassetti, and Into the Woods with Holly Worton. I also did several of my own. I did one on this feed. I did another on the Books and Travel feed. I also included two chapters from the audiobook on the Books and Travel podcast. All of these took time to prepare and produce, but each is a chance for another person to hear about the book. Plus, they're evergreen, and Pilgrimage is available for everyone to buy now, so I can point people at Pilgrimage on other stores. Use a redirection URL Jo: For all my marketing, I used JFPenn.com/pilgrimage, which I can redirect using the Pretty Links plugin on WordPress and point to wherever I want it to go. Before the launch, it went to the pre-launch page; then the campaign itself; and now it goes to the book page. Once I build a special landing page, it will go there. Depending on where you're listening will depend on where it goes, but that's JFPenn.com/pilgrimage. The URL needs to be easy to say out loud for use in podcast interviews and audio-first media. Email your list multiple times Jo: Some things change in book marketing — like the emergence of new platforms like TikTok — but one thing has stayed the same for decades: if you have an email list, you can always sell books. Your email list consists of people who have opted in to hear from you, so you can email them about normal launches as well as your Kickstarter campaign. I have two email lists: one for The Creative Penn around writing, and the other around J.F. Penn for my fiction. I emailed both lists multiple times at different times in the campaign. I use ConvertKit for my email, but there are other options for authors. Use referral links for tracking Jo: Use specific referral links for different aspects of the campaign for tracking returns. Kickstarter allows you to create different tracking links so you can link revenue to specific marketing events. For example, I used one link for my Creative Penn email list, another for my J.F. Penn email list, and yet another for my Facebook advertising. You can also add the Meta pixel and Google Analytics code to the campaign, which can also help with figuring out advertising. And if you don't know what those are, don't worry — you don't have to use them. Book images and social media Jo: I initially mocked up the book using cover images on MockupShots.com, and then resized them in Canva in order to create social media images. I later did a book photo shoot with the hardback in different places to give me more marketing assets to play with — all of which I will use over time as part of ongoing marketing. I prepared and scheduled social media posts to go out every day, and I did that in advance, primarily for Twitter at @thecreativepenn, my Instagram and Facebook at J.F. Penn Author, and also Facebook at The Creative Penn. It was a lot of work, but I really enjoyed it — weirdly — and I need to do more of this for my other books, especially as with Shopify, Facebook, and Instagram link directly into my store, so I can tag books. These days social commerce is a lot smoother through mobile, so someone can see an image on social, click through, and buy immediately. I also did some quotes from the book — so I did pictures, I also did quotes — and I blatantly used our cute British Shorthair cats, Cashew and Ramen, for marketing reasons. I use Buffer to schedule my social media, but there are other tools. I also asked some friends who are travel influencers to share the book, and I sent them the hardback in advance so they could review if they liked. Thanks to Sarah Baxter and Alastair Humphreys for sharing the book, and especially a big thank you to Anna McNuff, who gave birth to twins that week and still managed to share about Pilgrimage. Backer engagement and stretch goals Jo: Let's be clear — it was not natural for me to push a book every day for two weeks. I also felt awkward about engaging with backers multiple times, let alone the wider community who I was sure was sick of my book, but I did it anyway, as it was only a short campaign of two weeks. I sent four updates during the campaign to backers, some of which are visible to the public on my Kickstarter, and then I sent updates afterwards with delivery of the rewards. Although I did resist the stretch goals, as I mentioned earlier, I went with “Notes on Writing a Travel Memoir” and the backer live Q&A. I did scramble to decide on and deliver those, as I really didn't think I would need them — which is crazy. I had such low expectations of what I might achieve. But next time I would definitely plan stretch goals in advance and in more detail. Facebook advertising Jo: I did some Facebook ads for the campaign — although I should call them Meta ads, because they're also on Instagram. I primarily aimed them at my email lists and people who follow my pages, but also some wider reach using lookalike lists and walking interests. I used a tracking link, so I know that the revenue that came in through people backing it more than paid for the ads. So I would do more of this next time. Marketing things I didn't do Jo: I didn't try to get any press or traditional media attention, mainly because I would have had to approach outlets much earlier in the process. I didn't have the hardback finished until a few weeks before the campaign, rather than a few months before, which is when pitching for press is a better idea. I also didn't collaborate with other creators on Kickstarter, even though I knew other authors doing campaigns at the same time. A couple of people asked me about cross-promotion, but their campaigns were not at all related to Pilgrimage. As with all book marketing, there is only a point to cross-promotion if you target the same readers. I had intended to do some Facebook, Instagram, and YouTube Live videos, but I struggle with live videos in general — and especially when I'm tired — so I didn't go ahead with those. I might consider more of those next time. Do a survey for everyone Jo: My tip is — do a survey for everyone. As part of a campaign I previously backed, I noticed that I didn't actually need to do a survey for the digital backers, because they could just get the rewards if I emailed through Kickstarter. And sure enough, you can just email the BookFunnel links, the course discount code, etc., through the campaign. But this was a mistake. I should have done a survey for everyone. If you do a survey, you can get the real email, as some people use a cloaked email. You can also include a checkbox asking people if they want to sign up for your email list. Respecting backer data Jo: So while you do get the email addresses of everyone who backs your campaign in your backer report, you cannot just upload them to your email provider and start emailing them about your other books. Kickstarter's terms of use include the following: When you use Kickstarter, and especially if you create a successful project, you may receive information about other users, including things like their names, email addresses, and postal addresses. This information is provided for the purpose of participating in a Kickstarter project. Don't use it for other purposes and don't abuse it. This is about data protection and privacy laws. Basically, Kickstarter is the platform in this instance, and people have signed up to receive emails from Kickstarter, but not from you. All emails about the campaign go through Kickstarter, and you don't have permission to just upload that list to your own email system and start sending more emails. They have not specifically said they want that, unless they have in a survey with opt-in — which I didn't do. Of course, there are indirect ways to attract people to sign up for your list. My book Pilgrimage includes ways to hear from me further, so some backers will go on and sign up for my free thriller ebook at JFPenn.com/free, or my Author Blueprint at TheCreativePenn.com/blueprint. You can also do updates later, for example when you have a new campaign, and in this way Kickstarter acts as a different ecosystem for email. Should you consider a Kickstarter campaign for your book? Jo: To be honest — only if you consider this to be a career you want to invest in, and a platform you want to do more than one campaign with. If you just have one book or a couple of books, or you're just starting out, or you don't want to do marketing and connect with readers, then definitely don't do a Kickstarter. It is not some magic button that will make you money — like uploading to Amazon is not a magic button that will make you money. It takes time and effort to have a successful campaign. But if you do want to build a long-term author business, then selling direct should have some part to play, and Kickstarter is a great way to make more money per book and connect with readers. It's really only the beginning of the trend of authors selling direct, so don't worry — you can learn how to do this over time. Update for Bones of the Deep, my 7th campaign in April 2026 Jo: It was interesting to revisit my lessons learned and other people's tips, and really, there are only a few things that have changed. I love doing Kickstarter campaigns now Firstly, I absolutely love doing Kickstarter campaigns. I am not nervous at all anymore, and I am just so thrilled to produce gorgeous hardback editions of my books this way. I love delivering beautiful books and new stories or nonfiction to my readers. I love doing the discovery writing webinars and the coaching, and just in general, I appreciate the opportunity to publish this way. I feel like a “real author” — with beautiful hardbacks, doing a signing, getting photos and emails from readers who receive the books. Custom printing keeps expanding In terms of other changes, over the last few years since Pilgrimage, BookVault has expanded their custom printing, so now I have custom endpapers, sprayed edges, different kinds of foil, as well as the silken paper and the ribbon and photos inside. These gorgeous editions are my personal creative reason to keep doing campaigns. I love saying “I made this!” And over time, I would love to get all my backlist into special editions. A repeatable process I'm still doing similar kinds of rewards — the book in all editions — and it's all finished so it's lower stress. Even the audiobook narration is done, so I can fulfil immediately. There's just the live discovery writing webinar to do, and stretch goal Q&A and consulting sessions. I'm also doing bundles, and all my backlist gets bundled in the add-ons, so I have a repeatable process, which makes things easier. Using AI in production I'm using more AI, specifically in the images and video. I love making book images with ChatGPT and Gemini's Nano Banana, and story images with Midjourney, and I use ElevenLabs with my voice clone for audiobooks. I fill in all the details in the AI section of the Kickstarter page, so you can go have a look at that and model it as you like. Spike income, realistic expectations I still like the spike income — but to be clear, my campaigns have varied in terms of financial success, as would be expected given they are all so different. My highest was Writing the Shadow at over £36,000 ($48,000), and my lowest was The Buried and the Drowned, a short story collection, at just under £8,000 ($10,700) — not a surprise at how different they are, given the audiences. Together my campaigns have now made £105,868 (just over $140,000), which I am very happy with. And of course, that's just the beginning, as then I put the books on my stores — JFPennBooks.com and CreativePennBooks.com — and on the usual platforms. A sustainable launch rhythm I still like the project approach — the short-term campaign focus — as I am good at sustaining marketing energy for a short period, and then I can drop off again. As I discussed with Sara Rosett last week as well, it feels sustainable for my career, unlike constant social media or ads. Lower-key marketing this time around I'm putting a lot less energy into marketing in general, relying on pre-launch signups over months of build-up as I talk about my writing process on the podcast, then emailing my lists, announcing it here, and scheduling some social media. It's pretty low-key these days, and that is a happy thing. However, for this campaign, I am planning to run some Meta ads direct to the campaign page, since I have Claude Code/Cowork to help me set them up and run them and crunch the data — and that takes the strain off considerably. More campaigns to come I will definitely be doing more Kickstarter campaigns, most likely a nonfiction one next. I am so glad I was able to get over my fears and do that first one, and I hope that encourages you to consider what might be possible for you and your book. So, if you'd like to check out my campaign for Bones of the Deep — even if you don't want the book, you can always model the sales page, or check out the book trailer — it's at JFPenn.com/bones. That link will go to the Kickstarter campaign from 20 April until early May 2026, and will then redirect. The post Kickstarter Tips for Authors: Rewards, Shipping, Marketing, and Lessons Learned first appeared on The Creative Penn.

On 5th November, Ugandan-born Zohran Mamdani secured an astounding, against-the-odds victory in the New York mayoral election, becoming the youngest person in over a century to lead the largest city in the US. It was Mamdani's message about affordability and the high cost of living that resonated with voters in the Bronx and other underserved areas of New York, but now he has to actually deliver on this mandate for change. But can he actually run New York successfully, and how might the capital be impacted by his election win? We're joined by Sarah Baxter, Director of the Marie Colvin Center for International Reporting, in New York City. Hosted on Acast. See acast.com/privacy for more information.

Irish author Marian Keyes writes funny, clever novels about life including: Rachel's Holiday, Anybody out There, Grown Ups, Angels. She covers issues such as addiction, break-ups, baby loss, anxiety, depression and love, with women at the heart. We all make mistakes, but when do we stop making the same one over and over again? This is the question at the heart of Marian's latest novel: My Favourite Mistake. She joins Anita Rani to discuss that, mistakes, perimenopause and ‘feathery strokers'.In a landmark case, the European Court of Human Rights ruled that Switzerland was violating the human rights of its citizens by inadequate action on climate change. A group of more than 2,000 older Swiss women launched the case nine years ago, calling for better protection of women's health from the effects of climate change. The Court's ruling is binding and can trickle down to influence the law in 46 countries in Europe. Anita talks to one of the senior women who brought the case, Elisabeth Stern, and the group's lawyer, Jessica Simor. Almost 30 years ago, Nicole Brown and her friend Ron Goldman were stabbed to death in Los Angeles. The prime suspect was OJ Simpson, Nicole's ex-husband and a well-known NFL player turned actor. What followed remains one of the most famous murder trials in history, televised and watched by millions. He was acquitted of the murders of Nicole and Ron. He did plead no contest to charges of ‘spousal battery' – what we now call domestic violence. And he was later found liable for the deaths in a separate civil case. OJ Simpson died on Wednesday at the age of 76. To talk about the impact his trial had on the perception of violence against women in the US is Sarah Baxter, Director of the Marie Colvin Center for International Reporting and former Deputy Editor of The Sunday Times. This week, it was announced that 883 actors, writers, comedians and creatives had signed an open letter in support of Francesca Amewudah-Rivers, the star in a new production of Romeo & Juliet, due to run in London's West End next month. The open letter came after a statement was published by the Jamie Lloyd Company, "Following the announcement of our Romeo & Juliet cast, there has been a barrage of deplorable racial abuse online directed towards a member of our company..." It was co-authored by actors Susan Wokoma and writer Somalia Nonyé Seaton and Susan joins Anita to talk about the issues.On 6 April 1999, Mamma Mia! opened in the West End. As the show celebrates its 25th anniversary, Woman's Hour celebrates the music of one of the most popular and successful musicals of all time. Presenter: Anita Rani Producer: Rebecca Myatt Studio manager: Duncan Hannant

In this special podcast, nine political editors and writers come together to discuss working at the New Statesman, covering everything from the rise and fall of Thatcher and New Labour through to the coalition government and the recent period of Conservative hegemony. We hear from Patrick Wintour, Sarah Baxter, Steve Richards, Jackie Ashley, Rafael Behr, Mehdi Hasan, Helen Lewis, Stephen Bush and their chair, the current political editor Andrew Marr. Together, they discuss what made working at the New Statesman unique and the magazine's evolution over the years – through the Blair-Brown years, 9/11, Brexit and Corbyn – as well as the key moments in their careers and the influence of social media. This podcast was recorded for a special 110th anniversary edition of the New Statesman, out on 13 April. An abridged version of this conversation will also appear in print and online. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode: Will Donald Trump have a second shot at the US presidency? Freddy Gray and Sarah Baxter discuss. (1.10) Also this week: A look at the history of Scotland's paradoxical relationship between Scottish identity and the Union. The Spectator's Scotland editor, Alex Massie talks with Murray Pittock about his book Scotland: The Global History, 1603 to Present.  (21.49) And finally:    What happened to bad taste humour? Screenwriter Gareth Roberts wrote about this in the magazine. He's joined by comedian and podcast host of NonCensored, Rosie Holt. (32.30) Hosted by William Moore Produced by Natasha Feroze Subscribe to The Spectator today and get a £20 Amazon gift voucher: www.spectator.co.uk/voucher

In this week's episode: Will Donald Trump have a second shot at the US presidency? Freddy Gray and Sarah Baxter discuss. (1.10) Also this week: A look at the history of Scotland's paradoxical relationship between Scottish identity and the Union. The Spectator's Scotland editor, Alex Massie talks with Murray Pittock about his book Scotland: The Global History, 1603 to Present.  (21.49) And finally:    What happened to bad taste humour? Screenwriter Gareth Roberts wrote about this in the magazine. He's joined by comedian and podcast host of NonCensored, Rosie Holt (32.30) Hosted by William Moore Produced by Natasha Feroze Subscribe to The Spectator today and get a £20 Amazon gift voucher: www.spectator.co.uk/voucher

We unpack the perennial travel problem of the incredible shrinking baggage allowance, with the help of listeners, previous contributors and the surrealist maestro, Marcel Duchamp. Thanks also to Rebecca Halpern, Sascha Heeney, Sarah Baxter and Tristan Gooley.

This is a special episode of Stories of our times, where we join Times and Sunday Times correspondents around the globe. Here are their Christmas postcards.This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today and get one month free at: thetimes.co.uk/storiesofourtimes. Guests: -Louise Callaghan, Middle East correspondent, The Sunday Times.-Sarah Baxter, Writer, The Sunday Times.-Oliver Moody, Berlin correspondent, The Times and The Sunday Times.-Tom Kington, Rome correspondent, The Times.Host: Calum Macdonald. See acast.com/privacy for privacy and opt-out information.

The relationship between trauma, PTSD and chronic illness is one that lives in a cycle. Whilst many who have experienced trauma/who experience PTSD will also go on to develop chronic illness, the very living with a chronic illness can be traumatic. It's an aspect that's perhaps not very well acknowledged, and therefore not addressed and often I see the two existing in a bit of a feedback loop. Sarah and I met around 10 years ago, when we both worked at a design company. Throughout the years, we've kept in touch and, thanks to the power of the internet, I've watched, fascinated, as she works through, understands and processes her C-PTSD using her skills as a designer and artist to support her. She's now in a place where she can approach what once felt too much, with curiosity, and is open to discovering what her findings are here to show or teach her. She's recently been experimenting with her dreams, and talks about how she's doing it in some really cool ways. SARAH'S LINKS: The Bungaloo website The Bungaloo Instagram OTHER LINKS: Tree Carr - Dream Guide Carl Jung - A Very Short Introduction by Anthony Stevens MY LINKS: Newsletter Work with me EPISODE NOTES 4:26 - Receiving a C-PTSD ‘diagnosis'. 10:47 - Expressing & processing through creativity - understanding signals. 16:27 - Viewing C-PTSD with curiosity and seeing it as a superpower. 17:10 - The opportunity to use an external motivator/external accountability to process night terrors and create art from it, without the expectation of it being ‘good art'. 20:44 - Paying more attention to dreams as information. Using dream herbs to access deeper levels of the subconscious. 21:04 - Book ref; a short introduction to Carl Jung - analysing your dreams and checking in with yourself. 26:58 - Tree Carr, dream herbs and lucid dreaming. 33:57 - Approaching with curiosity, letting go of the sh*t and allowing yourself to be who you are. 38:07 - Being triggered and working through what follows. 36:01 - Bringing fun into the healing journey with herbal and floral cocktails.

The details of US President Bill Clinton's affair with White House intern Monica Lewinsky and the 1998 impeachment proceedings may be unfamiliar to some young women today. Impeachment: American Crime Story on BBC Two, aims to reframe the Clinton scandal from the perspective of the women it engulfed. Jessica Bennett from the New York Times and Sarah Baxter, former deputy editor of The Sunday Times discuss. The BBC Specialist Disinformation Reporter Marianna Spring who appeared in front of the Digital, Culture, Media and Sport Select Committee this week to present the findings from her BBC Panorama investigation into the rising online abuse against women. Should parents be allowed ‘teen-ternity' leave? Suzanne Alderson on why she wants employers to allow parents to take leave to help teenagers who are struggling. Ahead of the 2021 UN Climate Change Conference, COP26 starting this Sunday, Zaqiya Cajee, a pre-loved fashion advocate and Mikaela Loach climate justice activist and fifth year medical student talk about how to engage people on climate change action and their hopes for the conference. The wig designer Angela Cobbin has written her memoir. My Name Is Not Wigs. She tells us about about becoming a theatrical wig designer for countless plays, musicals, TV shows and films over five decades. Your libido as you age with Scottish storyteller, Marie Louise Cochrane and sex expert Tracey Cox. Presenter: Jessica Creighton Producer: Dianne McGregor

Monica Lewinsky is a name that most people will know. But for a whole new generation of women, including younger millennials who were children at the time, the details of US President Bill Clinton's affair with White House intern Monica Lewinsky and the 1998 impeachment proceedings it led to may be unfamiliar. Impeachment: American Crime Story on BBC Two, aims to reframe the Clinton scandal from the perspective of the women it engulfed. Jessica Creighton talks to Jessica Bennett from the New York Times and Sarah Baxter, former deputy editor of The Sunday Times. Ahead of the 2021 UN Climate Change Conference, COP26 starting this Sunday, Zaqiya Cajee, a pre-loved fashion advocate and Mikaela Loach climate justice activist and 5th year medical student talk about how to engage people on climate change action and their hopes for the conference. Nisha Katona, founder of the Mowgli Indian street food restaurants talks about her new book, setting up in business and her role with the government's newly formed Hospitality Council that aims to help the sector recover post pandemic. And we all know we should be doing our pelvic floor exercises: babies or no babies, young or old. But do we do them? Elaine Miller who's a pelvic physiotherapist based in Edinburgh is so passionate about getting women to do their exercises she does a stand-up gig about them; wears a giant vulva costume, and wants you to count-down to Christmas with a daily squeeze and lift. She says exercises can truly improve your pelvic floor, and in turn prevent all types of problems that you'd never think would be linked to a weak pelvic floor. Presenter: Jessica Creighton Producer: Lisa Jenkinson Studio Engineer: Gayl Gordon

Desta vez temos um 2 em 1, falo-vos sobre o "Monstros Fabulosos" de Alberto Manguel e "Viagens Inspiradoras" de Sarah Baxter para o desafio #mithosummer @sofareader

Druid Theatre's Marie Mullen bursary is open for applications, the 2020 recipients Emily Foran & Sarah Baxter, The Lighthouse opens July 8, baritone, John Molloy, Irish National Opera Director, Diego Fascati, Anna Carey on the legacy of Tove Jansson, creator of The Moomins, Auguries of a Minor God, the debut poetry collection of Nidhi Zakaria Eipe

Pilgrimages are having a moment, with new paths in Scotland, around Durham and between the Cathedrals of England. The famous international ways from Camino de Santiago and Via Francigena have risen massively in popularity too, stalled only by the pandemic. We'll hear the highs and lows of our listeners' pilgrim tales and discuss the attraction with travel writer Sarah Baxter. Just what is it about walking for days on end that works for people and do you have to be religious to benefit? This week Northern Ireland marks the centenary of the state’s foundation after the partition of Ireland. The anniversary comes just weeks after renewed sectarian tensions. After the recent violence, the Irish President Michael D Higgins said education separated along Catholic and Protestant lines can no longer be justified - 93% of schoolchildren in Northern Ireland are separated by faith. We'll be talking to the headteacher and a parent from a school that will be one of the first to teach protestant and catholic children side by side, starting in September. And Emily will discuss what is holding Northern Ireland from ending segregated schooling with Baroness May Blood and the Catholic Bishop of Derry Donal McKeown. And Emily finds out how the genteel town of Bath, often described as something straight out of a Jane Austen novel, reacted when the Emperor of Ethiopia came to live amongst them in the 1930s. Bath is beginning a six month festival celebrating the man who was not alone an emperor, but leader of the Ethiopian Orthodox church and to some members of the Rastafari movement, is considered the returned Messiah of the Bible. Emily talks to academic and film maker Dr Shawn Sobers about the warm welcome he got in Bath in spite of the conservatism of the time.

In this episode of Authors' Matters, we chat to Karl Nova, Hip Hop artist, poet and winner of the 2020 ALCS-sponsored Ruth Rendell Award for Services to Literacy. He tells us about how he discovered his love for poetry, how he's still working to encourage young people to get into poetry during lockdown, and what it means to him to win the Ruth Rendell Award.We also speak to Sarah Baxter from the Society of Authors (SoA) about the organisation's grants for writers, including details of how to apply and the eligibility criteria.And finally, Owen Atkinson, Chief Executive of ALCS, has some great news about the March 2021 ALCS distribution.

Today the Senate trial begins: Donald Trump is charged with ‘incitement of insurrection’ over the Capitol riot. After four controversial years in power, the former President's ability to hold office again now hangs in the balance. What should we expect from the trial of the first US president to be impeached twice and where does it leave the Republican party?This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today and get one month free at: thetimes.co.uk/storiesofourtimes.Guests: -David Charter, U.S. editor at The Times.-Sarah Baxter, Sunday Times American Diary writer.Host: Manveen Rana.Clips from: C-Span, Bloomberg, NBC, Fox News. See acast.com/privacy for privacy and opt-out information.

To help draw up a shortlist of worthy contenders, we are joined by Sarah Baxter, Charlotte Hindle, Alec Webb and Tony Wheeler. Would you believe that someone proposed The Sound of Music? Do send us your own suggestions to our new Twitter destination, @youshouldhavebe1

Where are the most enjoyable long walks and what's the best way to tackle them? Our guest this week is Sarah Baxter, travel writer, walker and author of " A History of the World in 500 Walks" . Her website is sarahbtravel.wordpress.com

In Part 2 of discussions on psychosis and suicide, Psychiatric Nurse and Mental Health Coach, Sarah Baxter, shares her experience with patients contemplating suicide and how characteristics of at-risk people may not be what you think. She shares professional resources, conversations starters and common misconceptions, as well as tips for checking in on loved ones who may be struggling. Sean, Karen and McKenna consider ways to ensure everyone feels hope and purpose within their own tribe. www.thehippodcast.com Resources and Guest Favorites HEALTH: IT'S PERSONAL SHOWNOTES: https://www.thehippodcast.com/parenting-series-sarah-baxter-part-2 HEALTH: IT'S PERSONAL INSTAGRAM: https://www.instagram.com/thehippodcast/ HEALTH: IT'S PERSONAL FACEBOOK COMMUNITY: https://www.facebook.com/groups/healthitspersonal LOVE the work we are doing? Join our Patreon family, for additional content, recipes, and connection: https://www.patreon.com/thehippodcast Curious how we're creating these gorgeous emails? Meet Flodesk! Get 50% off for life with this link. https://flodesk.com/c/Q0QN8C Sarah Baxter, Founder of MHC With Sarah is a mental health coach and consultant. She works with organizations around the world, both virtually or in person, tailoring her mental health knowledge to uniquely fit each audience's needs. Her vision is to educate and encourage conversations about mental health in order to fight the stigma, build greater awareness, and to empower individuals and companies to take care of, not just their own mental health, but the mental health of others. If you are interested in working with Sarah, email her at mhcwithsarah@gmail.com and mention the code THEHIPPODCAST in your email for 25% off your personalised, live workshop or 1:1 coaching session. The National Suicide Prevention Lifeline provides 24/7, free and confidential support for people in distress, prevention and crisis resources for you or your loved ones. Please call 800-273-8255 And please know that your life is valuable and that you matter. Listen, engage, subscribe and send us topics for us to explore that will help you on your journey. Join our email list for free resources and updates on Phronesis Health Initiative Courses. www.thehippodcast.com Instagram @thehippodcast YouTube --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Psychiatric Nurse and Mental Health Coach, Sarah Baxter, works with patients facing psychosis and describes how families can cope and detect early signs in adolescents. She explains the dopamine hypothesis, symptoms of psychosis and the bucket theory so that we can recognize and get early treatment for the people we love. Because psychosis can look different for each person, she illustrates how to look for changes in behavior to catch it early in order to get well again and demonstrates how to model healthy behavior and start conversations about this important topic. McKenna, Karen and Sean consider the size of their own buckets and how they might be more empathetic to those with different stressors and capacity to cope. www.thehippodcast.com Resources and Guest Favorites HEALTH: IT'S PERSONAL SHOWNOTES: https://www.thehippodcast.com/parenting-series-sarah-baxter-part-1 HEALTH: IT'S PERSONAL INSTAGRAM: https://www.instagram.com/thehippodcast/ HEALTH: IT'S PERSONAL FACEBOOK COMMUNITY: https://www.facebook.com/groups/healthitspersonal LOVE the work we are doing? Join our Patreon family, for additional content, recipes, and connection: https://www.patreon.com/thehippodcast Curious how we're creating these gorgeous emails? Meet Flodesk! Get 50% off for life with this link. https://flodesk.com/c/Q0QN8C Listen, engage, subscribe and send us topics for us to explore that will help you on your journey. The National Suicide Prevention Lifeline provides 24/7, free and confidential support for people in distress, prevention and crisis resources for you or your loved ones. Please call 800-273-8255 And please know that your life is valuable and that you matter. And please know that your life is valuable and that you matter.Sarah Baxter, Founder of MHC With Sarah is a mental health coach and consultant. She works with organizations around the world, both virtually or in person, tailoring her mental health knowledge to uniquely fit each audience's needs. Her vision is to educate and encourage conversations about mental health in order to fight the stigma, build a greater awareness, and to empower individuals and companies to take care of, not just their own mental health, but the mental health of others. If you are interested in working with Sarah, email her at mhcwithsarah@gmail.com and mention the code THEHIPPODCAST in your email for 25% off your personalized, live workshop or 1:1 coaching session. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

A global crisis like COVID-19 can take an emotional toll and cause traumatic stress. Many people experienced a high level of emotional stress and anxiety out of fear to contract and spread the virus. Will some of those continue to have emotional and behavioral reactions in 2023? Listen to what host Agnes Kunkel and guest Sarah Baxter have to say, how symptoms of post-traumatic stress might affect medical workers and other people globally, and how to regain control of your life, if you experience the world as a dangerous place.

Every mother out there right now is trying to make decisions when all of the options on the table are less than ideal between home, work, and school. In this episode, I talk with my friend and teacher Sarah Baxter about how she used a decision matrix to plan her course of action when her career and the educational needs of her son came into direct conflict due to COVID-19. Sarah and I talk about the importance of moving beyond “what if” and into “what then” in planning how to approach less than ideal scenarios in an incredibly uncertain future, and how drawing her line in the sand on what she was willing to do really empowered her to move forward.   About the Host: Janice Scholl has spent her entire career talking about money and business. Through her time as a commercial banker, consultant, and mentor to budding entrepreneurs, she helped clients create solid business and financial strategies to help propel their business to success. While working with aspiring female entrepreneurs, Janice noticed that the same four themes kept repeating: Many women are uncomfortable with finance, both in their business and in their personal life. Women want access to more women mentors and advisors. Women often start businesses because they feel the corporate world doesn't fit their lifestyle. Few are motivated by purely financial reasons. Mothers don't want money to drive their family decisions. From these themes, The Money, Career, & Motherhood Podcast was born. Now Janice spends her time helping mothers gain confidence and understanding about money, career, and business topics as they relate to motherhood and family – the way many women actually think about money. Janice loves helping mothers implement business and financial strategies within their families to help each family member thrive. Visit the Money, Career, & Motherhood website, Facebook page, Facebook group, or on Instagram.   Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe from the podcast app on your mobile device. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.

Matt Chorley introduces part two of a special episode recorded at the Emmanuel centre in London. Phillip Collins moderates a debate with Sarah Baxter, Daniel Finkelstein, Iain Martin and David Aaronovitch as they try to unpick the history of Europe and decide how it led us to Brexit. See acast.com/privacy for privacy and opt-out information.

Sarah Baxter navigates through living with a few Mental Illnesses while also being Non Binary and Gender Fluid. I sit down with them and discuss what being Non Binary and Gender Fluid means and what it's like to be a person with a mental illness, who also happens to be Non-Binary.

Sarah Baxter is Deputy Editor of the Sunday Times. Katy talks to Sarah about what it was like to be a woman in the lobby before 'Blair's Babes', the best way to tackle sexism (she says, ignore it and go 'full speed ahead'), and whether Jeremy Corbyn is quite the Labour leader she hopes for. Presented by Katy Balls.

Sarah Baxter is Deputy Editor of the Sunday Times. Katy talks to Sarah about what it was like to be a woman in the lobby before 'Blair's Babes', the best way to tackle sexism (she says, ignore it and go 'full speed ahead'), and whether Jeremy Corbyn is quite the Labour leader she hopes for. Presented by Katy Balls.

Sarah Baxter is deputy editor at the Sunday Times. After a successful career in publishing, Sarah started her journalism career at Time Out, before tackling roles at the New Statesman and the Observer, where she became senior associate editor. She has reported on the fall of the Berlin Wall, the rise of Hamas in Gaza and, while living in New York in 2001, the 9/11 terror attack on the Twin Towers. In this in-depth interview, she pays tribute to departed colleagues AA Gill and Marie Colvin, discusses the changing face of foreign news reporting and gives her unique insight into Pestminster and the political elite.

In a live special, Matt Chorley is joined by Phillip Collins of The Times, Sarah Baxter from The Sunday Times and Sohrab Ahmari from the Wall Street Journal to discuss how important is the special relationship? See acast.com/privacy for privacy and opt-out information.

Olete kunagi unistanud reisist milles teekond pakub sama suure elamuse kui sihtkoht? Selles raamatus on kirjeldatud 74 võrratut rännumarsruuti kõikjalt üle maailma – Siiditeest ja muistsete inkade rajast Machu Picchusse kuni sellise moodsa klassikani nagu Route 66. Lonely Planeti kaunite fotodega illustreeritud reisijuhist saate aimu mis tunne on olla sel või teisel legendaarsel teekonnal. Lisatud on vajalik informatsioon, et saaksite asuda planeerima omaenda reisi. (Andrew Bain, Sarah Baxter, Simon Sellars. Suured reisid.)

A report from BARB (The Broadcasters Audience Research Board) estimates that Netflix is now in some 5 million UK households, stating that: 'Netflix is by some margin the market leader' among subscription video on demand services. But can its subscriber base keep pace with its ambition to become 'a global Internet TV network'? To discuss, Steve is joined by media analyst Mathew Horsman, from Mediatique. Channel Five is weeks into its first rebrand in five years, aiming to attract younger and more affluent audiences. Its head of programmes Ben Frow has been reportedly handed a 'double digit increase' in his programming budget to change perceptions about the channel. So, what commissioning decisions is he taking to make this happen? He speaks to Steve Hewlett about his ambitions. A Media Society debate tonight will ask, 'is this the end of print?' The Independent's spin-off, the i, is continuing in print form under new ownership; Trinity Mirror has recently launched a new national daily, The New Day, and the free distributed Metro and London Evening Standard are turning a profit. So is it too soon to write off the traditional newspaper? Steve Hewlett asks journalist and Professor of Journalism at City University Roy Greenslade, Independent Digital Editor Christian Broughton and Sarah Baxter, deputy editor of the Sunday Times. Producer: Katy Takatsuki.

Last week the Chairman of the BBC Trust, Lord Patten, announced he's started looking for a successor for the current Director General, Mark Thompson. The following day Thompson reportedly confirmed he'll step down after the Olympics. Is he going voluntarily or is he being pushed? And what qualities will his replacement need to have? Steve discusses BBC Director General succession with former DG Greg Dyke.The Sunday Times magazine is celebrating its 50th anniversary this weekend. Steve looks back on half a century of iconic photojournalism with the current editor Sarah Baxter and photographers Stuart Franklin and Chris Floyd.Lord Hunt of Wirral, the new chairman of the Press Complaint Commission, took the stand at the Leveson Inquiry on Tuesday. He used the opportunity to set out his plans for a reformed 'PCC 2'. But are they any good, and will they satisfy victims of press misbehaviour? Charlotte Harris is a lawyer who's represented several victims of phone hacking and had her phone hacked herself. She joins Steve and Media Editor at The Guardian, Dan Sabbagh, to discuss Lord Hunt's proposals. And in a week which has seen four people from The Sun arrested as part of an ongoing police investigation into corruption, Dan stays on to discuss the prospects for the launch of a Sun on Sunday. The producer is Simon Tillotson.