Podcast appearances and mentions of simon schuster

How can the Fast Drafting method help you finally finish your novel? And how do you make progress when you only have 30 minutes a day to write? Jessica Brody shares her tips for finishing first drafts after 20 years as an author. In the intro, Clive Barker's Kickstarter, The Amazon Tax [Seth Godin]; Trad publisher announces “human-originated, AI-facilitated” book, The Everything Code [PanMacmillan; AI policy; CHAPTR]; Holy relics, churches, and memento mori in Bruges and Brussels. 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 Jessica Brody is the best-selling author of over 20 novels across different genres and age groups, as well as writing for Disney Publishing. She's also the author of Save the Cat! Writes a Novel and other books and courses for writers at the Writing Mastery Academy. Her latest book is Page One to Done: Finish Your Novel in 30 Days with the Fast Drafting Method. You can pre-order with bonus extras at JessicaBrody.com/preorder 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 a small advance can set you up for long-term success Why 97% of first drafts are never finished How to finish a novel writing 30 minutes a day Why drafting and revising are two different jobs How a pre-writing ritual primes your brain for flow Writing a meta murder mystery after 20 years of teaching plot You can find Jessica at JessicaBrody.com and WritingMastery.com. Transcript of the interview with Jessica Brody Jo: Jessica Brody is the best-selling author of over 20 novels across different genres and age groups, as well as writing for Disney Publishing. She's also the author of Save the Cat! Writes a Novel and other books and courses for writers at the Writing Mastery Academy. Her latest book is Page One to Done: Finish Your Novel in 30 Days with the Fast Drafting Method. So welcome to the show, Jessica. Jessica: Hi, thank you so much for having me. I'm so honoured to be here. My writing community speaks so highly of this podcast, so I'm excited. Jo: Oh, well, thank you, and you were requested, so this is going to be a good one. First up— Tell us a bit more about you and how you got into writing and publishing. Jessica: Well, I started writing when I was seven. I like to put in air quotes, I wrote my first, quote, “novel” when I was seven. It was about three pages long. I got the bug very early. I didn't realise it was an actual career choice that you could take seriously until way later in life, after I'd already graduated college with a degree in economics and I was working as a financial analyst, and I was just writing on the side for fun. Then, as luck would have it, I got laid off from my job, and I ended up trying to take writing a little bit more seriously in that time. That's when I found the Save the Cat method, which absolutely changed everything for me. Before that, I had loads of rejection letters, and I eventually sold my first novel to St. Martin's Press, and I've been writing and publishing ever since. That was 20 years ago now. Jo: 20 years, wow. It's so interesting. So you were in economics, you were a financial analyst, and you got into writing. Did you have any pushback from either your own brain that was like, “I cannot make money this way,” or your family? Or how did you make that leap? Because we just hear that it's not a career, financially, really. Jessica: I know, and I think I went into it very blindly, using television as my resource of this is how much money I can make writing. Like Sex and the City, she was selling books for lots of money. So I was like, oh, I just have to sell one book, and then I'll be set. That was not the case. My first advance was so much lower than I expected, and what happened, though, was kind of interesting. I sold my first book, way lower advance than I was hoping for. I wasn't making any money anywhere else, so I was taking on all these odd jobs that I could do in my own time. I was doing transcription work, and I was working at a school half the time. I mean, I just had so many really weird jobs. I think what happened was, because I didn't have another financial net to help me, it just pushed me really hard. So once I sold one book, I was like, well, I need to sell another one and another one, and I ended up in this 20-year cycle, which I've slowed down thankfully, since, but of writing so obsessively, I should say. I just kept selling books and selling books. My advances got higher and higher, and eventually I was able to support myself with my writing, but it was not instant at all. Jo: Actually, that's a really good note there, because we often hear so much of these debuts that get paid a ton of money, and then they disappear, and they almost spiral down. Whereas what you've done is spiral up. Which is almost a better way to do it perhaps, with your reputation with traditional publishing. Jessica: It's funny, I tell this story a lot to writers who are looking to get published, that the big advance is not necessarily the end-all be-all. Because I have heard that story before, someone gets a very big advance, and then it doesn't earn out, and they can't sell another book because the publisher's lost money. I had the opposite experience. My advance was so low, and my publisher got worldwide rights. They bought worldwide rights. So they started selling foreign rights of my first book really early on, and I earned out before the book even came out, with just a few foreign sales. That ended up setting me up for success, because I was making money for the publisher from day one, and I was able to sell more books, and so I sort of worked my way up. I really do credit a lot of that to how long I've been able to stay in this game. Jo: No, it's a good way of thinking about it, because people forget the publisher isn't a charity. The publisher has to make money from your book. So it's nice that you make money, but they have to make money, or they're not going to bother, right? Jessica: Yes, exactly. Jo: So let's come back to Save the Cat, because you mentioned that the original method really changed how you write, and then of course you did Save the Cat! Writes a Novel. So I've got that. I imagine a lot of people listening have got that. Tell us a bit about why that methodology made such a difference to you, and why you think it's so useful. Jessica: Well, you'll sense a theme here. I went into this business, like I said, without knowing a lot, and I went into it the way I think a lot of writers do, which is, I had an idea, I sat down, and I tried to write it. I had no guidance, no map, no structure, and I just wrote. I actually finished something, which is surprising, but then I started to get all these rejection letters that basically said similar things, which was, “You're a good writer, you have a good voice, but there's no story here.” I just didn't understand that feedback, because I had finished something. I could print it out and stack it on my desk. Wasn't that a story? Apparently it was not. Then a screenwriter friend of mine that I was talking to about how I was getting all of these rejection letters with the same note said, “You should read this book that recently came out. It's called Save the Cat, and it's for screenwriters, but I think it could work for novels because it just seems to be all about structure and storytelling.” So I read the book cover to cover so quickly, because if anyone's read the original, it's just so readable, and everything started clicking in my mind. I realised, wow, I really don't know how to tell a story. I could plot out everything I had done wrong, and I went back to my book and I started rewriting it from page one with this new structure in mind. When I finished that, I ended up getting an agent for that book, and the agent sold that book. I've been using the method ever since. It just made so much sense to my brain. What I tell writers is, “Use the method that makes sense to your brain.” All storytelling structure methods are basically telling the same story, just with different words, sliced and diced a little bit differently, but structure is structure, and a story is a story. It has to have a beginning, middle, and end. It has to have conflict, it has to have a middle twist, and things like that. So this one worked for my brain, and I started to teach it to other novelists, because at the time there was still just the screenwriting guide. So I started to teach how I was using it to other novelists, and that turned into the book, Save the Cat! Writes a Novel. Then I wrote a young adult version of it as well. And I still use it to this day. It's just something that's always made sense to me. Jo: So were you hired by the estate? Blake Snyder died, right? So were you hired to write that, or is that something you arranged? Jessica: It was kind of something that was arranged. I think Blake Snyder Enterprises is the name of the company. Blake Snyder died in 2009, sadly. When I started using the method, I was blogging about it on my blog, and I would share some of my beat sheets of the novels I was writing. The people who had taken over his estate reached out to me and said, “Hey, can you blog for us? Because we don't have a lot of novel content on our blog. We just do screenplay stuff.” And I said, “Of course.” I had a fangirl moment. Oh my gosh, they've reached out to me and this is so exciting. So I started blogging for them, and then that turned into the workshops that I started doing with them. Then we partnered up on the book. I think it was one of those things that felt inevitable, like we were just working toward it. I was living in LA at the time. They're based in LA. And I remember having breakfast with them, and we all just looked at each other and said, “So we need to write a book, right? There has to be a book.” So we ended up sharing the copyright, and, as you see from the title, it says based on the books by Blake Snyder. It's very much his method. Then I brought some of my novel flair and some of my own little tips and tricks that I had picked up over the years and applied it to his method. Jo: I love that. We are going to come to your other book for writers in a minute, but just on that intellectual property sharing, writing in other markets, you also write for Disney Publishing. This is so fascinating to me. Now, there are lots of people who do write for other properties. So how did that come about writing for other properties, and how does that fit into your portfolio of the things that you do? Jessica: Yes, writing for other properties is really fun. It's probably not for everyone. You have to know what you're getting into before you pursue it, because it's very much not your IP. You're writing under someone else's brand, you're in their canon, and there are certain rules you have to follow. So you have guidelines. I found it to be really fun and kind of a break from some of my own stuff, because I didn't have to come up with everything. I didn't have to invent all the new worlds and all the new characters. A lot of them were just given to me, and I could play within the boundaries of that sandbox, and I really found that inspiring. So what happened actually is I was on a writing retreat with a bunch of other writers, and there was a writer at the retreat who already wrote for Disney Press and was supposed to write this new series for them, based on their Descendants series. She said to me, “I really can't do it, but I'd love to recommend someone else to them.” I think we had been talking about how big of a fan I was of Disney or something, and she said, “Do you want me to recommend you?” And I said, “Yes, absolutely.” Another big fangirl moment. So the editor of that series reached out to my agent. They talked to me. They got writing samples from me through my agent, and then before I knew it, I was hired to write, I think the first contract was maybe for two or three of the books, and then we renewed for a few more. It was just really fun. Then I formed a relationship with that editor. We ended up working on another series for younger kids, based on the Disney Princess LEGO series, which was much younger and new for me. It had illustrations. That was a whole new challenge, but I found it really fun. As I said, it was a nice break from writing my own things, because I could write them fairly quickly. They did have very fast turnarounds at the publisher too, but I could use my skills for structure and storytelling and apply it to a world that already existed, and it was a nice pairing. Jo: I love this. So much of what you've done seems to have come from relationships or just putting yourself out there in the world. Jessica: Yes, good observation. I hadn't thought of that. Jo: Whereas I think a lot of people think that it's all about cold pitching. It's not so much, from what you're saying. Jessica: Yes, and I did another IP project with Simon & Schuster called Boys of Summer, which was a young adult novel. That one specifically came from my agent. So a lot of times publishers will reach out to agents and say, “Here's what we're doing. Do you have authors who would fit?” And my agent will often reach out to me and say, “Here's the pitch I got from a publisher. Are you interested in submitting yourself for this?” That's what happened with Boys of Summer. They actually sent out an outline to a bunch of writers who were interested, and I had to write sample chapters to the outline, or I think it was the first couple of chapters or something. I was very gratefully selected to write it. That came about from having an agent, and a lot of times having an agent is a way into IP work. And then those connections can help too. Jo: Fascinating. Right. Well, let's get into your book Page One to Done, which as I said, one of my listeners actually requested to have you on the show to talk about this book, because she said it was absolutely fantastic and helped her finish her book. So why finishing? What is the problem? Why write a book on actually finishing? What are some of the common issues that people have? Jessica: Well, thank you to that listener. I really appreciate it, and here I am because of you. Connections once again. So Page One to Done came out of my own struggle with finishing, and not just finishing, but finishing efficiently and maintaining joy throughout the process of writing a novel. As I said, I was writing very fast and furiously, and my deadlines were piling up, and I started to feel like writing a novel stopped being fun. It started to become a very frustrating process, and I realised that was a lot about how I was approaching the first draft, which, as most writers know, the first draft is very hard. When I started to look further into it, I found this statistic online that's widely accepted in the writing community, which is that 97% of first drafts are not finished. Which is, wow, mind-blowing, but also not that hard to believe once you think about the challenges of writing a first draft. Taking an idea from a seed, developing it into a full plot with character development and arcs and subplots and side characters and themes and all the things that you think a story should have, getting that all onto the page and actually reaching the end. It's very, very difficult, and I never lie about how difficult it is. So I was struggling to finish things quickly, to enjoy the process, and I noticed that other writers were too. I felt like, well, I have this plotting guide that I love, this structure guide, Save the Cat! Shouldn't this be easier once I have an outline? And it wasn't. And that, I think, is because we forget that there's another part of the process. It's not just about developing a compelling character. It's not just about having a well-paced plot. You have to be able to get ideas out of your head and onto the page in a way that doesn't make you want to quit. I think one of the problems with the first draft is most of us write something down, it does not match what's in our head, and we start to get more and more frustrated. The process becomes overwhelming. We're holding too much of the story in our head. We're going back to page one to revise with every new idea we have, so it starts to slow down. The farther we get into the book, the longer that back to page one process takes, and things start to spiral out of control. I think that's essentially what happens to this 97% of first drafts. The writer quits because it's not good enough. It doesn't match what's in their mind, and there's too much to hold, and it starts to become overwhelming. So this is what was happening to me. Even though I was finishing things, the process was still very overwhelming, and I started to experiment with different things. Different mindset shifts that I could make, different ways I could change my writing routine to really enhance the process, to get into flow faster, to stay in flow for longer, things like that. It took me about five years, and I developed this collection of mindset shifts and strategies and routines that I could not only apply to myself, but I turned it into a system that was repeatable, and I started teaching it in my Writing Mastery Academy. I called it the Fast Drafting method, and it's all about letting go of this idea that our first draft has to be perfect or even that good, and just focusing on getting ideas down as quickly as possible, even if that creates a big mess. It's this freeing process of doing that in a way that we don't get in our own way. So I started teaching it to other writers. People were finishing things who had never finished things before. Writers who had taken two years to write a first draft were writing first drafts in weeks. The biggest comment I was getting was, “This is so freeing. This is so liberating. This is so fun.” And it gave people the motivation that they needed to actually sit down and revise the book. Before, either they never finished, so they never got to the revision process, or they were so overwhelmed and bogged down by the two years it took for them to write one draft, they didn't have the energy to revise and get it to the next level. So anyway, all of this is to say it was working for me, it was working for other writers. I turned it into a book called Page One to Done, and it's my three-phase process, mindset, preparation, and drafting, which I equate to running a marathon. You wouldn't run a marathon without proper training and proper nutrition and the right mindset, just like you wouldn't write a novel without the right mindset, the right preparation, and the right skills you need to get to the end. Jo: That's fantastic. You mentioned training there and some of the routine changes. So I hear new writers say, “Oh, I can't write unless I maybe have two hours or three hours to write down stuff, and I never have three hours at a time, so I never have time to write.” I hear that a lot. So what would you say to those people? What is a routine and a mindset shift that might help those people? Jessica: That's great, and I hear that all the time too. I interviewed a handful of authors for this book who had gone through the fast drafting method with me, and I would say the majority of them wrote for 30 minutes to one hour a day and were able to finish their books in a matter of weeks to maybe two months. That's because what I teach in the book is not about the amount of time you have. It's about how you use that time. When you really structure your day and your writing time with intentionality, you do whatever you can to block out distractions, get into flow, stay in flow. I'll give you one amazing tip that basically solves all of these things in a second. But when you really bring intentionality to those 30 minutes, you can write more in 30 minutes than you can in three hours without bringing these kinds of intentional choices. So that's one of the things I teach. You don't need more time. You actually just need to approach the time you have with the right mindsets and the right intentions. So one of the biggest shifts I tell people is just don't write and revise at the same time. For one, it pulls your brain in two different directions and creates the requirement of context switching, because essentially drafting and revising are two different jobs. Drafting is getting ideas out of your head and onto the page. Revising is polishing those ideas. They require very different headspaces and very different skills. So when we try to do both of them at once, we're pulled in two different directions. We're essentially trying to polish something we haven't even figured out yet, so we're polishing in the dark, if you will. It causes our brain to snap back and forth so many times. The term context switching is very big in the zeitgeist today, and that's because it's eating up our brain capacity. So if you spend 30 minutes just getting ideas down without judging them as they're coming out, without trying to revise them as they're coming out, you will get a lot of words down. A lot of that has to do with just what do you expect out of those 30 minutes? If you expect to write a chapter of absolutely brilliant polished prose, you're probably not going to do it, and you're going to feel like you wasted three hours. Then the next time you have three hours, you're like, “Well, no, I'm not going to do that. It's too frustrating, and I don't have three hours to begin with.” But if you sit down with the idea of, “I'm going to get all my ideas down. I'm going to just enjoy this process and live in my story for these 30 minutes,” you will be amazed at how much will come out onto the page. And you can absolutely finish a book that way. So intentionality is how you set up your workspace. Making sure that your phone is on do not disturb, making sure there are no pop-ups on your screen, making sure there are not even windows open behind your document. Every time your mind thinks about something else, you have to bring it back, and that eats brain power. So it's things like that. I have a whole chapter on how to set up a writing routine. One of the biggest tips I give people is to do what I call a pre-writing ritual. This is based in neuroscience, and there are all of these studies that back this up, that our brain does something where it associates an activity with another activity. So let's say right before we sit down to write, every time we do that, we do 10 jumping jacks, just as an example. But we only do 10 jumping jacks before we write. We don't do 10 jumping jacks before we sit down to do our taxes or answer emails. It's just before we write. Your brain starts to create this associative link with jumping jacks and writing. These are ways that we can prime our brain to get into the writing mode, and after doing that a handful of times, you do your jumping jacks, and your brain is literally already in your story before you sit down. It starts to soften that resistance that happens when we think, “Oh, I have to go write now,” or, “I've got to go write a certain amount of words,” or, “I have to work with my story.” It softens that, where it just becomes, “Oh, this is what I'm doing now.” Setting up these pre-writing rituals, which could include jumping jacks, could include something else, a lot of examples we can explore if you want, creates that associative link and allows us to get into the writing zone even faster. So by the time we sit down, we're already primed to go. We're not wasting a lot of that time going, “Oh, should I do it now? Should I do it later? I've got to open my document. Oh, my coffee's a little low.” All the things that we do to delay writing. They start to fall away. Jo: Yes, I mean, I always tell people, you and I turned up on time. We arranged this. We respect each other. We turn up, and we're doing this within a time slot. So I always say to people, “Look, make a calendar entry for your writing,” and do you respect your writing enough to turn up on time and do the work? We had a few minutes of saying hi or whatever, and then we got on with our work, which was this interview. So if you've arranged to start writing for that half an hour, then it is work still, right? You need to turn up and honour that. Jessica: Yes, and actually I have the same tip in the book. I say put it on your calendar, block it off. For the reasons you said, it creates in your brain the idea that this is a serious thing. It's not just a, “Oh, I'll get to it when I get to it,” like folding the laundry. It's like, no, this is what I've decided to do, I'm serious about it, I respect it. Just like any other appointment that you would respect, like lunch with a friend or an important business meeting, you show up for it. You don't go, “I think I'll show up to that business meeting in a few hours when I feel like it.” Also it keeps the routine consistent, because one of the tips I give is to always write at the same time every day if you can, because again, that associative link created in your brain, that habitual routine. So if you put it in your calendar for the days that you're going to write, you won't schedule over it by accident, which is just another logistical thing. I say something similar to what you just said, Joanna, in the book, which is basically, if you booked a massage for an hour, you would stay for the hour, right? Because you paid for this massage. Jo: Hell yes. Jessica: It's important to you. You're not going to get up in the middle and start texting your friends. You want your massage. If you treat your writing like any other thing that's important to you and show up for it consistently, it will show up for you, too. Jo: Yes, and I think the other misconception is that, okay, so that person has made it, and they're at the desk. I listen to rain and thunderstorms in my headphones. That's kind of, I guess, my routine. But that doesn't mean that I can just stream something wonderful. You talked about separating the writing and the editing, but sometimes it really is pretty basic, right? Morgan walked into the room. That will often be my thing, and then I'll be like, “Okay, well, why?” And what was the room like? Or was it even a room? So sometimes you just have to start writing something rather than wait for a perfect sentence. Jessica: Oh, yes, absolutely. Waiting for the perfect sentence, you'll be waiting for a long time. I say waiting for inspiration, you'll be waiting for a long time. My joke is, if I waited to write only when I felt inspired, I'd finish a book about every 20 years, if that. I think that's very important, and I teach a lot of tips and tricks in the book on how to get past that resistance, because of course, we don't want to just sit down and write something that we don't like. We don't want to just write down, “Oh, she stared at her computer for 10 minutes.” But sometimes we have to write that down to get to the next sentence or the next plot point or whatever barrier is in our mind. So one tip I'll tell people is put things you don't like in brackets, the square brackets. It's a really simple tip, and it's one of the tips I share in the book. Just put it in brackets and move on. What the brackets do, at least for people who use it, is it's like scaffolding. It's a reminder to your brain, this isn't permanent. This isn't going to stay. I'm going to come back to this later and fix it once I figure out what the story is and what she's actually doing in the room at this moment. For now, it's there. It's on the page. I can move past it. For me at least, the brackets are just this really nice reminder of the scaffolding. Nope, nope, nope, not perfect, not permanent, moving on. Then you can come back later and flesh it all out. I share a lot of anecdotes from my 20 years of writing novels, and one that I particularly like is I was working on a novel, and I had this scene that was just so awful, where all of my characters were sitting in a room. I had no idea what room it was or what it looked like, and they were talking about their feelings. It was just so awful and boring, but I had to get through this scene because I had to establish certain things that came later. I was complaining and complaining about this scene. I was on a writing retreat at the time, and my writer friends were like, “Let's just do a writing sprint, and we'll all write really fast, and we'll all get through our bad scenes, and we'll move on.” So I did that. I moved past the boring scene. It was still boring all the way to the end, but here's the thing, I couldn't figure out what happened in that scene until I'd figured out the whole story. So I wrote the bad version, and then in the next draft I came back and I was like, “Oh, this scene should take place on this bridge that I wrote in the finale that I didn't even know I needed, and it's this very symbolic bridge, and they can be standing on the bridge, and then they should be talking about this because that's going to pay off in the third act,” and I hadn't even thought of that yet. So all the things were coming together, but I could never have come up with that at the time. If I had just sat there and tried and tried, I probably would have gotten stuck at that scene and quit. So I had to just write the bad version, move past it, and come back later. Jo: Yes, and I think maybe because you're famous for structure, people think that maybe you wouldn't have to do that, because you already came up with that in the plotting. It sounds like you're also putting in those elements and foreshadowing and deepening things in the edit. So that's quite comforting for me as a discovery writer, because I end up doing so much more of that kind of thing in the edits. Jessica: Well, something I like to say is that we're all discovery writers, just different degrees. Because the writing process, no matter how much you plot in advance, is always going to be a discovery process. There are always going to be things you didn't think of. There's always going to be a way to tie things together that you never could have thought of before you started writing. So much of the story evolves and gets processed on the page and in your mind as it's coming out onto the page, and it's delusional to think you can think of all that before you start engaging with the characters. You can come close. I've known writers who have come very close, but almost all writers will discover something that they didn't know in the outline. I would argue that that's actually the fun part of writing. It's not the days when writing goes exactly to plan. They're nice, but they're not necessarily the fun parts. The fun parts are when you sit down to write the scene you thought was going to be the scene, and suddenly this new detail appears, and you go, “Oh my gosh, this totally unlocks everything, and I never even thought of it.” It could be in a text message. It could be on a billboard. It could be something the character just blurts out that you weren't expecting, and suddenly your whole story comes together in that moment, or maybe just the scene comes together. It's those moments, I think, that we write for. So even just expecting the book to come out exactly as you plotted is one of those mindset shifts. If you shift it and think, “This is really fun. I get to discover new things about my story that I wasn't expecting,” that, again, just makes the process a little more fun. So instead of, “Oh, this isn't what I thought it was going to be,” or, “This isn't what I outlined,” which is focusing on what's wrong with the book, it becomes, “Oh, wow, this is teaching me something I never expected about my story, and that's pretty cool.” Jo: Yes, I think that moment, Carl Jung called it, I guess, synchronicity, the moment when these things come together and it feels just incredible, that's the moment we all look for. It does seem to happen on every book. Everything clicks into place, and I look forward to that moment with every book. I did want to ask you about a novel that you have coming out soon as we record this, called How to Write a Murder. Now, this is a new genre for you, and it's quite meta because it's about writers as well. So talk about writing a brand new genre now at this point in your career. What are the challenges of trying to reach a new audience? Why do this book now? Jessica: Wow, great question. I love challenging myself to do something new. I wrote contemporary for many years and then thought, “I'm going to try a sci-fi.” Or, “I'm going to try middle grade now.” I think I go where the story wants, where I'm inspired to go when it comes to story ideas. However, with mystery, it's been one of those things that's always been on the back of my mind, like a wish list, a bucket list. I want to write a murder mystery. I just never had the right idea. Or I never had the time, or I never had the space. Then I finished my last novel contract, and I took a break, because I had been writing on deadlines for years. I took a very, very much needed break from deadlines. For the first time in I think 15 years, I did not have a book deadline. I just asked myself, “Jessica, what do you want to write?” As opposed to, what's the next book that's due? And the answer was very clear. I want to write that murder mystery. I toyed with a few ideas, and then I started to think about, okay, so I wrote this book on plot that a lot of people know and use. What if someone used that book to plot a literal murder? What would that look like? This meta explosion came to mind, which is that I wanted to write a murder mystery that's structured like a plotting guide for murder mysteries. The characters in the book are all writers who are familiar with this plotting guide, and the events of the story are unfolding like the plot of a murder mystery according to this book. You have no idea which one of them is actually using the book to plot the murder, because they all know the book. So one of the taglines is, “One dead body, seven mystery writers, and they all know how to get away with murder.” It was sort of my culmination of everything I'd done in my career. All the plotting workshops I'd taught, all the revision courses I'd taught, and of course this plotting structure method I'd been teaching for years, and I put it into this book. It's a fictional version of Save the Cat! It's called The Bestseller Formula. The premise of this book is that someone is using a murder mystery plotting guide to plot a literal murder. So the reader is learning how to write a murder as they're reading about the murder on the page. Jo: I love it. I know lots of people are going to want that. It does bring the business side of things into more difficulty, because of course you have readers, like you mentioned middle grade, you've got YA books, and obviously, I guess, the writers that you teach will be interested. How is this going to work for your book marketing and your business? Because it also sounds like this might be a standalone. Jessica: It is a standalone as of now. I have some sequel ideas, but we're not pursuing them yet. It is a different market for me, for sure, and that's become a challenge as I'm marketing, because I'm not in the thriller mystery space yet. I haven't written a novel for adults since the very, very beginning of my career. I've been mostly writing for teens and middle grade. The good news is most of my teen readers are now adults, because it's been so long since I wrote for teens. So there's that. I think the book will appeal to mystery readers just because it's a fun mystery, and there's a fun meta element to it. I think it's going to appeal to writers as well. So I'm very much leaning on that, at least for the launch. I hope my writer community will get behind this book, because it's very much an ode to storytelling. It's an ode to writers. I dedicated it to writers. As a writer, you will understand this book on a level that a reader never will. You will get so many of the little inside jokes that a reader might just skim past. So I did very much write it for writers, with the hope that readers will also enjoy it. I had the most fun writing it I've had, I think, of writing any book. Partly I think that was because I wasn't writing it under deadline. I was just writing it for me, but also just because it felt like the book I'd been destined to write for so long. Jo: Fantastic. So we're out of time. So where can people find you and your books and everything you do online? Jessica: How is that possible? I feel like we just started. JessicaBrody.com is the best place to find everything. If you're interested in my writing courses, you can check out WritingMastery.com as well. Jo: Well, thanks so much for your time, Jessica. That was brilliant. Jessica: Thank you, Joanna. I had so much fun.The post From Page One To Done: Fast Drafting Your Novel With Jessica Brody first appeared on The Creative Penn.

If you've spent any real time with the Enneagram, you've probably felt Chris Heuertz's influence whether you knew his name or not. Chris is the author of seven books, including The Sacred Enneagram (foreword by Richard Rohr) and The Enneagram of Belonging, with an eighth on pilgrimage coming from Simon & Schuster. But the books came out of a life: nearly three decades of humanitarian work across 70 countries, years in the anti-trafficking movement, time serving alongside Mother Teresa in Calcutta.We recorded this a couple of weeks before his wedding, and I wanted it out in the world before he walks into that new life. We talk about learning to tell stories on a word processor in India, burying 700 of the women and children he served and what that does to a person, the end of a twenty-year marriage and the strange welcome into the human family on the other side of it, rewriting sloth for the Nines, what Eights actually feel under the armor, and why the detours are sacred and the arrival is a myth.The difficulty in life is the choice.Show-note links:* Chris's site: chrisheuertz.com* The Sacred Enneagram and The Enneagram of Belonging (Bookshop.org)* Chris's Substack: Sacred Detours* Instagram: @chrisheuertz* Subscribe to The Difficulty: chadprevost.substack.com* Listen on Apple Podcasts or Spotify.* The press where it all makes sense: crossroadspublishing.group* Chad's site: chadprevost.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Jason Arday's rise to a prestigious professorship at Cambridge University unraveled amid allegations of plagiarism and fabricated claims in his memoir. His death raises difficult questions about the institutions that elevated him, Cambridge's commitment to DEI-based hiring, and Simon & Schuster's decision to publish his memoir despite concerns about its accuracy. The scandal exposes the […]

Premium chapbook magnate Mitch Hull joined me in this episode to talk about all the crazy good books that are releasing this month. It's The ARC Party's Horror TBR series, and in it we talk about twelve amazing August releases. In the episode we also talk about Mitch's recent announcement for his partnership with Shortwave Publishing. Starting in 2027, Shortwave will add Rapture Trade as an imprint of their company, and all trade paperbacks that Mitch acquires will be published via Rapture Trade, which will benefit from Shortwave's recent distribution deal with Simon & Schuster - putting Rapture Trade books on shelves in bookstores in a way that isn't usually possible for a young company like Rapture. We also talked about what Rapture has coming out for chapbooks for the rest of the year, and the roster is pretty insane. Otessa Moshfegh? Holy crap. Definitely check out Rapture's website for what they have going on, and get in on these chapbooks. They're so worth it. I hope you enjoy this TBR, and remember to use the button above to preorder the books in this episode that you're excited for! For the folks who want to watch on YouTube: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thearcparty.com/subscribe

Originally titled "Women, Ammiright? The Barbizon, Sylvia and the Rosenbergs in the summer of 1953 'merca," this episodes dives into some of the famous residents of the women-only hotel in NYC, and veers into a story of orphaned boys. Beth is only partly on her phone as Kelly tells the story of what she learned reading The Barbizon by Paulina Bren. Theme music: Big White Lie by A Cast of Thousands. Cite your sources: "Atom Spy Case/Rosenbergs — FBI." FBI, https://www.fbi.gov/history/cases-and-criminals/atom-spy-caserosenbergs. Accessed 24 July 2026. Bren, Paulina. The Barbizon: The Hotel That Set Women Free. Simon & Schuster, 2021. Gardner, Meredith, and Santiago Juan. "Julius and Ethel Rosenberg." Wikipedia, https://en.wikipedia.org/wiki/Julius_and_Ethel_Rosenberg. Accessed 24 July 2026. Weiss-Meyer, Amy. "The Rosenberg Boys." The Atlantic, no. August, 2026, https://www.theatlantic.com/magazine/2026/08/ethel-julius-rosenberg-boys/687631/. Accessed july 24 July 2026.

Josh's Guests: Karen Masterson Koch - founder, ALOE LIFE Using aloe vera to improve the beauty of your skin and hair.  What are the active ingredients to look for in aloe vera vera so you know you have a product that works? Ross Pelton, RPh. - author, Alternatives In Cancer Treatment Published by Simon & Schuster. Board of Governors The National Health Federation. A long time wellness researcher offers fresh updates on healing find us at: www.HeresToYourHealthWithJoshuaLane.com  

Lisa Finucane reviews Daughters of the Sun and Moon by Lisa See, published by Simon & Schuster.

July 27, 2026 ~ Bridge Michigan reporters Lauren Gibbons and Simon Schuster break down the biggest stories coming out of the state Capitol, including the latest political developments, policy debates, and what Michigan voters should be watching. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

July 28, 2027 ~ Full Show: Kevin covers a busy day in Michigan politics, featuring reaction to President Trump's visit to the Milford Proving Grounds with Jim Runestad, legal analysis from Michael Bullotta on the Pete Buttigieg family separation controversy, and Lansing updates from Bridge Michigan reporters Lauren Gibbons and Simon Schuster. The show also includes campaign conversations with congressional candidates Christina Hines and John Paul Torres, plus Adrian Hemond's recap of the Democratic Senate debate and its impact on the race. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jeff Burningham built companies worth billions, ran for Governor of Utah, and won the game every CEO is playing. Then the game stopped working. In this conversation, Jeff and Lisa get into the moment high achievement hit a wall, why he calls AI a "cosmic mirror" that reveals who we really are, and what he learned standing on the banks of the Ganges that reframed everything. His book, The Last Book Written by a Human: Becoming Wise in the Age of AI, is out now from Simon & Schuster. As machines get smarter, this episode is about becoming wiser. Listen now, subscribe, and share this episode with every CEO preparing to lead in the age of AI.

Carole Beu from The Women's Bookshop reviews The End and the Beginning by K.J. Holdom, published by Simon & Schuster.

Mark interviews Jessica Sorentino, an author brand strategist with more than a decade of experience helping writers and thought leaders connect with their audiences in meaningful, lasting ways. Prior to the main content, Mark shares comments from recent episodes, a personal update, and a word about this episode's sponsor. This episode is sponsored by an affiliate link to Manuscript Report. Use code MARK10 at checkout and save 10% off your own personalized report. In the interview, Mark and Jessica talk about: What an author's brand is and how to determine what that brand is A technique of visualizing a coffee/lunch date with a dream reader/follower and writing down what you spoke about Stripping back the sales and marketing and finding that common ground The importance of authors having a handy in and having control of marketing their books even when a book is published by a major publisher Work done with Macmillan on their first business-to-consumer product How authors can sometimes feel being "dumped" by their publisher after the initial launch period That it's not really the buzz that makes for solid sales, but it's passionate readers How much of "comps" (ie "comp authors" and "comp titles") are a part of author branding The comradery of authors lifting one another up Jessica's "Turning Pages" private consulting for authors and the triangle of the author/book/reader connection Pulling out themes from a book that can help build out that conversation The value of an author brand during the query/the pitch process to an agent, editor, or publisher How the publishing industry is really about businesses making a bet on what they're investing in Jessica's "Open Book" Substack and how authors can get access to it for free The relationship between platform, brand, and marketing The book club podcast that Jessica co-hosts called "Third Glass" The question of how a book is a want not a need, so how do you make a reader want your book A reminder of the number of times a person needs to see something before it really sticks, which is 12 If you only show up when you have something to promote instead of showing up regularly Prioritizing engagement and conversations versus followers and likes And more... After the interview Mark reflects on a number of things Jessica mentioned. Links of Interest: Jessica's Website Open Book (Substack) Third Glass Podcast (Spotify) EP 482 - Outlining for Novelists Who Don't Outline with Paul Austin Ardoin EP 481 - Becoming a Creative Luminary with Laura Holley EP 309 - From Zero to Four Figures with Paul Austin Ardoin Manuscript Report (Mark's affiliate link - use MARK10 to save 10%) Buy Mark a Coffee Patreon for Stark Reflections Mark's YouTube channel ElevenLabs (AI Voice Generation - Affiliate link) Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) Stark Realities Book An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors Wide for the Win Ghost Stories of the Great Lakes Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building Once Bitten (Novella) The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard Merry Christmas! Shitter Was Full!: A Trivia Guide to National Lampoon's Christmas Vacation I Think It's A Sign That The Pun Also Rises   Jessica Sorentino is an author brand strategist with more than a decade of experience helping writers and thought leaders connect with their audiences in meaningful, lasting ways. She has worked with top publishing houses, including Simon & Schuster and Macmillan Publishers, where she developed deep expertise in positioning authors for commercial success and authentic reader engagement. Jessica is the voice behind Open Book: Where Storytelling Meets Strategy on Substack and co-host of the Third Glass: Reading Between the Wines podcast, where she explores the intersection of storytelling, publishing, and personal brand. Her insights have also been featured on many industry podcasts. A sought-after speaker and respected industry voice, Jessica has repeatedly moderated at the Digital Marketing World Forum. She speaks on the importance of personal branding for authors, sharing best practices for using content and storytelling to build engaged communities as well as strategies for maintaining sustainable content creation. Based in Connecticut with her partner and dog, Jessica spends her mornings reading, her weekends baking and gardening, and her workdays helping authors build story-driven brands that connect them with the readers who will love their work most.   The introductory, end, and bumper music for this podcast ("Laser Groove") was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0    

Mallary Tenore Tarpley is an assistant professor of practice at the University of Texas at Austin, where she teaches journalism classes in the Moody College of Communication and writing classes at the McCombs School of Business. Her debut nonfiction book, SLIP: Life in the Middle of Eating Disorder Recovery, which was published by Simon & Schuster's Simon Element imprint in August 2025, explores the under-discussed complexities of eating disorders and recovery from them. The book is equal parts memoir and journalism, and it weaves together Mallary's own narrative with perspectives from clinicians, researchers, and others with lived experience.  In 2023, Mallary received a generous grant from the Alfred P. Sloan Foundation to support the science-related reporting in the book, specifically around the neurobiological and genetic aspects of eating disorders. Mallary's articles and personal essays about eating disorders have been published in The New York Times, The Wall Street Journal, The Washington Post, The Los Angeles Times, TIME Magazine, and Teen Vogue, among other publications We discuss topics including: What it means to live life in the "in between" Recovery is impossible but imperfect Slips do not have to be failures they can be an opportunity for growth Reframe your thinking about "full recovery" Being authentic with yourself while being open to experiment with food instead of always sticking with "safe foods"   SHOW NOTES: www.mallarytenoretarpley.com Book: Slip: Life in the Middle of Eating Disorder Recovery IG: www.instagram.com/mallarytenoretarpley ____________________________________________ If you have any questions regarding the topics discussed on this podcast, please reach out to Robyn directly via email: rlgrd@askaboutfood.com You can also connect with Robyn on social media by following her on Facebook, Instagram, Twitter, and LinkedIn. If you enjoyed this podcast, please leave a review on iTunes and subscribe. Visit Robyn's private practice website where you can subscribe to her free monthly insight newsletter, and receive your FREE GUIDE "Maximizing Your Time with Those Struggling with an Eating Disorder". Your Recovery Resource, Robyn's new online course for navigating your loved one's eating disorder, is available now! For more information on Robyn's book "The Eating Disorder Trap", please visit the Official "The Eating Disorder Trap" Website. "The Eating Disorder Trap" is also available for purchase on Amazon.

Kim Pittar of Muirs Bookshop in Gisborne reviews White River Crossing by Ian McGuire, published by Simon & Schuster.

The difficulty in life is the choice. And every choice is a crossroads.This week's Working Writer roundup covers three stories that land on the same square, plus an announcement I've been sitting on.1. Simon & Schuster relaunched Pocket Books as a home for indie and hybrid authors.One of the oldest names in American paperback publishing, rebuilt around signing successful self-published writers to print deals. Their own words: “a home for forward-thinking writers, including bestselling indie and hybrid authors looking to amplify their reach.” Translation: New York is no longer asking who has a manuscript. It's asking who has readers. The room you build around your work isn't the consolation prize anymore. It's the asset.2. The industry is counting its robots.BISG and BookNet Canada opened their 2026 “AI in the Book Industry” survey (through July 17). Last year's round found about half the industry using AI, almost entirely in the plumbing: admin, marketing, data. Not the voice. I talk about where Crossroads stands: machines in the machinery, humans in the writing, audiobooks narrated by human beings. The flood of machine-made content drowns the generic. It can't drown a voice a reader trusts.3. Fourteen thousand librarians walked into Chicago.The American Library Association held its 150th annual conference: 14,801 registrants making plans for the future of reading. The quiet answer to “nobody reads anymore,” and a reminder that the professional middle (librarians, book clubs, spiritual directors, retreat leaders) is where books actually travel.And some news of our own: starting this Friday, I'm launching a new live series with Genesis the Greykid, fine-art poet and co-owner of Home, the bar at the corner of Fourth and Market in downtown Chattanooga. A crossroads city, a bar on an intersection, and conversations about the in-betweens: the hard choices, and the constraints (time, money) we build a creative life inside. It can be beautiful.If you're a writer with a message standing at your own crossroads, that's what we build at Crossroads Publishing Group. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit chadprevost.substack.com

Real estate agents spend their careers chasing predictable, consistent income. They want to be able to plan their lives, support their families, grow their businesses, and stop waking up every month wondering where the next closing is going to come from. But the problem is, income is an outcome, not something that happens automatically. Consistent income is created by consistent action. It comes from the conversations we start, the relationships we nurture, the value we provide, the follow-up we actually complete, and the lead generation habits we repeat even when we don't feel like doing them. We want the stability, but we resist the structure that creates it. We want a business that feels predictable, but we keep changing our strategy before anything has enough time to work. We look for the next tool, script, platform, or market opportunity, when the real breakthrough might be much simpler: identifying the business-building activities that match who we are, then doing them consistently enough to create momentum. So how do we stop chasing income and start creating the habits, systems, and consistency that lead to it? In this episode, I'm joined by Dan Rochon, real estate coach, author of Teach to Sell, and creator of the No Broke Months framework. Together, we talk about what it really takes to build predictable income in real estate, how to choose the right lead generation strategy for your personality and business, and why consistency is still one of the most underrated advantages an agent can have. Things You'll Learn In This Episode   Consistency is boring before it becomes profitable The activities that create the most income are often the least exciting ones. So how do we train ourselves to keep doing the work when the work stops feeling new? Your superpower should shape your lead generation Not every agent needs to cold call, host open houses, run ads, or build a YouTube channel. How do we identify the business-building activities that actually match who we are? Prospecting, marketing, and networking all cost something Some strategies cost time. Others cost money. Some cost both. How do we decide which lead generation path makes the most sense for the season of business we're in? AI won't replace the agent who knows how to lead Consumers may have more tools, more data, and more ways to avoid us, but they still want trusted human guidance. How do we position ourselves as the expert they choose when technology gives them endless options?   About the Guest Dan Rochon is a keynote speaker, human behavior expert, real estate broker, podcast host, and author of Teach to Sell, who helps sales professionals make better decisions, build trust, and create consistent income without pressure-based selling. With more than 20 years of experience in real estate, Dan is an active Associate Broker serving Virginia and Maryland, where he guides clients through high-stakes decisions every day. His work has given him a front-row seat to the way fear, urgency, and uncertainty shape human behavior when the stakes are high. Dan is also a former Operating Principal of a Keller Williams brokerage and host of the No Broke Months podcast. His book, Teach to Sell, published by Post Hill Press and distributed by Simon & Schuster, is written for salespeople who hate selling and anyone who wants a better way to influence through clarity, trust, and consistency. To get the book, visit https://www.teachtosellbook.com/ or your bookstore of choice.   About Your Host Marki Lemons Ryhal is a ​​Licensed Managing Broker, REALTOR®, and avid volunteer.  She is a dynamic keynote speaker and workshop facilitator, both on-site and virtual; she's the go-to expert for artificial Intelligence, entrepreneurship, and social media in real estate. Marki Lemons Ryhal is dedicated to all things real estate, and with 25+ years of marketing experience, Marki has taught over 250,000 REALTORS® how to earn up to a 2682% return on their marketing dollars. Marki's expertise has been featured in Forbes, the Washington Post, Homes.com, and REALTOR® Magazine.   Subscribe, Rate & Review Check out this episode on our website, Apple Podcasts, or Spotify, and don't forget to leave a review if you like what you heard. Your review feeds the algorithm, so our show reaches more people. Thank you!     

Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Simon & Schuster, Elias Thorne, and why publishing more content is making your SEO worse. Then, stick around for a chat with Sarah Vaughan! Sarah Vaughan is the Sunday Times and international bestselling author of Anatomy of a Scandal, Little Disasters and Reputation, plus two earlier novels. Translated into 26 languages, Anatomy of a Scandal became a worldwide number one Netflix limited series, watched for 200 million hours in its first month alone, and starring Sienna Miller, Michelle Dockery and Rupert Friend. Little Disasters dropped on Paramount Plus in May 2025, and stars Diane Kruger, Jo Joyner and a “powerhouse cast” including JJ Feild, Shelley Conn, Emily Taaffe and Stephen Campbell Moore. Reputation has been optioned by Made Up Stories and 3dot productions, the team behind Anatomy of a Scandal. Before writing fiction, Sarah spent 15 years as a journalist, including 11 at the Guardian as a political correspondent and news reporter: great preparation for thrillers exploring power, privilege and misogyny, and incorporating police investigations and criminal trials. Brought up in Devon, she lives near Cambridge, England with her family and dog. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

June 23, 2026 ~ Bridge Michigan's Jordyn Hermani and Simon Schuster join Kevin to discuss what voters are saying about affordability and the economy. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

"Close Relationships With Strangers," released by large imprint Simon & Schuster, is set in — and connects — both Las Vegas and Los Angeles.

Generative AI has been creating race-based content, and the results are...uncomfortable.Brittany's been getting served a lot of AI generated videos of older Asian men, who seem to be feng shui experts of some kind, espousing the benefits of having a “lazy wife” in your household. But it doesn't stop there. Today's guest, Bridget Todd, host of There Are No Girls on the Internet and author of the audiobook, Love at First Prompt: AI and the Future of Intimacy, has been ringing the alarm about AI generated videos featuring Black women. Some are AI slop, while others perpetuate harmful stereotypes about Black women -- and there's a market for it.Bridget joins the show to get into how generative AI has skewed perceptions around race, gender, and privilege online.Bridget's first audiobook, Love at First Prompt: AI and the Future of Intimacy, is available for pre-order now from LoveAtFirstPrompt.AI and comes out July 14th from Simon & Schuster. Support Public Media. Join NPR Plus.Follow Brittany on Instagram: @bmluseFor handpicked podcast recommendations every week, subscribe to NPR's Pod Club newsletter at npr.org/podclub. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

What if one of the most powerful medicines for longevity, resilience, happiness, cognitive health, and disease prevention wasn't found in a supplement, a prescription, or a cutting-edge biohack—but in the people around you? In this powerful solo episode, Darin Olien dives into one of the most overlooked health crises of our time: loneliness. Drawing from the landmark 85-year Harvard Adult Development Study, the U.S. Surgeon General's loneliness epidemic report, Blue Zones research, neuroscience, and evolutionary biology, Darin reveals why meaningful human connection may be one of the strongest predictors of health and longevity ever discovered. From oxytocin, cortisol, inflammation, vagal tone, and nervous system regulation to suburban design, social media, and the collapse of community structures, Darin exposes the hidden biological costs of isolation—and offers a practical roadmap for rebuilding the human connections we were biologically designed to need.     What You'll Learn The stunning findings from Harvard's 85-year Adult Development Study Why relationships outperform wealth, genetics, diet, and exercise as predictors of well-being How loneliness increases the risk of premature death, dementia, heart disease, and stroke Why social isolation creates measurable biological stress responses The role of oxytocin in lowering inflammation and regulating stress How human connection affects the autonomic nervous system Why Blue Zone communities consistently prioritize social connection The biological difference between digital interaction and real human presence How modern architecture and technology contribute to loneliness Why community is a biological necessity—not a luxury Practical ways to rebuild meaningful relationships today How connection may be one of the most powerful health interventions available   Chapters 00:00:00 – Welcome to SuperLife 00:00:33 – Sponsor: Bite Toothpaste and reducing plastic waste 00:02:49 – The most powerful health study ever conducted 00:03:01 – Harvard follows 724 people for 85 years 00:03:40 – The surprising predictor of a long, healthy life 00:04:00 – Why relationships beat wealth, genetics, diet, and exercise 00:04:42 – The Surgeon General's loneliness epidemic warning 00:05:19 – Introducing the medicine you're not taking 00:05:53 – The health benefits of genuine community 00:06:21 – The fatal convenience of modern life 00:06:47 – Replacing human connection with digital connection 00:07:12 – Why modern convenience may be creating isolation 00:07:23 – Social isolation and premature mortality 00:08:02 – Loneliness and the equivalent of smoking 15 cigarettes a day 00:08:43 – Increased risks of heart disease, stroke, and dementia 00:09:10 – Why loneliness is a biological threat 00:09:52 – The science behind social isolation 00:10:11 – Sponsor: Manna Vitality 00:12:06 – Humans as the most socially dependent species 00:12:53 – Why connection regulates the nervous system 00:13:29 – The autonomic nervous system and social safety 00:13:56 – The brain's constant question: Am I safe? 00:14:03 – The biology of belonging 00:14:24 – The ventral vagal state explained 00:14:55 – Why connection creates measurable physiological changes 00:15:03 – What happens when isolation becomes chronic 00:15:52 – Oxytocin: far more than the "love hormone" 00:16:20 – Eye contact, touch, meals, and human bonding 00:16:42 – How oxytocin lowers stress and inflammation 00:17:04 – Why no supplement can replace connection 00:17:17 – The pharmacology of authentic human moments 00:18:06 – Free medicine hidden in plain sight 00:18:39 – Dan Buettner and the Blue Zones 00:19:29 – What the world's longest-lived populations have in common 00:19:36 – Okinawa's lifelong friendship circles 00:20:08 – Sardinia's active elders and social roles 00:20:40 – Greece's culture of connection and communal meals 00:21:03 – Why longevity wasn't hacked—it was lived 00:21:38 – Social connection as the foundation of daily life 00:22:01 – The shocking decline in face-to-face interaction 00:22:21 – Young people losing 70% of in-person social time 00:22:58 – How community was systematically dismantled 00:23:00 – Robert Putnam's Bowling Alone 00:23:49 – Doing life together versus doing life alone 00:24:05 – How suburban design creates isolation 00:24:49 – The built environment shapes human behavior 00:24:55 – Social media and the promise of connection 00:25:20 – Why digital connection fails biologically 00:25:33 – Social comparison, anxiety, and nervous system stress 00:25:49 – More connected online, more isolated in reality 00:26:03 – A call to action: treating relationships like health practices 00:27:00 – Practical ways to rebuild community 00:28:00 – Prioritizing people over convenience 00:29:00 – Deep conversations, presence, and intentional connection 00:30:00 – Reclaiming community in modern life 00:31:00 – Final thoughts on connection, belonging, and health 00:31:53 – Closing remarks and outro     Thank You to Our Sponsors Bite Toothpaste: Go to trybite.com/DARIN20 or use code DARIN20 for 20% off your first order Manna Vitality: Go to mannavitality.com/ and use code DARIN12 for 12% off your order.     Join the SuperLife Patreon: This is where Darin now shares the deeper work: - weekly voice notes - ingredient trackers - wellness challenges - extended conversations - community accountability - sovereignty practices Join now for only $7.49/month at https://patreon.com/darinolien     Find More from Darin Olien: Website: darinolien.com Instagram: @darinolien Book: Fatal Conveniences Platform & Products: superlife.com New Show: Roadmap to Happiness     Key Takeaway "The longest-running study in human history reached a conclusion that should fundamentally change how we think about health: the quality of our relationships predicts our happiness, resilience, and longevity more than almost anything else. Human connection isn't a luxury, a personality trait, or a nice bonus when life slows down. It is biology. It is medicine. And in a world increasingly designed for isolation, rebuilding community may be one of the most important health decisions we ever make."     Bibliography/Sources: Primary Research — Loneliness, Social Isolation & Health Associated Press. (2023, May 2). Surgeon general: Loneliness poses health risks as deadly as smoking. PBS NewsHour. https://www.pbs.org/newshour/health/surgeon-general-loneliness-poses-health-risks-as-deadly-as-smoking Cacioppo, J. T., & Hawkley, L. C. (2009). Perceived social isolation and cognition. Trends in Cognitive Sciences, 13(10), 447–454. https://doi.org/10.1016/j.tics.2009.06.005 Holt-Lunstad, J., Smith, T. B., & Layton, J. B. (2010). Social relationships and mortality risk: A meta-analytic review. PLoS Medicine, 7(7), e1000316. https://doi.org/10.1371/journal.pmed.1000316 Office of the Surgeon General. (2023). Our epidemic of loneliness and isolation: The U.S. Surgeon General's advisory on the healing effects of social connection and community. U.S. Department of Health and Human Services. https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf Waldinger, R. J., & Schulz, M. S. (2010). What's love got to do with it? Social functioning, perceived health, and daily happiness in married octogenarians. Psychology and Aging, 25(2), 422–431. https://doi.org/10.1037/a0019087 Neuroscience — Oxytocin, Polyvagal Theory & Community Biology Carter, C. S. (1998). Neuroendocrine perspectives on social attachment and love. Psychoneuroendocrinology, 23(8), 779–818. https://doi.org/10.1016/S0306-4530(98)00055-9 Eisenberger, N. I., & Lieberman, M. D. (2004). Why rejection hurts: A common neural alarm system for physical and social pain. Trends in Cognitive Sciences, 8(7), 294–300. https://doi.org/10.1016/j.tics.2004.05.010 Heinrichs, M., Baumgartner, T., Kirschbaum, C., & Ehlert, U. (2003). Social support and oxytocin interact to suppress cortisol and subjective responses to psychosocial stress. Biological Psychiatry, 54(12), 1389–1398. https://doi.org/10.1016/S0006-3223(03)00465-7 Porges, S. W. (2011). The polyvagal theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. W. W. Norton & Company. https://wwnorton.com/books/9780393707007 Blue Zones Research Buettner, D., & Skemp, S. (2016). Blue Zones: Lessons from the world's longest lived. American Journal of Lifestyle Medicine, 10(5), 318–321. https://doi.org/10.1177/1559827616637066 Kreouzi, M., Theodorakis, N., & Constantinou, C. (2022). Lessons learned from Blue Zones, lifestyle medicine pillars and beyond. American Journal of Lifestyle Medicine. https://doi.org/10.1177/15598276221118494 Suzuki, M., Willcox, B. J., & Willcox, D. C. (2001). Implications from and for food cultures for cardiovascular disease: Longevity. Asia Pacific Journal of Clinical Nutrition, 10(2), 165–171. https://doi.org/10.1111/j.1440-6047.2001.00219.x The power of environment: A comprehensive review of the exposome's role in healthy aging. (2025). PubMed Central (PMC11858149). https://pmc.ncbi.nlm.nih.gov/articles/PMC11858149/ Social Capital & Community Decline Oldenburg, R. (1999). The great good place: Cafés, coffee shops, bookstores, bars, hair salons, and other hangouts at the heart of a community. Marlowe & Company. https://books.google.com/books?id=cK80BwAAQBAJ Putnam, R. D. (2000). Bowling alone: The collapse and revival of American community. Simon & Schuster. https://www.simonandschuster.com/books/Bowling-Alone/Robert-D-Putnam/9780743203043 Sbarra, D. A., Briskin, J. L., & Slatcher, R. B. (2019). Smartphones and close relationships: The case for an evolutionary mismatch. Perspectives on Psychological Science, 14(4), 596–618. https://doi.org/10.1177/1745691619826535 Twenge, J. M., Joiner, T. E., Rogers, M. L., & Martin, G. J. (2018). Increases in depressive symptoms, suicide-related outcomes, and suicide rates among U.S. adolescents after 2010 and links to increased new media screen time. Journal of Adolescent Health, 62(1), 78–85. https://doi.org/10.1016/j.jadohealth.2017.06.014 U.S. Bureau of Labor Statistics. (2020). American time use survey. U.S. Department of Labor. https://www.bls.gov/tus/ Pennebaker & Authentic Disclosure Brown, B. (2012). Daring greatly: How the courage to be vulnerable transforms the way we live, love, parent, and lead. Gotham Books. https://brenebrown.com/book/daring-greatly/ Pennebaker, J. W. (1997). Writing about emotional experiences as a therapeutic process. Psychological Science, 8(3), 162–166. https://doi.org/10.1111/j.1467-9280.1997.tb00403.x

On the nuances of grief and loss, personal rituals, and our willingness to be transformed.  0:00 — Introduction and Guest Introduction 3:04 — Marissa's Personal Story and Grief Journey 7:38 — Building a Grief Plan 13:24 — Understanding Trauma and Its Impact 17:27 — Boundaries and Self-Care 22:52 — The Role of Prayer and Rituals 28:22 — Memorializing Losses and Rituals 32:18 — Connecting with Nature and Finding Support 37:46 — Conclusion and Final Thoughts Merissa Nathan Gerson is the author of Forget Prayers, Bring Cake: A Single Woman's Guide to Grieving, and her writing appears in Modern Love for the New York Times, The Atlantic, Playboy, Tablet, CNN.com and beyond. Merissa trained in Shambhala Shamatha meditation, graduated with an MFA in Writing and Poetics from Naropa University, is a certified Sivananda yoga teacher, and holds an MA in Jewish Studies with a focus on inherited trauma as well as sex and gender from the Graduate Theological Union in Berkeley, California. She was the Inherited Trauma consultant to Amazon's Transparent and is the daughter and granddaughter of war refugees. She is currently training to be a rabbi. Forget Prayers, Bring Cake: A Single Woman's Guide to Grieving came out in 2021 from Mandala Press for Simon & Schuster. This book is a companion for these times. As McArthur Genius Kiese Laymon describes: "Merissa Gerson has created a neon treatise on the art and necessity of grieving."

Sarah Damoff joins Book Gang to discuss The Burning Side, a powerful family saga of marriage, memory, and the secrets that bind generations. This week's Book Gang conversation welcomes back acclaimed author Sarah Damoff, whose new novel, The Burning Side, delivers a gripping book club premise: a multigenerational family forced to rebuild after tragedy, now under one roof. Opening with a house fire, readers witness the unraveling of the tangled lives of April and Leo, who must seek shelter with April's parents—only to discover old wounds and new truths simmering beneath the surface of Deb and Billy's life as they navigate carrying a heavy secret of their own. Damoff draws on her experience as a social worker to craft heart-wrenching, compassionate scenes of family struggle, childhood trauma, and the hard choices that shape marriage and parenthood. In this inviting and deeply immersive conversation, we discuss:

What if loneliness isn't just an emotion… but one of the most dangerous biological threats to your health? In this deeply personal and scientifically explosive solo episode, Darin opens up about something he recently realized in his own life: despite being surrounded by people, he was lonely. But what began as an emotional realization quickly became a deep dive into some of the most shocking research he's ever uncovered, showing that chronic loneliness may increase the risk of heart disease, dementia, cancer, autoimmune dysfunction, accelerated aging, and early death. From inflammatory gene expression and cortisol dysregulation to oxytocin, vulnerability, and the collapse of real human connection in the digital age, this episode reveals why loneliness may be the most overlooked "fatal convenience" of modern life, and how vulnerability may be the medicine. What You'll Learn Why loneliness is a biological crisis, not just an emotional feeling The shocking link between loneliness and heart disease, dementia, and early death Why the quality of your relationships is the #1 predictor of long-term health How loneliness activates inflammatory genes inside your body The role of cortisol, sleep disruption, and chronic stress in social isolation Why social media and "surface-level connection" are replacing real intimacy The connection between loneliness and Alzheimer's disease How oxytocin and genuine connection reduce inflammation Why vulnerability is the gateway to meaningful relationships Practical ways to create deeper connection starting today Chapters 00:00:33 – Sponsor: the truth about the exploding NAD supplement market 00:01:04 – Why supplement verification and transparency matter 00:02:17 – Opening: Darin admits something deeply personal 00:02:30 – "I realized recently… I'm lonely" 00:02:37 – The difference between being surrounded by people vs being truly known 00:03:06 – Loneliness as a biological experience, not just an emotional one 00:03:27 – The hidden risks: heart disease, dementia, cancer, early death 00:03:45 – Why this is not fringe science 00:04:13 – The most important predictor of long-term health 00:04:34 – Why relationship QUALITY matters more than quantity 00:05:06 – The global loneliness epidemic 00:05:11 – U.S. Surgeon General advisory on loneliness 00:05:39 – Loneliness declared a public health crisis 00:06:02 – 50% of Americans report measurable loneliness 00:06:22 – "A generational collapse of connection" 00:06:30 – 29% of adults have no close friends 00:06:40 – Face-to-face interactions dramatically declining 00:07:01 – The UK, Japan, and Australia loneliness crisis initiatives 00:07:32 – The paradox: hyperconnected but deeply isolated 00:08:04 – Loneliness as a biological alarm signal 00:08:31 – What loneliness actually looks like in modern life 00:08:42 – The lonely CEO, the unseen mother, the isolated social media addict 00:09:31 – "Perceived social isolation" and why the brain can't tell the difference 00:10:21 – Meta-analysis of 3.4 million people 00:10:55 – Loneliness vs obesity and smoking risk comparisons 00:11:18 – The biology of loneliness begins 00:11:50 – NF-kB: inflammatory gene activation explained 00:12:33 – How loneliness changes gene expression 00:13:02 – Chronic inflammation and disease pathways 00:13:21 – Cortisol, sleep disruption, and immune dysfunction 00:14:00 – How loneliness affects brain repair and amyloid plaque clearing 00:14:21 – Sponsor: Fatty15 and cellular health 00:18:02 – The Alzheimer's and dementia connection 00:18:25 – Loneliness as a major modifiable dementia risk factor 00:18:57 – Cortisol, neuroinflammation, and brain degeneration 00:19:16 – The hippocampus physically shrinking in lonely people 00:19:27 – Social media as a "fatal convenience" 00:19:57 – The oxytocin economy: connection as medicine 00:20:15 – Oxytocin as one of the body's strongest anti-inflammatory molecules 00:20:30 – HeartMath research: emotional synchronization between people 00:20:48 – "You regulate each other's biology" 00:21:07 – The real barrier: vulnerability 00:21:32 – Darin's recent experiences with radical vulnerability 00:21:54 – Conversations with family, ex-partners, and loved ones 00:22:35 – Brené Brown's research on connection and worthiness 00:23:14 – The "depth audit" exercise 00:23:42 – Reaching out, expressing appreciation, and owning your emotions 00:24:01 – Sacred hours: spending time without phones 00:24:13 – Questions that create real intimacy 00:24:30 – Darin's emotional conversation with his brother 00:25:03 – Protecting yourself from social media disconnection 00:25:20 – Becoming a source of joy and connection in everyday life 00:25:25 – Darin reflects on seven years of subtle loneliness 00:25:48 – The shift from surface conversations to meaningful connection 00:26:01 – "If you want love, give love" 00:26:19 – Final message: generate the connection you want to receive 00:26:22 – Closing thoughts and outro Thank You to Our Sponsors Truniagen: Go to www.truniagen.com and use code DARIN20 at checkout for 20% off Fatty15: Get an additional 15% off their 90-day subscription Starter Kit by going to fatty15.com/DARIN and using code DARIN at checkout. Join the SuperLife Community Get Darin's deeper wellness breakdowns — beyond social media restrictions: Weekly voice notes Ingredient deep dives Wellness challenges Energy + consciousness tools Community accountability Extended episodes Join for $7.49/month → https://patreon.com/darinolien Connect with Darin Olien: Website: darinolien.com Instagram: @darinolien Book: Fatal Conveniences Platform & Products: superlife.com New Show: Roadmap to Happiness Key Takeaway "Loneliness isn't weakness. It isn't failure. It's a biological signal telling you that something essential is missing. And in a world addicted to surface-level connection, the real medicine may simply be this: vulnerability, presence, eye contact, honesty, and the courage to let yourself truly be seen." Bibliography/Sources The Loneliness Epidemic & Public Health Data Bureau of Labor Statistics. (2023). American time use survey. U.S. Department of Labor. https://www.bls.gov/tus/ Cigna. (2023). Cigna U.S. loneliness index. Evernorth Health Services. https://newsroom.cigna.com/loneliness-epidemic-continues-to-rise-cigna-study Murthy, V. H. (2023). Our epidemic of loneliness and isolation: The U.S. Surgeon General's advisory on the healing effects of social connection and community. U.S. Department of Health and Human Services. https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf Survey Center on American Life. (2021). The state of American friendship: Change, challenges, and loss. American Enterprise Institute. https://www.americansurveycenter.org/research/the-state-of-american-friendship-change-challenges-and-loss/ Mortality & Systemic Health Risk Cohen, S., Doyle, W. J., Skoner, D. P., Rabin, B. S., & Gwaltney, J. M. (1997). Social ties and susceptibility to the common cold. JAMA, 277(24), 1940–1944. https://pubmed.ncbi.nlm.nih.gov/9200634/ Hawkley, L. C., & Cacioppo, J. T. (2010). Loneliness matters: A theoretical and empirical review of consequences and mechanisms. Annals of Behavioral Medicine, 40(2), 218–227. https://pubmed.ncbi.nlm.nih.gov/20396846/ Holt-Lunstad, J., Smith, T. B., Baker, M., Harris, T., & Stephenson, D. (2015). Loneliness and social isolation as risk factors for mortality: A meta-analytic review. Perspectives on Psychological Science, 10(2), 227–237. https://doi.org/10.1177/1745691614568352 Valtorta, N. K., Kanaan, M., Gilbody, S., Ronzi, S., & Hanratty, B. (2016). Loneliness and social isolation as risk factors for coronary heart disease and stroke. Heart, 102(13), 1009–1016. https://heart.bmj.com/content/102/13/1009 Genetics, Inflammation & The Immune System Cole, S. W. (2013). Social regulation of human gene expression: Mechanisms and implications for public health. American Journal of Public Health, 103(S1), S84–S92. https://pmc.ncbi.nlm.nih.gov/articles/PMC3786756/ Cole, S. W., Hawkley, L. C., Arevalo, J. M. G., Sung, C. Y., Rose, R. M., & Cacioppo, J. T. (2007). Social regulation of gene expression in human leukocytes. Genome Biology, 8(9), Article R189. https://pmc.ncbi.nlm.nih.gov/articles/PMC2375027/ Sleep & Cognitive Decline Cacioppo, J. T., Hawkley, L. C., Berntson, G. G., Ernst, J. M., Gibbs, A. C., Stickgold, R., & Hobson, J. A. (2002). Do lonely days invade the nights? Potential social modulation of sleep efficiency. Psychological Science, 13(4), 384–387. https://pubmed.ncbi.nlm.nih.gov/12137144/ Holwerda, T. J., Deeg, D. J. H., Beekman, A. T. F., et al. (2014). Feelings of loneliness, but not social isolation, predict dementia onset. Journal of Neurology, Neurosurgery & Psychiatry, 85(2), 135–142. https://jnnp.bmj.com/content/85/2/135 Oxytocin & The Biology of Connection Szeto, A., Sun-Suslow, N., Mendez, A. J., Hernandez, R. I., Wagner, K. V., & McCabe, P. M. (2017). Regulation of the macrophage oxytocin receptor in response to inflammation. American Journal of Physiology—Endocrinology and Metabolism, 312(2), E183–E189. https://journals.physiology.org/doi/full/10.1152/ajpendo.00424.2016 Uvnas-Moberg, K. (2003). The oxytocin factor: Tapping the hormone of calm, love, and healing. Da Capo Press. https://books.google.com/books?id=b-aKjQoB_nQC Psychology, Vulnerability & Relationship Science Aron, A., Melinat, E., Aron, E. N., Vallone, R. D., & Bator, R. J. (1997). The experimental generation of interpersonal closeness. Personality and Social Psychology Bulletin, 23(4), 363–377. https://doi.org/10.1177/0146167297234003 Brown, B. (2010). The gifts of imperfection: Let go of who you think you're supposed to be and embrace who you are. Hazelden Publishing. https://brenebrown.com/book/the-gifts-of-imperfection/ Cacioppo, J. T., & Patrick, W. (2008). Loneliness: Human nature and the need for social connection. W. W. Norton & Company. https://wwnorton.com/books/9780393335286 Dunbar, R. I. M. (2012). Bridging evolutionary approaches to the social brain and social bonding. In F. B. M. de Waal & P. F. Ferrari (Eds.), The primate mind. Harvard University Press. https://www.hup.harvard.edu/books/9780674063104 Dunbar, R. I. M. (2021). Friends: Understanding the power of our most important relationships. Little, Brown and Company. https://www.hachettebookgroup.com/titles/robin-dunbar/friends/9781408711736/ Waldinger, R., & Schulz, M. (2023). The good life: Lessons from the world's longest scientific study on happiness. Simon & Schuster. https://www.simonandschuster.com/books/The-Good-Life/Robert-Waldinger/9781982166694

2026-05-07 | UPDATES #196 | The fall of an empire – the humbling of the Russian bear and elimination of its vast stock of Soviet weapons, and Soviet-minded population of Putin's Russian Federation. A victory made by housewives: how a German CEO insulted the drone revolution he cannot compete with. Today's episode is a breakdown of why Ukraine's mil-tech threatens every defence prime in NATO and the U.S. with a new paradigm of how to fight wars, and how to supply them. Last Friday, the Atlantic magazine published an interview with one of Europe's most powerful defence executives. The man is Armin Papperger, Chief Executive Officer of Rheinmetall AG — Germany's largest arms manufacturer, market capitalisation north of fifty billion euros, supplier of tanks, 155mm artillery shells, and air defence systems to NATO and to Ukraine itself. The Atlantic's journalist Simon Schuster asked Papperger about Ukraine's domestically-produced drones — the cheap, mass-manufactured, daily-iterated weapons that have, by independent count, destroyed roughly two-thirds of Russia's tank fleet and account for 80 percent of all combat casualties on both sides of this war.----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformation----------ACTIVE CAMPAIGN:We are raising funds for 5 of 15 Vampire DronesSilicon Curtain for Kupiansk Vampires. Dzyga's Paw, together with Jonathan Fink, is joining forces to raise $40,000 to provide the Khartiia Brigade with Vampire Drones.https://dzygaspaw.com/silicon-curtain-for-kupiansk-vampiresThese heavy bombers are designed to destroy manpower and equipment, as well as for remote mining. The Vampire UAV, manufactured by Skyfall, has proven itself to be one of the most effective weapons in the Kupiansk direction. Skyfall is one of Ukraine's largest defense tech companies, producing Vampire bomber drones, various modifications of Shrike FPV drones, P1-SUN, Shahed drone interceptors, communication systems, and components.----------PLEASE HELP ME ME TO GROW SILICON CURTAINWe are planning our events for 2026, and to do more and have a greater impact. After achieving more than 12 events in 2025, we will aim to double that! 24 events and interviews on the ground in Ukraine, to push back against weaponized information, toxic propaganda and corrosive disinformation. Please help us make it happen!----------SOURCES: 1. The Atlantic — Simon Schuster interview with Armin Papperger (published Friday, late March 2026)France24 / AFP — "Rheinmetall addresses row over CEO's Ukraine 'housewives' comment" (29 March 2026) Euronews — "'Every housewife could be CEO of Rheinmetall': Zelenskyy hits back at German weapons boss" (30 March 2026)Ukrainska Pravda — "'Housewives' and 'Lego': Rheinmetall says it respects Ukraine after CEO's controversial remarks" (29 March 2026)Militarnyi — "Rheinmetall Apologizes for CEO's Comments About 'Ukrainian Housewives With 3D Printers'" (late March 2026) The Print — "More 'hits' than Rheinmetall ever — Ukraine drone manufacturer claps back at CEO's 'housewives' remark" (1 April 2026) Bull Source — "Social media backlash as Rheinmetall's Armin Papperger says Ukraine's drones are made by housewives" (April 2026) United24 Media — "Ukraine's New Point-Based Rewards System for Drone Operators Is Rewriting War Management from the Ground Up" (May 2025) United24 Media — "Ukraine Launches Combat E-Points System: Troops Can Now Redeem Kills for Drones and EW Kits" (10 July 2025) SOFREP — "Ukraine Launches Combat-Based Reward System to Equip Troops With Cutting-Edge Tech" (8 May 2025)----------

    Simon Elegant's City on Fire: A Novel of Hong Kong  John chats with writer and journalist Simon Elegant about his third novel, a crime thriller set during the Hong Kong protests of 2019. City on Fire is published by Pegasus Crime, an imprint of Simon & Schuster. The novel follows Inspector Killian Tong's investigation of a brutal murder against a backdrop of political chaos, police tensions, and also personal conflict – Killian's half-sister is a radical protester. John and Simon also discuss the background to the 2019 protests, including the National Security Law and the earlier 2014 Umbrella Movement. Among the books mentioned were: Manchu (1980) by Robert Elegant (a swashbuckling novel by Simon's father). Gorky Park (1981) by Martin Cruz Smith Among the Braves: Hope, Struggle, and Exile in the Battle for Hong Kong and the Future of Global Democracy (2023) by Shibani Mahtani & Timothy McLaughlin Simon's recommendations The Immobile Empire (French 1989, English 1992) by Alain Peyrefitte. This is on the 1973 Macartney mission to Peking. Apple in China (2025) by Patrick McGee, which explores Apple's deep entanglement with China's manufacturing system. Ginkgo Season (2025) by Naomi Xu Elegant, a coming-of-age novel set in Philadelphia. To learn more about Simon Elegant and his novel, visit the publisher's website at www.pegasusbooks.com  The Books on Asia Podcast is co-produced with Plum Rain Press. Podcast host Amy Chavez is author of The Widow, the Priest, and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island. and Amy's Guide to Best Behavior in Japan.The Books on Asia website posts book reviews, podcast episodes and episode Show Notes. Subscribe to the BOA podcast from your favorite podcast service. Subscribe to the Books on Asia newsletter to receive news of the latest new book releases, reviews and podcast episodes.

April 29, 2026 ~ Eli Newman, health reporter for Bridge Michigan and Simon Schuster, Capitol Reporter for Bridge Michigan joins Kevin to take a look at Michigan's healthcare system and what our gubernatorial candidates are saying about it ahead of the election. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

April 29, 2026 ~ Full Show: Kevin Dietz tackles a wide range of major stories, starting with legal and political fallout tied to an alleged COVID cover‑up with attorney and strategist Roshini Rajkumar. Congressman Tim Walberg recaps King Charles' address to Congress and its diplomatic significance, while Bridge Michigan reporters Eli Newman and Simon Schuster break down key health and policy developments inside Lansing. Former DOT Inspector General Mary Schiavo weighs in on the rise of electric air taxis and whether the technology is truly ready for passengers, attorney Steve Haney analyzes the NBA gambling scandal following its first guilty plea, and DraftKings analyst Julian Edlow breaks down Pistons odds and how betting lines have shifted throughout the series. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

A new book provides both a candid and humorous insights to help bridesmaids set boundaries, manage emotional and financial stress, and support their friends without losing themselves in the process. Ruhama Wolle, author and the style partnerships editor at The Cut, to discusses her book, I Hope You Elope: A Bridesmaid Survival Guide. Cover art courtesy of Simon & Schuster

This week we are digging into our broadcast archives to bring you an encore of an episode that is perfect in this 250th-annivesary year of the start of the American Revolution.Walter's guest is Dr. Woody Holton of the University of South Carolina, and they will be talking about Horton's book, Liberty is Sweet: The Hidden History of the American Revolution. (2021, Simon & Schuster).Liberty is Sweet has been described as a “deeply researched and bracing retelling” of the Revolution, which shows how the Founders were influenced by overlooked Americans—women, Native Americans, African Americans, and religious dissenters.

Scott Scovill shares his journey from a young man sneaking onto a U2 tour to a successful entrepreneur and leader in the entertainment industry. He discusses the importance of tenacity, character, and love in business and life, and offers insights into managing multiple companies, building a strong team, and pursuing dreams with relentless passion. His new book Tenacious: The Art of Relentlessly Pursuing Your Wildest Dreams, published by Simon & Schuster, is now available. Sound Bites: "I dropped everything to sneak onto the U2 tour" "The power in my life is tenacity"

In this episode of Capital for Good, we speak with John Fabian Witt, the Allen H. Duffy Class of 1960 Professor of Law at Yale Law School, a professor of history at Yale, and one of the country's most distinguished legal historians. The author of numerous award-winning books, including American Contagions: Epidemics and the Law from Smallpox to COVID-19 and Lincoln's Code: The Laws of War in American History, Witt joins us to discuss his latest, The Radical Fund: How a Band of Visionaries and a Million Dollars Upended America (Simon & Schuster, 2025). We begin with the genesis — of the Garland Fund and Witt's interest in writing about it. He explains that most histories of the Brown v. Board of Education Supreme Court case include mention of a "funny little foundation" that gave early support to the NAACP, launching the legal campaign that would culminate in the desegregation landmark. Witt discovered, however, that Brown was "just the tip of the iceberg." The Garland Fund — named for the young idealist Charles Garland, who at twenty-one refused a million-dollar inheritance — in fact had its fingerprints on a sweeping range of progressive movements in the United States that would shape American democracy. And Witt notes, the conditions of 1920s America that shaped the fund's creation — deep economic inequality, declining labor unions, surging ethno-nationalism, immigration backlash, threats to free speech — look "astonishingly like 2020s America." The fund would come to be known officially as the American Fund for Public Service.  We discuss the fund's three principal focus areas — labor, civil liberties, and civil rights — and the extraordinary cast assembled by inaugural director Roger Baldwin, founder of the ACLU, to govern it, including labor leader (and New Deal "industrial democracy" architect) Sidney Hillman; James Weldon Johnson of the NAACP; and editors from The Nation and The New Republic. We explore some of the initial tensions between the fund's labor and racial justice priorities, and the eventual fusion of the two via efforts like A. Philip Randolph's creation of the Brotherhood of Sleeping Car Porters, the all-Black union within the Pullman Car Company. Witt suggests that this marriage of civil rights and labor organizing — "working class solidarity across racial lines" — was a central contribution of the fund and its grantees. We also touch on the fund's intentionally unconventional approach to philanthropy. Conceived as a kind of "anti-Rockefeller Foundation," the Garland Fund had virtually no staff and was deeply conscious of the "paradox" of "using a Wall Street fortune to attack capitalism and inequality." Many of the fund's progressive investments failed, and others would take years to come to fruition, paying dividends in the newly "plastic" political landscape of the Great Depression.  We conclude with lessons for today from the Garland Fund's experience. Witt asks, if the industrial union was the unit "well suited to manage mass production capitalism" and therefore "responsible for a good deal of equalization of the American economy" for much of the 20th century — what is the 21st century equivalent. "What's going to connect people together and to their economic futures such that some kind of decent political coalition of people who feel the security sufficient to be good citizens can come out of it?" This episode of Capital for Good was recorded at a book talk hosted by the Open Society Foundations in New York. Mentioned in this Episode:  The Radical Fund: How a Band of Visionaries and a Million Dollars Upended America, (Simon & Schuster, 2025) Lincoln's Code: The Laws of War in American History, (Simon & Schuster, 2012) How to Save the American Experiment, (New York Times, 2025) NAACP CIO ACLU

Can Ketamine Help Benzodiazepine Withdrawal? - Melissa Bond & Dr. Amy de la Garza In this episode of The Psychedelic Podcast, Paul F. Austin speaks with Melissa Bond and Dr. Amy de la Garza about the hidden risks of benzodiazepines, the reality of dependency, and what recovery can require. Find full show notes and links here: https://thethirdwave.co/podcast/episode-350/?ref=278  Melissa shares her experience of becoming dependent on prescribed medication, and the physical and emotional challenges of withdrawal. Dr. de la Garza brings a clinical perspective, explaining how benzodiazepines affect the nervous system and why withdrawal can be prolonged and destabilizing. The conversation also looks at where conventional care often falls short, and how more integrative approaches are beginning to emerge. This includes the use of low-dose ketamine as a potential tool to support the nervous system during withdrawal, particularly in more complex or prolonged cases. Melissa Bond is a narrative journalist and poet. Her memoir Blood Orange Night, which chronicles her experience with benzodiazepine dependency, was published by Simon & Schuster and recognized by The New York Times as one of the best audiobooks of 2022. Her work has appeared on PBS, The New York Times Podcast, RadioWest, and TEDx. Dr. Amy de la Garza is a board-certified physician in Family and Addiction Medicine, a certified Functional Medicine practitioner, and co-founder of Nosis Health, a virtual outpatient addiction medicine platform. Her work integrates functional, lifestyle, and emerging therapies, including ketamine-assisted treatment, to support recovery. Highlights: Melissa Bond's experience with benzodiazepine dependency and withdrawal How prescribed use can gradually lead to physical dependence Why benzodiazepine withdrawal can be prolonged and destabilizing The neurological effects of benzodiazepines on the nervous system Gaps in conventional approaches to anxiety and addiction treatment The role of functional and lifestyle medicine in recovery How low-dose ketamine is being explored to support withdrawal What a more integrative, whole-person model of care can look like Episode Links: Melissa's memoir, "Blood Orange Night" Dr. Amy de la Garza's Website Nosis.health Episode Sponsors: The Microdosing Practitioner Certification at Psychedelic Coaching Institute. The Practitioner Certification Program by Third Wave's Psychedelic Coaching Institute. Golden Rule - Get a lifetime discount of 10% with code THIRDWAVE at checkout Disclaimer: This content is for educational, informational, and entertainment purposes only. We do not promote or encourage the illegal use of any controlled substances. Nothing said here is medical or legal advice. Always consult a qualified medical or mental health professional before making decisions related to your health. The views expressed herein belong to the speaker alone, and do not reflect the views of any other person, company, or organization. Third Wave occasionally partners with or shares information about other people, companies, and/or providers. While we work hard to only share information about ethical and responsible third parties, we can't and don't control the behavior of, products and services offered by, or the statements made by people, companies, or providers other than Third Wave. Accordingly, we encourage you to research for yourself, and consult a medical, legal, or financial professional before making decisions in those areas. Third Wave isn't responsible for the statements, conduct, services, or products of third parties. If we share a coupon code, we may receive a commission from sales arising from customers who use our coupon code. No one is required to use our coupon codes.

To kick off National Poetry Month, former poet laureate Ada Limón discusses her new book, Against Breaking: On the Power of Poetry, and listeners share what poetry means to them. Cover courtesy of Simon & Schuster

Join hosts J.D. Barker, Christine Daigle, Jena Brown, JP Rindfleisch, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about Amazon categories, Spotify, and Simon & Schuster's new CEO. Then, stick around for a chat with J.R. Thornton! J.R. Thornton is a writer and the author of two novels, Beautiful Country, and Lucien. Born in London, UK, J. R. graduated from Harvard College in 2014, where he studied history, English, and Chinese. An internationally ranked junior tennis player, he later competed for Harvard and on the men's professional circuit. Shortly after graduating from Harvard, J. R. published his first novel, Beautiful Country, loosely inspired by experiences he had living in Beijing as a teenager. The novel became a best-seller in China, and the film rights were subsequently purchased by WME/IMG. J. R. returned to China in 2016 as a member of the inaugural class of Schwarzman Scholars, earning an M.A. from Tsinghua University. He speaks Chinese and Italian, and lives in Milan, where he works for AC Milan. Lucien is his second novel. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Get Dr. Vonda's latest insights on strength, bone health, longevity, and aging with power delivered straight to your inbox. Join her free health & longevity newsletter here: https://www.drvondawright.com/resources/aging-longevity What if the single most powerful window to shape your child's lifelong health isn't in the pediatrician's office, it's in the nine months before they're even born? In this episode, I sit down with Jessie Inchauspé, the French biochemist and NYT bestselling author known worldwide as the Glucose Goddess, to explore her groundbreaking new book Nine Months That Count Forever and why pregnancy nutrition is the most underestimated conversation in medicine today. What we cover: - How four pillars of pregnancy nutrition: choline, protein, omega-3s, and glucose control actively shape your baby's brain and metabolic health. - Why 90% of pregnant mothers lack enough choline, and how this egg yolk nutrient shapes your baby's brain cells and cognitive performance. - How glucose spikes pass to your baby in utero, programming greater vulnerability to obesity and diabetes for life. - Why building muscle before pregnancy protects both mother and baby from excessive blood sugar spikes. - What to do when first-trimester nausea strikes, and why one extra egg yolk a day can still make a difference.   About Jessie Inchauspe: Jessie Inchauspé is a French biochemist, founder, and international bestselling author. She has devoted her career to translating cutting-edge science into easy tips to help people improve their physical and mental health. Through her books Glucose Revolution and The Glucose Goddess Method, which have sold over 3 million copies in 43 languages, she has reshaped the global conversation around blood sugar. Nine Months That Count Forever, her latest, breaks down the complex topic of pregnancy nutrition. Jessie is the founder of the wildly popular social community @GlucoseGoddess, where she reaches over seven million people across platforms. She holds a BSc in mathematics from King's College, London, and an MSc in biochemistry from Georgetown University. Connect with Jessie Inchauspe: Website: https://www.glucosegoddess.com/pages/9-months-that-count-forever Instagram: https://www.instagram.com/glucosegoddess/ ▶️Jessie's new YouTube series on "What I (Glucose Goddess) Eat in a Day: Pregnancy Edition", a preview of what is to come in her new book.

On February 28, 2026, Ali Khamenei was assassinated. He was killed in a joint American and Israeli airstrike, in a bunker so deep the elevator took five minutes to reach it, at a meeting with senior advisers whose location intelligence services had tracked for months. The infrastructure that made this targeted assassination possible—the human networks engaged in the patient penetration of one of the most hostile intelligence environments on earth—had been built over more than two decades. Today, Yonah Jeremy Bob joins Mosaic's editor Jonathan Silver to delve into how the Mossad build that infrastructure. Bob is the senior military and intelligence analyst for the Jerusalem Post and has deep access to the Israeli intelligence community. His book Target Tehran, co-authored with Ilan Evyatar and published by Simon & Schuster in 2023, was named a top book of the year by the Wall Street Journal. When Prime Minister Netanyahu was photographed in his war room during Operation Midnight Hammer in June 2025, a copy of Target Tehran was visible on the table in front of him. Bob also has a forthcoming book with the Wall Street Journal's Elliot Kaufman, titled In the War Room: The Inside Story of Israel's Fight Against Hamas and the Iranian Axis. Before the airstrikes, there was a decades-long effort to recruit agents inside the nuclear program, to infiltrate Iran's supply chains, and to track and, when necessary, to assassinate the Iranian officials and weapons producers who posed the greatest threat to Israel and America. This episode examines three operations in depth—the 2018 theft of Iran's nuclear archive, the assassination of the weapons-program chief Mohsen Fakhrizadeh, and the infiltration of the supply chain for the Natanz nuclear complex—and asks what Israeli human intelligence is contributing to Operations Roaring Lion and Epic Fury. This episode of the Tikvah Podcast is generously sponsored by Dr. Michael Schmerin and Family. If you are interested in sponsoring an episode of the Tikvah Podcast, we invite you to join the Tikvah Ideas Circle. Visit tikvah.org/circle to learn more and join.

This spring, I'm going to try a small experiment: a live studio for writers actively building a novel, where I'll read your opening pages and we'll work on them together, live.____Atelier Skye: The Studio for Serious NovelistsHere's what this will look like:Twelve novelists. Six Saturdays. Live sessions. Direct developmental critique.No recordings. No passive consumption. A working studio.This studio is designed for writers who:* Are actively drafting a novel* Have 8–10 strong opening pages ready* Want developmental-level critique* Care about both craft and industry positioning* Take their work seriouslyThis is not an introductory writing class.It is a professional room.REGISTER here: https://buy.stripe.com/fZu5kCgtd5PY1nV1Fs8EM00Enrollment is first come, first served until the atelier reaches 12 writers.About the Studio Lead:I'm Evelyn Skye, a New York Times bestselling novelist and the author of eleven books, published by major houses including Penguin Random House, Simon & Schuster, HarperCollins, Macmillan, and Disney, and translated into sixteen languages worldwide. I have also written for Netflix in a literary-film collaboration starring Millie Bobby Brown, Angela Bassett, and Robin Wright.My work has been featured in PEOPLE, Newsweek, The Hollywood Reporter, CBS New York, The Morning Blend on NBC, The Mirror, Woman's World Magazine, South China Morning Post, Book Riot, PopSugar, Bustle, Psychology Today, Mochi Magazine, and more.I've been a featured speaker and guest of honor around the world—at the Festival du Livre de Paris, the Danish Fantasy Festival, San Diego Comic Con, Emerald City Comic Con, and more. I have a Bachelor's degree in Russian literature from Stanford University and a J.D. from Harvard Law School.Over the past decade, I've developed a deep understanding of what makes a manuscript not only compelling on the page, but viable in the marketplace.In this studio, I bring that experience directly to your opening pages.More details about the studio at:https://www.creativeinspiredalive.com/p/the-studio-for-serious-novelists-writing-workshop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.creativeinspiredalive.com/subscribe

How can trauma become a catalyst for creative transformation? What lessons can indie authors learn from the music industry's turbulent journey through technological disruption? With Jack Williamson. In the intro, Why recipes for publishing success don't work and what to do instead [Self-Publishing with ALLi Podcast]; Why your book isn't selling: metadata [Novel Marketing Podcast]; Creating a successful author business [Fantasy Writers Toolshed Podcast]; Bones of the Deep – J.F. Penn. 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 Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. 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 Finding post-traumatic growth and meaning after bereavement, and using tragedy as a catalyst for creative transformation Why your superpower can also be your Achilles heel, and how indie authors can overcome shiny object syndrome Three key lessons from the music industry: embracing change, thinking creatively about marketing, and managing pressure for better creativity The A, B, C technique for PR interviews and why marketing is storytelling through different mediums How to deal with judgment and shame around AI in the author community by understanding where people sit on the opinion-belief-conviction continuum Three AI developments coming from music to publishing: training clauses in contracts, one-click genre adaptation, and licensed AI-generated video adaptations You can find Jack at JackWilliamson.co.uk and his fiction work at ABJackson.com. Transcript of the interview with Jack Williamson Jo: Jack Williamson is a psychotherapist, coach, and bestselling author who spent nearly two decades as a music industry executive. He's the founder of Music & You, his latest nonfiction book is Maybe You're The Problem, and he also writes romance under A.B. Jackson. Welcome to the show. Jack: Thank you so much for having me, Jo. It's a real honour to be on your podcast after listening all of these years. Jo: I'm excited to talk to you. We have a lot to get into, but first up— Tell us a bit more about you and why get into writing books after years of working in music. Jack: I began my career at the turn of the millennium, basically, and I worked for George Michael and Mariah Carey's publicist, which I'm sure you can imagine was quite the introduction to the corporate world. From there I went on to do domestic and international marketing for a load of massive artists at Universal, so the equivalent of the top five publishers in the publishing world that we all work in. Then from there I had a bit of a challenge. In December 2015, I lost my brother, unfortunately to suicide. For any listener or any person that's gone through a traumatic event, it can really make you reassess everything, make you question life, make you question your purpose. When I went through that, I was thinking, well, what do I want to do? What do I want out of life? So I went on this journey for practically the next ten years. I retrained to be a psychotherapist. I created a bucket list—a list of all the things that I thought maybe my brother would've wanted to do but didn't do. One of the things was scatter his ashes at the Seven Wonders of the world. Then one of the items on my bucket list was to write a book. The pandemic hit. It was a challenge for all of us, as you've spoken about so much on this wonderful podcast. I thought, well, why not? Why not write this book that I've wanted to write? I didn't know when I was going to do it because I was always so busy, and then the pandemic happened and so I wrote a book. From there, listening to your wonderful podcast, I've learned so much and been to so many conferences and learned along the way. So now I've written five books and released three. Jo: That's fantastic. I mean, regular listeners to the show know that I talk about death and grief and all of this kind of thing, and it's interesting that you took your brother's ashes to the Seven Wonders of the world. Death can obviously be a very bad, negative thing for those left behind, but it seems like you were able to reframe your brother's experience and turn that into something more positive for your life rather than spiralling into something bad. So if people listening are feeling like something happens, whether it's that or other things— How can we reframe these seemingly life-ending situations in a more positive way? Jack: It is very hard and there's no one way to do it. I think as you always say, I never want to tell people what to do or what to think. I want to show them how to think and how they can approach things differently or from a different perspective. I can only speak from my journey, but we call it in therapeutic language, post-traumatic growth. It is, how do you define it so it doesn't define you? Because often when you have a bereavement of a loved one, a family member, it can be very traumatic, but how can you take meaning and find meaning in it? There's a beautiful book called Man's Search for Meaning, and the name of the author escapes me right now, but he says— Jo: Viktor Frankl. Jack: Yes. Everyone quotes it as one of their favourite books, and one of my favourite lines is, “Man can take everything away from you, apart from the ability to choose one thought over the other.” I think it's so true because we can make that choice to choose what to think. So in those moments when we are feeling bad, when we're feeling down, we want to honour our feelings, but we don't necessarily want to become them. We want to process that, work through, get the support system that we need. But again, try to find meaning, try to find purpose, try to understand what is going on, and then pay it forward. Irrespective of your belief system, we all yearn for purpose. We all yearn for being connected to something bigger than ourselves. If we can find that through bereavement maybe, or through a traumatic incident, then hopefully we can come through the other side and have that post-traumatic growth. Jo: I love that phrase, post-traumatic growth. That's so good. Obviously people think about post-traumatic anything as like PTSD—people immediately think a sort of stress disorder, like it's something that makes things even worse. I like that you reframed it in that way. Obviously I think the other thing is you took specific action. You didn't just think about it. You travelled, you retrained, you wrote books. So I think also it's not just thinking. In fact, thinking about things can sometimes make it worse if you think for too long, whereas taking an action I think can be very strong as well. Jack: Ultimately we are human beings as opposed to human doings, but actually being a human doing from time to time can be really helpful. Actually taking steps forward, doing things differently, using it as a platform to move forward and to do things that maybe you didn't before. When you are confronted with death, it can actually make you question your own mortality and actually question, am I just coasting along? Am I stuck in a rut? Could I be doing something differently? One of the things that bereavement, does is it holds a mirror up to ourselves and it makes us question, well, what do we want from our life? Are we here to procreate? Are we here to make a difference? Some of us can't procreate, or some of us choose not to procreate, but we can all make a difference. And it's, how do we do that? Where do we do that? When do we do that? Jo: That's interesting. I was thinking today about service and gratitude. I'm doing this Master's and I was reading some theology stuff today, and service and gratitude, I think if you are within a religious tradition, are a normal part of that kind of religious life. Whether it's service to God and gratitude to God, or service and gratitude to others. I was thinking that these two things, service and gratitude, can actually really help reframe things as well. Who can we serve? As authors, we're serving our readers and our community. What can we be grateful about? That's often our readers and our community as well. So I don't know, that helped me today—thinking about how we can reframe things, especially in the world we're in now where there's a lot of anger and grief and all kinds of things. Jack: That's what we've got to look at. We are here to serve. Again, that can take different shapes, different forms. Some of us work in the service industry. I provide a service as a psychotherapist, you serve your listeners with knowledge and information that you gather and dispense through the research you do or the guests you have on. We serve readers of the different genres that we write in. It's what ways can we serve, how can we serve? Again, I think we all, if we can and when we can, should pay it forward. Someone said this to me once in the music industry: be careful who you meet on the way up and how you treat them on the way up, because invariably you'll meet them on the way down. So if you can pay forward that kindness, if you can be kind, considerate, and treat people how you want to be treated, that is going to pay dividends in the long run. It may not come off straight away, but invariably it will come back to you in some way, shape, or form in a different way. Jo: I've often talked about social karma and karma in the Hindu sense—the things that you do come back to you in some other form. Possibly in another life, which I don't believe. In terms of, I guess, you didn't know what was going to happen to your brother, and so you make the most of the life that we have at the moment because things change and you just don't know how things are going to change. You talk about this in your book, Maybe You're The Problem, which is quite a confronting title. So just talk about your book, Maybe You're The Problem, and why you wrote that. Put it into context with the author community and why that might be useful. Jack: Thank you for flagging my book. I intentionally crossed out “maybe” on the merchandise I did as well, because in essence, we are our own problem. We can get in the way, and it's what happened to us when we grew up wasn't our fault, but what we do with it is our responsibility. We may have grown up in a certain period or a climate. We didn't necessarily choose to do that, but what we do with that as a result is up to us. So we can stay in our victimhood and we can blame our parents, or we can blame the generation we are in, or we can blame the city, the location—however, that is relinquishing your power. That is staying in a victim mindset rather than a survivor or a thriver mindset. So it's about how can we look at the different areas in our life. Whether that is conflict, whether that is imposter syndrome, whether that is the generation we're born into. We try to understand how that has shaped us and how we may be getting in our own way to stop us from growing, to stop us from expanding, and to see where our blind spots are, our limitations are, and how that may impact us. There's so much going on in the moment in the world, whether that is in the digital realm, whether that is in the geo-climate that we're in at the moment. Again, that's going to bring up a lot for us. How can we find solutions to those problems for us so that we continue to move forward rather than be restricted and hindered by them? Jo: Alright. Well let's get into some more specifics. You have been in the author community now for a while. You go to conferences and you are in the podcast community and all this kind of thing. What specific issues have you seen in the author community? Maybe around some of the things you've mentioned, or other things? How might we be able to deal with those? Jack: With authors, I think it is such a wonderful and unique industry that I have an honour and privilege of being a part of now. One of the main things I've learned is just how creative people are. Coming from a creative industry like the music industry, there is a lot of neurodivergence in the creative industries and in the author community. Whether that is autism, whether that is ADHD—that is a real asset to have as a superpower, but it can be an Achilles heel. So it's understanding—and I know that there is an overexposure of people labelling themselves as ADHD—but on the flip side to that, it's how can we look at what's going on for us? For ADHD, for example, there's a thing called shiny object syndrome. You've talked about this in the past, Joanna, where it's like a new thing comes along, be it TikTok, be it Substack, be it bespoke books, be it Shopify, et cetera. We can rush and quickly be like, “oh, let me do this, let me do that,” before we actually take the time to realise, is this right for me? Does this fit my author business? Does this fit where I'm at in my author journey? I think sometimes as authors, we need to not cave in to that shiny object syndrome and take a step back and think to ourselves, how does this serve me? How does this serve my career? How does this work for me if I'm looking at this as a career? If you're looking at it as a hobby, obviously it's a different lens to look through, but that's something that I would often make sure that we look at. One of the other things that really comes up is that in order for any of us to address our fears and anxieties, we need to make sure that we feel psychologically safe and to put ourselves in spaces and places where we feel seen, heard, and understood, which can help address some of the issues that I've just mentioned. Being in that emotionally regulated state when we are with someone we know and trust—so taking someone to a conference, taking someone to a space or a place where you feel that you can be seen, heard, and understood—can help us and allow us to embrace things that we perceive to be scary. That may be finding an author group, finding an online space where you can actually air and share your thoughts, your feelings, where you don't feel that you are being judged. Often it can be quite a judgmental space and place in the online world. So it's just finding your tribe and finding places where you can actually lean into that. So there'd be two things. Jo: I like the idea of the superpower and the Achilles heel because I also feel this when we are writing fiction. Our characters have strengths, but your fatal flaw is often related to your strength. Jack: Yes. Jo: For example, I know I am independent. One of the reasons I'm an independent author is because I'm super independent. But one of my greatest fears is being dependent. So I do lots of things to avoid being dependent on other people, which can lead me to almost damage myself by not asking for help or by trying to make sure that I control everything so I never have to ask anyone else to do something. I'm coming to terms with this as I get older. I feel like this is something we start to hit—I mean, as a woman after menopause—is this feeling of I might have to be dependent on people when I'm older. It's so interesting thinking about this and thinking— My independence is my strength. How can it also be my weakness? So what do you think about that? You're going to psychotherapist me now. Jack: I definitely won't, but it's interesting. Just talking about that, we all have wounds and we all have the shadow, as you've even written about in one of your books. And it's how that can come from a childhood wound where it's like we seek help and it's not given to us. So we create a belief system where I have to do everything myself because no one will help me. Or we may have rejection sensitivity, so we reject ourselves before others can reject us. So it's actually about trying, where we can, to honour our truths, honour that we may want to be independent, for example, but then realising that success leaves clues. I always say that if you are independent—and I definitely align a hundred percent with you, Joanna—I've had to work really hard myself in personal therapy and in business and life to realise that no human is an island and we can't all do this on our own. Yes, it's amazing with the AI agents now that can help us in a business capacity, but having those relationships that we can tap into—like you mentioned all of the people that you tap into—it's so important to have those. I always say that it's important to have three mentors: one person that's ahead of you (for me, that would be Katie Cross because she's someone that I find is an amazing author and we speak at least once a month); people that are at the same level as you that you can go on the journey together with (and I have an author group for that); and then someone that is perceived to be behind you or in a younger generation than you, because you can learn as much from them as they can learn from you. If you can actually tap into those people whilst honouring your independence, then it feels like you can still go on your own journey, but you can tap in and tap out as and when needed. Sacha Black will give you amazing insights, other people like Honor will give you amazing insights, but you can also provide that for them. So there's that safety of being able to do it on your own. But on the flip side, you still have those people that you can tap into as and when necessary as a sounding board, as information on how they were successful, and go from there. Jo: No, I like that. If you're new to the show, Sacha Black and Honor Raconteur have been on the show and they are indeed some of my best friends. So I appreciate that. I really like the idea of the three mentor idea. I just want to add to that because I do think people misunderstand the word mentor sometimes. You mentioned you speak to Katie Cross, but I've found that a lot of the mentors that I've had who are ahead of me have often been books. We mentioned the Viktor Frankl book, and if people don't know, he was Jewish and in the concentration camps and survived that. So it's a real survivor story. But to me, books have been mostly my mentors in terms of people who are ahead of me. We don't always need to speak to or be friends with our mentors. I think that's important too, right? Because I just get emails a lot that say, “Will you be my mentor?” And I don't think that's the point. Jack: Oh, I a hundred percent agree with you. If you don't have access to those mentors—like Oprah Winfrey is one of the people that I perceive as a mentor—I listen to podcasts, I read her books, I watch interviews. There is a way to absorb and acquire that information, and it doesn't have to be a direct relationship with them. It is someone that you can gain the knowledge and wisdom that they've imparted in whatever form you may consume it. Which is why I think it is important to have those three levels: that one that is above you that may be out of reach in terms of a human connection, but you can still access; then the people at the same level as you that you can have those relationships and grow with; and again, that one behind that you can help pave the way for them, but also learn from them as well. So a hundred percent agree that that mentor that you are looking for that may be ahead of you doesn't necessarily need to be someone that is in a real-world relationship. Jo: So let's just circle back to your music industry experience. You mentioned being on the sort of marketing team for some really big names in music, and I mean, it's kind of a sexy job really. It just sounds pretty cool, but of course the music industry has just as many challenges as publishing. What did you learn from working in the music industry that you think might be particularly useful for authors? Jack: The perception of reality was definitely a lot different. It does look sexy and glamorous, but the reality is similar to going to conferences. It's pretty much flight, hotel, and dark rooms with terrible air conditioning that you spend a lot of time in. So sorry to burst the illusion. But I mean, it does have its moments as well. There is so much I've learned over the years and there's probably three things that stand out the most. The first one was I entered the industry right at the height of the music industry. In 2000, 2001. That was when Napster really exploded and it decimated the music industry. It wiped half the value in the space of four years. Then the music industry was trying to shut it down, throwing legal, throwing everything at it, but it was like whack-a-mole. As soon as one went down such as Napster, ten others popped up like Kazaa. So you saw that the old guard wasn't willing to embrace change. They weren't willing to adapt. They assumed that people wanted the formats of CDs, vinyls, cassettes, and they were wrong. Yes, people wanted music, but they actually wanted the music. They didn't care about the format, they just wanted the access. So that was one of the really interesting things that I learned, because I was like, you have to embrace change. You can't ignore it. You can't push it away, push it aside, because it's coming whether you like it or not. I think thankfully the music industry has learned as AI's coming, because now you have to embrace it. There's a lot of legal issues that have been going on at the moment with rights, which you've covered about the Anthropic case and so on. It's such a challenge, and I just think that's the first one. The second one I learned was back in 2018. There was an artist I worked on called Freya Ridings. At that time I was working at an independent record label rather than one of the big three major record labels. She had great songs and we were up against one of the biggest periods of the year and trying to make noise. At the time, Love Island was the biggest TV show on, and everyone wanted to be on it in terms of getting their music synced in the scenes. We were just like, we are never going to compete. So we thought, we need to be clever here. We need to think differently. What we did is we found out what island the show was being recorded on, and we geo-targeted our ads just to that island because we knew the sync team were going to be on there. So we just went hard as nails, advertised relentlessly, and we knew that the sync people would then see the adverts. As a result of that, Freya got the sync. It became the biggest song that season on Love Island, back when it was popular. As a result of that, we built from there. We were like, right, we can't compete with the majors. We have to think differently. We need to do things differently. We need to be creative. It wasn't an easy pathway. That year there were only two other songs that were independent that reached the top 10. So we ended up becoming a third and the biggest song that year. The reason I'm saying that is we can't compete with the major publishers. But the beauty of the independent author community is because we have smaller budgets—most of us, not all of us, but most of us—we have to think differently. We have to make our bang for our buck go a lot further. So it's actually— How can we stay creative? How can we think differently? What can we do differently? So that would be the second thing. Then the third main lesson that I learned, and this is more on the creative side, is that pressure can often work against you, both in a business sense, but especially creativity. I've seen so many artists over the years have imposed deadlines on them to hand in their albums, and it's impacted the quality of their output. Once it's handed in, the stress and the pressure is off, and then you realise that actually those artists end up creating the best material that they have, and then they rush to put it on. Whether that's Mariah Carey's “We Belong Together,” Adele with her song “Hello,” Taylor Swift did the same with “Shake It Off”—they're just three examples. The reason is that pressure keeps us in our beta brainwave state, which is our rational, logical mind. For those of us that are authors that are writing fiction, or even if we are creating stories in our nonfiction work to deliver a point, we need to be in that creative mindset. So we need to be in the alpha and the gamma brain state. Because our body works on 90-minute cycles known as our ultradian rhythm, we need to make sure that we honour our cycle and work with that. If we go past that, our creativity and our productivity is going to go down between 60% and 40% respectively. So as authors, it's important—one, to apply the right amount of pressure; two, to work in breaks; and three, to know what kind of perspective we're looking at. Do we need to be rational and logical, or do we need to be creative? And then adjust the sails accordingly. Jo: That's all fantastic. I want to come back on the marketing thing first—around what you did with the strategic marketing there and the targeted ads to that island. That's just genius. I feel like a lot of us, myself included, we struggle to think creatively about marketing because it's not our natural state. Of course, you've done a lot of marketing, so maybe it comes more naturally to you. I think half the time we don't even use the word creative around marketing, when you're not a marketeer. What are some ways that we can break through our blocks around marketing and try to be more creative around that? Jack: I would challenge a lot of authors on that presumption, because as authors we're in essence storytellers, and to tell a story is creative. There's a great quote: “One death is a tragedy. A thousand deaths is a statistic.” If you can create a story, a compelling narrative about a death in the news, it's going to pull at the heartstrings of people. It's going to really resonate and get with them. Whereas if you are just quoting statistics, most people switch off because they become desensitised to it. So I think because we can tell stories, and that's the essence of what we do, it's how can we tell our story through the medium of social media? How can we tell a story through our creative ads that we then put out onto Facebook or TikTok or whatever platform that we're putting them out—BookBub, et cetera? How can we create a narrative that garners the attention? If we are looking at local media or traditional media, how can we do that? How can we get people to buy in to what we're selling? So it's about having different angles. For me with my new romance book, Stolen Moments, one of the stories I had that really has helped me get some coverage and PR is we recorded the songs next door to the Rolling Stones. Now that was very fortunate timing, very fortunate. But everyone's like, “Oh my God, you recorded next door to the Rolling Stones?” So it's like, well, how can you bring in these creative nuggets that help you to find a story? Again, marketing is in essence telling a story, albeit through different mediums and forms. So it's just how can you package that into a marketable product depending on the platform in which you're putting it out on. Jo: I think that's actually hilarious, by the way, because what you hit on there, as someone with a background in marketing, your story about “we recorded an album for the book next door to the Rolling Stones”—it's got nothing to do with the romance. Jack: Oh, the romance is that the pop star in the book writes and records songs. Jo: Yes, I realised that. But the fact is— For doing things like PR, it's the story behind the story. They don't care that you've written a romance. Jack: Yes. Jo: They're far more interested in you, the author, and other things. So I think what you just described there was a kind of PR hook that most of us don't even think about. Jack: I'm sure a lot of authors already know this, so it's a good reminder, and if you don't, it's great. It's called the A, B, C technique. When you get asked a question, you Answer the question. So that's A. You Build a bridge, and then you go to C, which is Covering one of your points. So whenever you get asked a question, have a list of things you want to get across in an interview. Then just make sure that you find that bridge between whatever the question is to cover off one of your points, and that's how you can do it. Because yes, you may be selling a story, like I said, about writing the songs, but then you can bridge it into actually covering and promoting whatever it is you're promoting. So I think that's always quite helpful to remember. Jo: Well, that's a good tip for things like coming on podcasts as well. I've had people on who don't do what you just mentioned and will just try and shoehorn things in in a more deliberate fashion, whereas other people, as you have just done with your romance there, bring it in while answering a question that actually helps other people. So I think that's the kind of thing we need to think about in marketing. Okay, so then let's come back to the embracing change, and as you mentioned, the AI stuff that's going on. I feel like there's so many “stories” around AI right now. There's a lot of stories being told on both sides—on the positive side, on the negative side—that people believe and buy into and may or may not be true. There's obviously a lot of anger. There's, I think, grief—a big thing that people might not even realise that they have. Can you talk about how authors might deal with what's coming up around the technological change around AI, and any of your personal thoughts as well? Jack: I was thinking about this a lot recently. I mean, I guess everyone is in their own ways and forms. One of the things that came up for me is we have genre expectations and we have generation expectations. When we look at genres, you will have different expectations from different genres. For romance, they want a happily ever after or a happy for now. For cosy mysteries, they expect the crime to be solved. So we as authors make sure we endeavour to meet those expectations. The challenge is that if we are looking at AI, we are all in our own generations. We might be in slightly different generations, but there are going to be different generation expectations from the Alpha generation that's coming up and the Beta generation that's just about to start this year or next year because they're going to come into the world where they don't know any different to AI. So they will have a different expectation than us. It will just be normal that there will be AI agents. It will just be normal that there are AI narrators. It will be normalised that AI will assist authors or assist everyone in doing their jobs. So again, it is a grieving period because we can long for what was, we can yearn for things that worked for us that no longer work for us—whether it's Facebook groups, whether it's the Kindle Rush. We can mourn the loss of that, but that's not coming back. I mean, sometimes there may be a resurgence, but essentially, we've got to embrace the change. We've got to understand that it's coming and it's going to bring up a lot of different emotions because you may have been beholden to one thing and you may be like, yes, I've now got my TikTok lives, and then all of a sudden TikTok goes away. I know Adam, when he was talking about it, he'll just find another platform. But there'll be a lot of people that are beholden to it and then they're like, what do I do now? So again, it's never survival of the fittest—it's survival of the most adaptable. I always use this metaphor where there are three people on three different boats. A storm comes. And the first, the optimist, is like, “Oh, it'll pass,” and does nothing. The pessimist complains about the storm and does nothing. But the realist will adjust the sails and use the storm to find its way to the other side, to get through. It's not going to be easy, but they're actually taking change and making change to get to where they need to go, rather than just expecting or complaining. I get it. We are not, and I hate the expression, “we're all in the same boat.” I call bleep on that. I'm not going to swear. We're not all in the same boat. We're all in the same storm, but different people are going through different things. For some, they can adjust and adapt really quickly like a speedboat. For others, they may be like Jack and Rose in the Titanic on that terrible prop where they're clinging to dear life and trying to get through the storm. So it's about how do I navigate this upcoming storm? What can I do within my control to get through the storm? For some it may be easier because they have the resources, or for some of us that love learning, it's easy to embrace change. For others that have a fear mindset and it's like, “Oh, something new, it's scary, I don't want to embrace it”—you are going to take longer. So you may not be the speedboat, but at some point we are going to have to embrace that change. Otherwise we're going to get left behind. So you need to look at that. Jo: The storm metaphor is interesting, and being in different boats. I feel I do struggle. I struggle with people who suddenly seem to be discovering the storm. I've been talking about AI now since 2016. That's a decade. Jack: Yes. Jo: Even ChatGPT has been around more than three years, and people come to me now and they're talking about stories that they've seen in the media that are just old now. Things have moved on so much. I feel like maybe I was on my boat and I looked through my telescope and I saw the storm. I've been talking about the storm and I've had my own moments of being in the middle of the storm. Now I definitely do struggle with people who just seem to have arrived without any knowledge of it before. I oscillate between being an optimist and a realist. I think I'm somewhere between the two, probably. But I think what is driving me a little crazy in the author community right now is judgment and shame. There are people who are judging other people, and there's shame felt by AI-curious or AI-positive people. So I want to help the people who feel shame in some way for trying new technology, but they still feel attacked. Then those people judge other authors for their choices to use technology. So how do you think we can deal with judgment and shame in the community? Which is a form of conflict, I guess. Jack: Of course. I think with that, there's another great PR quote: “If it bleeds, it leads.” Especially in this digital age, there's a lot of clickbait. So the more polarising, the more emotion-evoking the headline, the more likely you are to engage with that content—whether that is reading it or whether that's posting or retweeting, or whatever format you are consuming it on. So unfortunately, media has now become so much more polarising. It's dividing us rather than uniting us. So people are going to have stronger positions. There's so much even within this to look at. One is, you have to work out where people are on the continuum. Do they have an opinion on AI? Do they have a belief? Or do they have a conviction? Now you're not going to move someone that has a conviction about something, so it's not worth even engaging with them because they're immovable. Like they say, you shouldn't talk about sports, politics, and religion. There are certain subjects that may not be worth talking about, especially if they have a conviction. Because they may not even be able to agree to disagree. They may not be willing or able to hear you. So first and foremost, it's about understanding, well, where are those people sitting on the continuum of AI? Are they curious? Do they have an opinion, but they're open to hearing other opinions? Do they have a belief that could be changed or evolved if they find more information? That's where I think it is. It's not necessarily our jobs—even though you do an amazing job of it, Joanna—but a lot of people are undereducated on these issues or these new technologies. So in some cases it's just a case of a lack of education or them being undereducated. Hopefully in time they will become more and more educated. But again, it's how long is a piece of string? Will people catch up? Will they stay behind? Are they fearful? I guess because of social media, because of the media, as they say, if you can evoke fear in people, you can control them. You can control their perspectives. You can control their minds. So that's where we see it—a lot of people are operating from a fear mindset. So then that's when they project their vitriol in certain cases. If people want to believe a certain thing, that's their choice. I'm not here to tell people what to think. Like I said earlier, it's more about how to think. But I would just encourage people to find people that align with you. Do a sense test, like a litmus test, to find where they sit on the continuum and engage with those people that are open and have opinions or beliefs. But shy away or just avoid people that have convictions that maybe are the polar opposite of yours. Jo: It's funny, isn't it? We seem to be in a phase of history when I feel like you should be able to disagree with people and still be friends. Although, as you mentioned, there's certain members of my family where we just stay on topics of TV shows and movies or music, or what books are you reading? Like, we don't go anywhere near politics. So I do think that might be a rule also with the AI stuff. As you said, find a community, and there are plenty of AI-positive spaces now for people who do want to talk about this kind of stuff. I also think that, I don't know whether this is a tipping point this year, but certainly— I know people who are in bigger corporates where the message is now, “You need to embrace this stuff. It is now part of your job to learn how to use these AI tools.” So if that starts coming into people's day jobs, and also people who have, I don't know, kids at school or people at university who are embracing this more—I mean, maybe it is a generational thing. Jack: Yes. Look, there were so many people that were resistant to working from home, or corporations that were, and then the pandemic forced it. Now everyone's embraced it in some way, shape, or form. I mean, there are people that don't, but the majority of people—when something's forced on you, you have to adapt. So again, if those things are implemented in corporations, then you're going to see it. I'm seeing so many amazing new things in AI that have been implemented in the music industry that we'll see in the publishing industry coming down the road. That will scare a lot of people, but again, we have to embrace those things because they're coming and there's going to be an expectation—especially from the younger generations—that these things are available. So again, it's not first past the post, but if you can be ahead of the wave or at least on the wave, then you are going to reap the rewards. If you are behind the wave, you're going to get left behind. So that's my opinion. I'm not trying to encourage anyone to see from my lens, but at the same time, I do think that we need to be thinking differently. We need to always embrace change where we can, as we can, at the pace that we can. Jo: You mentioned there AI things coming down the road in the music industry. And now everyone's going, wait, what is coming? So tell us— What do you see ahead that you think might also shift into the author world? Jack: There are three things that I've seen. Two that have been implemented and one that's been talked about and worked on at the moment. The first, and this will be quite scary for people, is that major record labels—so think the major publishers on our side—they're all now putting clauses in their contracts that require the artists that sign with them to allow their works to be trained by their own AI models. So that is something that is now actually happening in record labels. I wouldn't be surprised, although I don't have insight into it, if Simon & Schuster, HarperCollins, et cetera, are potentially doing the same with authors that sign to them. So that's going to become more standardised. So that is on the major side. But then on the creative side, there are two things that really excite me. The music AI platforms that we're hearing about, the stories that we've seen in the press, and it's the fact that with a click of a button, you can recreate a song into a different genre. I find it so fascinating because if you think about that—turning a pop song into a country song or a rap song into a dance song—the possibilities that we have as authors with our books, if we wish to do so, are amazing. I just think, for example, with your ARKANE series, Joanna, imagine clicking a button and just with one click you can take Morgan Sierra and turn her into a romantic lead in a romance book. Jo: See, it's so funny because I personally just can't imagine that because it's not something I would write. But I guess one example in the romance genre itself is I know plenty of romance authors who write a clean and a spicy version of the same story, right? It is already happening in that way. It's just not a one-click. Jack: Well, I think you can also look at it another way. I think one of the most famous examples is Twilight. With Twilight and Stephenie Meyer, if she had the foresight—and I'm not saying she didn't, just to clarify—but fan fiction is such a massive sub-genre of works. And obviously from Twilight came 50 Shades of Gray. Imagine if she had the licensing rights like the NFTs, where she could have made money off of every sale. So that you could then, through works that you create and give licence, earn a percentage of every release, every sale, every consumption unit of your works. There are just so many possibilities where you can create, adapt, have spinoffs that can then build out your world. Obviously, there may need to be an approval process in there for continuity and quality control because you want to make sure you're doing that, but I think that has such massive potential in publishing if we wish to do so. Or like I said, change characters. Like Robert Langdon's character in Dan Brown's books—no longer being the kind of thriller, but maybe being a killer instead. There's so many possibilities. It's just, again, how to think, not what to think—how to think differently and how we can use that. So that's the second of three. Jo: Oh, before you move on, you did mention NFTs and I've actually been reading about this again. So I'm usually five years early. That's the general rule. I started talking about NFTs in mid-2021, and obviously there was a crypto crash, it goes up and down, blah, blah, blah. But forget the crypto side—on the blockchain side, digital originality, and exactly what you said about saying like, where did this originate? This is now coming back in the AI world. It could be that I really was five years early. So amusingly—and I'm going to link to it in the notes because I did a “Why NFTs Are Exciting for Authors” solo episode, I think in 2022—it may be that the resurgence will happen in the next year, and all those people who said I was completely wrong, that this may be coming back. Digital originality I think is what we're talking about there. But so, okay, so what was the other thing? Jack: So the third one is the one that I'm most excited about, but I think will be the most scary for people. Obviously consumption changes and formats change. Like I said, in music I've seen it all the time—whether it's vinyl to cassettes, to CDs, to downloads, to streaming. Again, there's different consumption of the same format, and we see that with books as well, obviously—hardbacks, paperbacks, eBooks, audiobooks. Now with the rise of AI, AI narration has made audiobooks so much more accessible for people. I know that there are issues with certain people not wanting to do it, or certain platforms not allowing AI narration to be uploaded unless it's their own. The next step is what I'm most excited about. What I'm seeing now in the music industry is people licensing their image to then recreate that as music videos because music videos are so expensive. One of my friends just shot a music video for two million pounds. I don't think many authors would ever wish to spend that. If you can license your image and use AI to create a three-minute music video that looks epic and just as real as humanly possible, imagine if those artists—or if we go a step further, those actors—license their image to then be used to adapt our books into a TV series or a film. So that then we are in a position where that is another format of consumption alongside an audiobook, a paperback, an eBook, hardcover, special edition, and so on and so forth. It potentially has the opportunity to open us up to a whole new world. Because yes, there are adaptations of books that we're seeing at the moment, but for those of us that are trying to get our content into different formats, this can be a new pathway. I'm going to make a prediction here myself, Joanna. Jo: Mm-hmm. Jack: I would say in the next five to ten years, there will be a platform akin to a Netflix, Amazon Prime, Disney Plus, Apple Plus, where you can license the rights to an image of an actor or an actress. Then with the technology—and you may need people to help you adapt your book into a TV series or a film—that can then be consumed. I just think the possibilities are endless. I mean, again, I think of your character and I'm like, oh, what would it be if Angelina Jolie licensed her image and you could have her play the lead character in your ARKANE series? I mean, again, the possibilities potentially are endless here. Jo: Well, and on that, if people think this won't happen—1776, I don't know if you've seen this, it's just being teased at the moment. Darren Aronofsky has made an American revolutionary story all with AI. So this is being talked about at the moment. It's on YouTube at the moment. The AI video is just extraordinary already, so I totally agree with you. I think things are going to be quite weird for a while, and it will take a while to get used to. You mentioned coming into the music industry in 2000, 2001—I started my work before the internet, and then the internet came along and lots of things changed. I mean, anyone who's older than 40, 45-ish can remember what work was like without the internet. Now we are moving into a time where it'll be like, what was it like before AI? And I think we'll look back and go like, why the hell did we do that kind of thing? So it is a changing world, but yes, exciting times, right? I think the other thing that's happening right now, even to me, is that things are moving so fast. You can almost feel like a kind of whiplash with how much is changing. How do we deal with the fast pace of change while still trying to anchor ourselves in our writing practice and not going crazy? Jack: Again, it's that everything everywhere all at once—you can get lost and discombobulated. I always say be the tortoise, not the hare—because you don't want to fly and die. You want pace and grace. Everyone will have a different pace. For some marathon runners, they can run a five-minute mile, some can run an eight-minute mile, some can run a twelve-minute mile. It's about finding the pace that works for you. Every one of us have different commitments. Every one of us have different ways we view the industry—some as a hobby, some as a business. So it's about honouring your needs, your commitment. Some of us, as you've had people on the podcast, some people are carers. They have to care. Some people are parents. Some people don't have those commitments and so can devote more time and then actually learn more, change more as a result. So again, it's about finding your groove, finding your rhythm, honouring that, and again, showing up consistently. Because motivation may get you started, but it's habit and discipline that sees you through. Keep that discipline, keep that pace and grace. Be consistent in what you can do. And know where you're at. Don't compare and despair, because again, if you look at someone else, they may be ahead of you, but the race is only with yourself in the end. So you've got to just focus on where you are at and am I in a better place than I was yesterday? Am I working on my business as well as in my business? How am I doing that? When am I doing that? And what am I doing that for? If you can be asking yourself those questions and making sure you're staying true to yourself and not burning out, making sure that you are honouring your other commitments, then I think you are going at the pace that feels right for you. Jo: Brilliant. Jo: Where can people find you and your books and everything you do online? Jack: Thank you so much for having me on, Joanna, today. You can find me on JackWilliamson.co.uk for all my nonfiction books and therapy work. Then for my fiction work, it is ABJackson.com, or ABJacksonAuthor on Instagram and TikTok. Jo: Well, thanks so much for your time, Jack. That was great. Jack: Thank you so much. The post Post-Traumatic Growth, Creative Marketing, And Dealing With Change with Jack Williamson first appeared on The Creative Penn.

February 20, 2026 ~ Jamie Edmonds and Lloyd Jackson speak with Simon Schuster, Capitol Reporter for Bridge Michigan. They discuss Jocelyn Benson's vision for high-speed rail and a statewide transit network. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week we'll be talking with Charleston author Victoria Benton Frank about her new novel, The Violet Hour. Victoria was born in New York City, raised in Montclair, New Jersey, but considers herself to have dual residency in the Lowcountry. She is a graduate of the College of Charleston and the French Culinary Institute. Her mother was the late Dorothea Benton Frank, a best-selling novelist and native of Sullivan's Island.With the release of The Violet Hour (2026, Simon & Schuster), her second novel, she continues to hone her craft, this time with a story of grief and healing.

This week on Enjoying Orange Slices with Jeff & Ian

Oren Cass, founder and chief economist of American Compass and editor of The New Conservatives: Restoring America's Commitment to Family, Community, and Industry (Simon & Schuster, 2025), argues for a new approach to global trade, one based on balance.

On this week's episode of The Professional Noticer, Andy welcomes Pat Kelly—retired Hollywood screenwriter and debut novelist behind the upcoming thriller Rifle Season, already being hailed as "the first big thriller of 2026."  Tune in to hear Pat and Andy walk through the heart-pounding premise of Rifle Season. Listen as Pat explains the authenticity behind the hunting details, the character dynamics that drive the story, the almost-missed Glock safety error caught by publicist David Brown, and why Simon & Schuster and 20th TV are already all-in on this gripping new series. Pre-order "Rifle Season: A Thriller" on Amazon — Available January 27, 2026: https://amzn.to/48mxD8D

Mark interviews J.D. Barker about his writing and publishing journey and his many collaborations over the years, including with James Patterson, and the unique publishing and distribution collaboration with Simon & Schuster that combines the best of the self-publishing and the traditional publishing worlds. Prior to the interview, Mark shares comments from recent episodes, a personal update and a word about this episode's sponsor. This episode is sponsored by an affiliate link to Manuscript Report. Use code MARK10 at checkout and save 10% off your own personalized report. In their interview, Mark and J.D. talk about: How JD was always interested in writing including a little business endeavor he had when he was youngBeing told by his mother that writing is a fantastic hobby, but you have to get a "real job" - and following her advice The main day job he had, which he hated, and coming home at night to write How the first two decades he'd been writing he did ghost writing and did book-doctor sort of work Having written six different books that hit the New York Times bestseller list but had other people's names on the cover JD's wife coming up with a plan to get him to writing for himself How putting his feet to the coals was what JD really needed What it was like writing on his own The value that JD recognizes in the 20 years of writing other peoples' books Having Asperger's which often involves mimicking other people (which JD could do on paper, continuing to write in another person's voice) How ghostwriting for celebrities/NYT Bestselling authors can be very lucrative What it was like co-authoring with James Patterson Being the only guy who has ever gotten James Patterson to "pants" a novel, but how Patterson convinced him to outline, which he now does for certain projects What a typical work-day looks like for JD Making a change in terms of what time of day JD does interviews Working with a virtual assistant and the various PR agencies JD works with Switching over to paying for PR a la carte rather than a monthly retainer Selling more than half a million copies of his first self-published book, which caught the attention of agents That "taste" of being an indie author which mean a loss of freedom Creating his own unique path within publishing that's a blend of self-publishing and traditional publishing models The imprint JD has with Simon & Schuster - Hampton Creek Press How JD has done a number of recent co-authored titles under his imprint by paying the co-authors up front in a work-for-hire manner, which removes the complexity of paying royalties The way JD can pay it forward by helping the mentor the co-authors that he is working on Why JD gave away a skid of hardcover books at Reader Nation in Vegas Advice JD has about authors who are constantly "chasing each other" The unique marketing JD created for his book SOMETHING I KEEP UPSTAIRS that involved an overnight stay in a real haunted house What James Patterson did to get his book ALONG CAME A SPIDER onto the New York Times bestseller list And more... After the interview Mark reflects on a few of the things from the conversation that have inspired him in different ways.   Links of Interest: J.D. Barker's Website EP 445 - Overcoming The Self Sabotage From Buried Trauma with Andrea Torrey Balsara Manuscript Report (Mark's affiliate link - use MARK10 to save 10%) Buy Mark a Coffee Patreon for Stark Reflections Mark's YouTube channel ElevenLabs (AI Voice Generation - Affiliate link) Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard Merry Christmas! Shitter Was Full!: A Trivia Guide to National Lampoon's Christmas Vacation I Think It's A Sign That The Pun Also Rises   J.D. Barker (Jonathan Dylan Barker) is an international bestselling American author whose work has been broadly described as suspense thrillers, often incorporating elements of horror, crime, mystery, science fiction, and the supernatural.   The introductory, end, and bumper music for this podcast ("Laser Groove") was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0  

Why do some romance authors build decades-long careers while others vanish after one breakout book? What really separates a throwaway pen name and rapid release strategy from a legacy brand and a body of work you're proud of? How can you diversify with trad, indie, non-fiction, and Kickstarter without burning out—or selling out your creative freedom? With Jennifer Probst. In the intro, digital ebook signing [BookFunnel]; how to check terms and conditions; Business for Authors 2026 webinars; Music industry and AI music [BBC; The New Publishing Standard]; The Golden Age of Weird. 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 Jennifer Probst is a New York Times, USA Today, and Wall Street Journal bestselling author of over 60 books across different kinds of romance as well as non-fiction for writers. Her latest book is Write Free. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes How Jennifer started writing at age 12, fell in love with romance, and persisted through decades of rejection A breakout success — and what happened when it moved to a traditional publisher Traditional vs indie publishing, diversification, and building a long-term, legacy-focused writing career Rapid-release pen names vs slow-burn author brands, and why Jennifer chooses quality and longevity Inspirational non-fiction for writers (Write Naked, Write True, Write Free) Using Kickstarter for special editions, re-releases, courses, and what she's learned from both successes and mistakes – plus what “writing free” really means in practice How can you ‘write free'? You can find Jennifer at JenniferProbst.com. Transcript of interview with Jennifer Probst Jo: Jennifer Probst is a New York Times, USA Today, and Wall Street Journal bestselling author of over 60 books across different kinds of romance as well as non-fiction for writers. Her latest book is Write Free. So welcome, Jennifer. Jennifer: Thanks so much, Joanna. I am kind of fangirling. I'm really excited to be on The Creative Penn podcast. It's kind of a bucket list. Jo: Aw, that's exciting. I reached out to you after your recent Kickstarter, and we are going to come back to that in a minute. First up, take us back in time. Tell us a bit more about how you got into writing and publishing. Jennifer: This one is easy for me. I am one of those rarities. I think that I knew when I was seven that I was going to write. I just didn't know what I was going to write. At 12 years old, and now this will kind of date me in dinosaur era here, there was no internet, no information on how to be a writer, no connections out there. The only game in town was Writer's Digest. I would go to my library and pore over Writer's Digest to learn how to be a writer. At 12 years old, all I knew was, “Oh, if I want to be a famous writer, I have to write a book.” So I literally sat down at 12 and wrote my first young adult romance. Of course, I was the star, as we all are when we're young, and I have not stopped since. I always knew, since my dad came home from a library with a box of romance novels and got in trouble with my mum and said, basically, “She's reading everything anyway, just let her read these,” I was gone. From that moment on, I knew that my entire life was going to be about that. So for me, it wasn't the writing. I have written non-stop since I was 12 years old. For me, it was more about making this a career where I can make money, because I think there was a good 30 years where I wrote without a penny to my name. So it was more of a different journey for me. It was more about trying to find my way in the writing world, where everybody said it should be just a hobby, and I believed that it should be something more. Jo: I was literally just going back in my head there to the library I used to go to on my way home from school. Similar, probably early teens, maybe age 14. Going to that section and… I think it was Shirley Conran. Was that Lace? Yes, Lace books. That's literally how we all learned about sex back in the day. Jennifer: All from books. You didn't need parents, you didn't need friends. Amazing. Jo: Oh, those were the days. That must have been the eighties, right? Jennifer: It was the eighties. Yes. Seventies, eighties, but mostly right around in the eighties. Oh, it was so… Jo: I got lost about then because I was reminiscing. I was also the same one in the library, and people didn't really see what you were reading in the corner of the library. So I think that's quite funny. Tell us how you got into being an indie. Jennifer: What had happened is I had this manuscript and it had been shopped around New York for agents and for a bunch of publishers. I kept getting the same exact thing: “I love your voice.” I mean, Joanna, when you talk about papering your wall with rejections, I lived that. The only thing I can say is that when I got my first rejection, I looked at it as a rite of passage that created me as a writer, rather than taking the perspective that it meant I failed. To me, perspective is a really big thing in this career, how you look at things. So that really helped me. But after you get like 75 of them, you're like, “I don't know how much longer I can take of this.” What happened is, it was an interesting story, because I had gone to an RWA conference and I had shopped this everywhere, this book that I just kept coming back to. I kept saying, “I feel like this book could be big.” There was an indie publisher there. They had just started out, it was an indie publisher called Entangled. A lot of my friends were like, “What about Entangled? Why don't you try more digital things or more indie publishers coming up rather than the big traditional ones?” Lo and behold, I sent it out. They loved the book. They decided, in February of 2012, to launch it. It was their big debut. They were kind of competing with Harlequin, but it was going to be a new digital line. It was this new cutting-edge thing. The book went crazy. It went viral. The book was called The Marriage Bargain, and it put me on the map. All of a sudden I was inundated with agents, and the traditional publishers came knocking and they wanted to buy the series. It was everywhere. Then it hit USA Today, and then it spent 26 weeks on The New York Times. Everybody was like, “Wow, you're this overnight sensation.” And I'm like, “Not really!” That was kind of my leeway into everything. We ended up selling that series to Simon & Schuster because that was the smart move for then, because it kind of blew up and an indie publisher at that time knew it was a lot to take on. From then on, my goal was always to do both: to have a traditional contract, to work with indie publishers, and to do my own self-pub. I felt, even back then, the more diversified I am, the more control I have. If one bucket goes bad, I have two other buckets. Jo: Yes, I mean, I always say multiple streams of income. It's so surprising to me that people think that whatever it is that hits big is going to continue. So you obviously experienced there a massive high point, but it doesn't continue. You had all those weeks that were amazing, but then it drops off, right? Jennifer: Oh my goodness, yes. Great story about what happened. So 26 weeks on The New York Times, and it was selling like hotcakes. Then Simon & Schuster took it over and they bumped the price to their usual ebook price, which was, what, $12.99 or something? So it's going from $2.99. The day that they did it, I slid off all the bestseller lists. They were gone, and I lost a lot of control too. With indies, you have a little bit more control. But again, that kind of funnels me into a completely different kind of setup. Traditional is very different from indie. What you touched on, I think, is the biggest thing in the industry right now. When things are hot, it feels like forever. I learned a valuable lesson: it doesn't continue. It just doesn't. Maybe someone like Danielle Steel or some of the other big ones never had to pivot, but I feel like in romance it's very fluid. You have genres hitting big, you have niches hitting big, authors hitting big. Yes, I see some of them stay. I see Emily Henry still staying—maybe that will never pause—but I think for the majority, they find themselves saying, “Okay, that's done now. What's next?” It can either hit or not hit. Does that make sense to you? Do you feel the same? Jo: Yes, and I guess it's not just about the book. It's more about the tactic. You mentioned genres, and they do switch a lot in romance, a lot faster than other genres. In terms of how we do marketing… Now, as we record this, TikTok is still a thing, and we can see maybe generative AI search coming on the horizon and agentic buying. A decade ago it might have been different, more Facebook ads or whatever. Then before that it might have been something else. So there's always things changing along the way. Jennifer: Yes, there definitely is. It is a very oversaturated market. They talk about, I don't know, 2010 to 2016 maybe, as the gold rush, because that was where you could make a lot of money as an indie. Then we saw the total fallout of so many different things. I feel like I've gone through so many ups and downs in the industry. I do love it because the longer you're around, the more you learn how to pivot. If you want this career, you learn how to write differently or do whatever you need to do to keep going, in different aspects, with the changes. To me, that makes the industry exciting. Again, perspective is a big thing. But I have had to take a year to kind of rebuild when I was out of contract with a lot of things. I've had to say, “Okay, what do you see on the horizon now? Where is the new foundation? Where do you wanna restart?” Sometimes it takes a year or two of, “Maybe I won't be making big income and I cut back,” but then you're back in it, because it takes a while to write a few new books, or write under a pen name, or however you want to pivot your way back into the industry. Or, like you were saying, diversifying. I did a lot of non-fiction stuff because that's a big calling for me, so I put that into the primary for a while. I think it's important for authors to maybe not just have one thing. When that one thing goes away, you're scrambling. It's good to have a couple of different things like, “Well, okay, this genre is dead or this thing is dead or this isn't making money. Let me go to this for a little while until I see new things on the horizon.” Jo: Yes. There's a couple of things I want to come back to. You mentioned a pen name there, and one of the things I'm seeing a lot right now—I mean, it's always gone on, but it seems to be on overdrive—is people doing rapid-release, throwaway pen names. So there's a new sub-genre, they write the books really fast, they put them up under whatever pen name, and then when that goes away, they ditch that pen name altogether. Versus growing a name brand more slowly, like I think you and I have done. Under my J.F. Penn fiction brand, I put lots of different sub-genres. What are your thoughts on this throwaway pen name versus growing a name brand more slowly? Jennifer: Well, okay, the first thing I'm goign to say is: if that lights people up, if you love the idea of rapid release and just kind of shedding your skin and going on to the next one, I say go for it. As long as you're not pumping it out with AI so it's a complete AI book, but that's a different topic. I'm not saying using AI tools; I mean a completely AI-written book. That's the difference. If we're talking about an author going in and, every four weeks, writing a book and stuff like that, I do eventually think that anything in life that disturbs you, you're going to burn out eventually. That is a limited-time kind of thing, I believe. I don't know how long you can keep doing that and create decent enough books or make a living on it. But again, I really try not to judge, because I am very open to: if that gives you joy and that's working and it brings your family money, go for it. I have always wanted to be a writer for the long term. I want my work to be my legacy. I don't just pump out books. Every single book is my history. It's a marking of what I thought, what I put out in the world, what my beliefs are, what my story is. It marks different things, and I'm very proud of that. So I want a legacy of quality. As I got older, in my twenties and thirties, I was able to write books a lot faster. Then I had a family with two kids and I had to slow down a little bit. I also think life sometimes drives your career, and that's okay. If you're taking care of a sick parent or there's illness or whatever, maybe you need to slow down. I like the idea of a long-term backlist supporting me when I need to take a back seat and not do frontlist things. So that's how I feel. I will always say: choose a long, organic-growth type of career that will be there for you, where your backlist can support you. I also don't want to trash people who do it differently. If that is how you can do it, if you can write a book in a month and keep doing it and keep it quality, go for it. Jo: I do have the word “legacy” on my board next to me, but I also have “create a body of work I'm proud of.” I have that next to me, and I have “Have you made art today?” So I think about these things too. As you say, people feel differently about work, and I will do other work to make faster cash rather than do that with books. But as we said, that's all good. Interestingly, you mentioned non-fiction there. Write Free is your latest one, but you've got some other writing books. So maybe— Talk about the difference between non-fiction book income and marketing compared to fiction, and why you added that in. Jennifer: Yes, it's completely different. I mean, it's two new dinosaurs. I came to writing non-fiction in a very strange way. Literally, I woke up on New Year's Day and I was on a romance book deadline. I could not do it. I'll tell you, my brain was filled with passages of teaching writing, of things I wanted to share in my writing career. Because again, I've been writing since I was 12, I've been a non-stop writer for over 30 years. I got to my computer and I wrote like three chapters of Write Naked (which was the first book). It was just pouring out of me. So I contacted my agent and I said, “Look, I don't know, this is what I want to do. I want to write this non-fiction book.” She's like, “What are you talking about? You're a romance author. You're on a romance deadline. What do you want me to do with this?” She was so confused. I said, “Yes, how do you write a non-fiction book proposal?” And she was just like, “This is not good, Jen. What are you doing?” Anyway, the funny story was, she said, “Just send me chapters.” I mean, God bless her, she's this wonderful agent, but I know she didn't get it. So I sent her like four chapters of what I was writing and she called me. I'll never forget it. She called me on the phone and she goes, “This is some of the best stuff I have ever read in my life. It's raw and it's truthful, and we've got to find a publisher for this.” And I was like, “Yay.” What happened was, I believe this was one of the most beautiful full circles in my life: Writer's Digest actually made me an offer. It was not about the money. I found that non-fiction for me had a much lower advance and a different type of sales. For me, when I was a kid, that is exactly what I was reading in the library, Writer's Digest. I would save my allowance to get the magazine. I would say to myself, “One day, maybe I will have a book with Writer's Digest.” So for me, it was one of the biggest full-circle moments. I will never forget it. Being published by them was amazing. Then I thought I was one-and-done, but the book just completely touched so many writers. I have never gotten so many emails: “Thank you for saying the truth,” or “Thank you for being vulnerable.” Right before it published, I had a panic attack. I told my husband, “Now everybody's going to know that I am a mess and I'm not fabulous and the world is going to know my craziness.” By being vulnerable about the career, and also that it was specifically for romance authors, it caused a bond. I think it caused some trust. I had been writing about writing for years. After that, I thought it was one-and-done. Then two or three years later I was like, “No, I have more to say.” So I leaned into my non-fiction. It also gives my fiction brain a rest, because when you're doing non-fiction, you're using a different part of your brain. It's a way for me to cleanse my palate. I gather more experiences about what I want to share, and then that goes into the next book. Jo: Yes, I also use the phrase “palate cleanser” for non-fiction versus fiction. I feel like you write one and then you feel like, “Oh, I really need to write the other now.” Jennifer: Yes! Isn't it wonderful? I love that. I love having the two brains and just giving one a break and totally leaning into it. Again, it's another way of income. It's another way. I also believe that this industry has given me so much that it is automatic that I want to give back. I just want to give as much as possible back because I'm so passionate about writing and the industry field. Jo: Well, interestingly though, Writer's Digest—the publisher who published that magazine and other things—went bankrupt in 2019. You've been in publishing a long time. It is not uncommon for publishers to go out of business or to get bought. Things happen with publishers, right? Jennifer: Yes. Jo: So what then happened? Jennifer: So Penguin Random House bought it. All the Writer's Digest authors did not know what they were going to do. Then Penguin Random House bought it and kept Writer's Digest completely separate, as an imprint under the umbrella. So Writer's Digest really hasn't changed. They still have the magazine, they still have books. So it ended up being okay. But what I did do is—because I sold Write Naked and I have no regrets about that, it was the best thing for me to do, to go that route—the second and the third books were self-published. I decided I'm going to self-publish. That way I have the rights for audio, I have the rights for myself, I can do a whole bunch of different things. So Write True, the second one, was self-published. Writers Inspiring Writers I paired up with somebody, so we self-published that. And Write Free, my newest one, is self-published. So I've decided to go that route now with my non-fiction. Jo: Well, as I said, I noticed your Kickstarter. I don't write romance, so I'm not really in that community. I had kind of heard your name before, but then I bought the book and joined the Kickstarter. Then I discovered that you've been doing so much and I was like, “Oh, how, why haven't we connected before?” It's very cool. So tell us about the Kickstarters you've done and what you know, because you've done, I think, a fiction one as well. What are your thoughts and tips around Kickstarter? Jennifer: Yes. When I was taking that year, I found myself kind of… let's just say fired from a lot of different publishers at the time. That was okay because I had contracts that ran out, and when I looked to see, “Okay, do we want to go back?” it just wasn't looking good. I was like, “Well, I don't want to spend a year if I'm not gonna be making the money anyway.” So I looked at the landscape and I said, “It's time to really pull in and do a lot more things on my own, but I've got to build foundations.” Kickstarter was one of them. I took a course with Russell Nohelty and Monica Leonelle. They did a big course for Kickstarter, and they were really the ones going around to all the conferences and basically saying, “Hey guys, you're missing out on a lot of publishing opportunities here,” because Kickstarter publishing was getting good. I took the course because I like to dive into things, but I also want to know the foundation of it. I want to know what I'm doing. I'm not one to just wing it when it comes to tech. So what happened is, the first one, I had rights coming back from a book. After 10 years, my rights came back. It was an older book and I said, “You know what? I am going to dip my foot in and see what kind of base I can grow there. What can I do?” I was going to get a new cover, add new scenes, re-release it anyway, right? So I said, “Let's do a Kickstarter for it, because then I can get paid for all of that work.” It worked out so fantastically. It made just enough for my goal. I knew I didn't want to make a killing; I knew I wanted to make a fund. I made my $5,000, which I thought was wonderful, and I was able to re-release it with a new cover, a large print hardback, and I added some scenes. I did a 10-year anniversary re-release for my fans. So I made it very fan-friendly, grew my audience, and I was like, “This was great.” The next year, I did something completely different. I was doing Kindle Vella back in the day. That was where you dropped a chapter at a time. I said, “I want to do this completely different kind of thing.” It was very not my brand at all. It was very reality TV-ish: young college students living in the city, very sexy, very angsty, love triangles, messy—everything I was not known for. Again, I was like, “I'm not doing a pen name because this is just me,” and I funnelled my audience. I said, “What I'm going to do is I'm going to start doing a chapter a week through Kindle Vella and make money there. Then when it's done, I'm going to bundle it all up and make a book out of it.” So I did a year of Kindle Vella. It was the best decision I made because I just did two chapters a week, which I was able to do. By one year I had like 180,000 words. I had two to three books in there. I did it as a hardback deluxe—the only place you could get it in print. Then Vella closed, or at least it went way down. So I was like, “Great, I'm going to do this Kickstarter for this entire new thing.” I partnered with a company that helps with special editions, because that was a whole other… oh Joanna, that was a whole other thing you have to go into. Getting the books, getting the art, getting the swag. I felt like I needed some help for that. Again, I went in, I funded. I did not make a killing on that, but that was okay. I learned some things that I would have changed with my Kickstarter and I also built a new audience for that. I had a lot of extra books that I then sold in my store, and it was another place to make money. The third Kickstarter I used specifically because I had always wanted to do a writing course. I go all over the world, I do keynotes, I do workshops, I've done books, and I wanted to reach new writers, but I don't travel a lot anymore. So I came up with the concept that I was going to do my very first course, and it was going to be very personal, kind of like me talking to them almost like in a keynote, like you're in a room with me. I gathered a whole bunch of stuff and I used Kickstarter to help me A) fund it and B) make myself do it, because it was two years in the making and I always had, “Oh, I've got this other thing to do,” you know how we do that, right? We have big projects. So I used Kickstarter as a deadline and I decided to launch it in the summer. In addition to that, I took years of my posts from all over. I copied and pasted, did new posts, and I created Write Free, which was a very personal, essay-driven book. I took it all together. I took a couple of months to do this, filmed the course, and the Kickstarter did better than I had ever imagined. I got quadruple what I wanted, and it literally financed all the video editing, the books, everything that I needed, plus extra. I feel like I'm growing in Kickstarter. I hope I'm not ranting. I'm trying to go over things that can help people. Jo: Oh no, that is super useful. Jennifer: So you don't have to go all in and say, “If it doesn't fund it's over,” or “I need to make $20,000.” There are people making so much money, and there are people that will do a project a year or two projects a year and just get enough to fund a new thing that they want to do. So that's how I've done it. Jo: I've done quite a few now, and my non-fiction ones have been a lot bigger—I have a big audience there—and my fiction have been all over the place. What I like about Kickstarter is that you can do these different things. We can do these special editions. I've just done a sprayed-edge short story collection. Short story collections are not the biggest genre. Jennifer: Yes. I love short stories too. I've always wanted to do an anthology of all my short stories. Jo: There you go. Jennifer: Yes, I love that for your Kickstarter. Love it. Jo: When I turned 50 earlier this year, I realised the thing that isn't in print is my short stories. They are out there digitally, and that's why I wanted to do it. I feel like Kickstarter is a really good way to do these creative projects. As you say, you don't have to make a ton of money, but at the end of the day, the definition of success for us, I think for both of us, is just being able to continue doing this, right? Jennifer: Absolutely. This is funding a creative full-time career, and every single thing that you do with your content is like a funnel. The more funnels that you have, the bigger your base. Especially if you love it. It would be different if I was struggling and thinking, “Do I get an editor job?” I would hate being an editor. But if you look at something else like, “Oh yes, I could do this and that would light me up, like doing a course—wow, that sounds amazing,” then that's different. It's kind of finding your alternates that also light you up. Jo: Hmm. So were there any mistakes in your Kickstarters that you think are worth sharing? In case people are thinking about it. Jennifer: Oh my God, yes. So many. One big thing was that I felt like I was a failure if I didn't make a certain amount of money because my name is pretty well known. It's not like I'm brand new and looking. One of the big things was that I could not understand and I felt like I was banging my head against the wall about why my newsletter subscribers wouldn't support the Kickstarter. I'm like, “Why aren't you doing this? I'm supposed to have thousands of people that just back.” Your expectations can really mess with you. Then I started to learn, “Oh my God, my newsletter audience wants nothing to do with my Kickstarter.” Maybe I had a handful. So then I learned that I needed longer tails, like putting it up for pre-order way ahead of time, and also that you can't just announce it in your newsletter and feel like everybody's going to go there. You need to find your streams, your Kickstarter audience, which includes ads. I had never done ads either and I didn't know how to do that, so I did that all wrong. I joined the Facebook group for Kickstarter authors. I didn't do that for the first one and then I learned about it. You share backer updates, so every time you go into your audience with a backer update, there's this whole community where you can share with like-minded people with their projects, and you post it under your updates. It does cross-networking and sharing with a lot of authors in their newsletters. For the Write Free one, I leaned into my networking a lot, using my connections. I used other authors' newsletters and people in the industry to share my Kickstarter. That was better for me than just relying on my own fanbase. So definitely more networking, more sharing, getting it out on different platforms rather than just doing your own narrow channel. Because a lot of the time, you think your audience will follow you into certain things and they don't, and that needs to be okay. The other thing was the time and the backend. I think a lot of authors can get super excited about swag. I love that, but I learned that I could have pulled back a little bit and been smarter with my financials. I did things I was passionate about, but I probably spent much more money on swag than I needed to. So looking at different aspects to make it more efficient. I think each time you do one, you learn what works best. As usual, I try to be patient with myself. I don't get mad at myself for trying things and failing. I think failing is spectacular because I learn something. I know: do I want to do this again? Do I want to do it differently? If we weren't so afraid of failingqu “in public”, I think we would do more things. I'm not saying I never think, “Oh my God, that was so embarrassing, I barely funded and this person is getting a hundred thousand.” We're human. We compare. I have my own reset that I do, but I really try to say, “But no, for me, maybe I'll do this, and if it doesn't work, that's okay.” Jo: I really like that you shared about the email list there because I feel like too many people have spent years driving people to Kindle or KU, and they have built an email list of readers who like a particular format at a particular price. Then we are saying, “Oh, now come over here and buy a beautiful hardback that's like ten times the price.” And we're surprised when nobody does it. Is that what happened? Jennifer: Exactly. Also, that list was for a non-fiction project. So I had to funnel where my writers were in my newsletter, and I have mostly readers. So I was like, “Okay…” But I think you're exactly right. First of all, it's the platform. When you ask anybody to go off a platform, whether it's buy direct at your Shopify store or go to Kickstarter, you are going to lose the majority right there. People are like, “No, I want to click a button from your newsletter and go to a site that I know.” So you've got that, and you've got to train them. That can take some time. Then you've got this project where people are like, “I don't understand.” Even my mum was like, “I would love to support you, honey, but what the heck is this? Where's the buy button and where's my book?” My women's fiction books tend to have some older readers who are like, “Hell no, I don't know what this is.” So you have to know your audience. If it's not translating, train them. I did a couple of videos where I said, “Look, I want to show you how easy this is,” and I showed them directly how to go in and how to back. I did that with Kindle Vella too. I did a video from my newsletter and on social: “Hey, do you not know how to read this chapter? Here's how.” Sometimes there's a barrier. Like you said, Joanna, if I have a majority that just want sexy contemporary, and I'm dropping angsty, cheating, forbidden love, they're like, “Oh no, that's not for me.” So you have to know whether there's a crossover. I go into my business with that already baked into my expectations. I don't go in thinking I'm going to make a killing. Then I'm more surprised when it does well, and then I can build it. Jo: Yes, exactly. Also if you are, like both of us, writing across genres, then you are always going to split your audience. People do not necessarily buy everything because they have their preferences. So I think that's great. Now we are almost out of time, but this latest book is Write Free. I wondered if you would maybe say— What does Write Free mean to you, and what might it help the listeners with? Jennifer: Write Free is an extremely personal book for me, and the title was really important because it goes with Write Naked, Write True, and Write Free. These are the ways that I believe a writer should always show up to the page. Freedom is being able to write your truth in whatever day that is. You're going to be a different writer when you're young and maybe hormonal and passionate and having love affairs. You're going to write differently when you're a mum with kids in nappies. You're going to write differently when you are maybe in your forties and you're killing your career. Your perspective changes, your life changes. Write Free is literally a collection of essays all through my 30 years of life. It's very personal. There are essays like, “I'm writing my 53rd book right now,” and essays like, “My kids are in front of SpongeBob and I'm trying to write right now,” and “I got another rejection letter and I don't know how to survive.” It is literally an imprint of essays that you can dip in and dip out of. It's easy, short, inspirational, and it's just me showing up for my writing life. That's what I wish for everybody: that they can show up for their writing life in the best way that they can at the time, because that changes all the time. Jo: We can say “write free” because we've got a lot of experience at writing. I feel like when I started writing—I was an IT consultant—I literally couldn't write anything creative. I didn't believe I could. There'll be people listening who are just like, “Well, Jennifer, I can't write free. I'm not free. My mind is shackled by all these expectations and everything.” How can they release that and aim for more freedom? Jennifer: I love that question so much. The thing is, I've spent so many years working on that part. That doesn't come overnight. I think sometimes when you have more clarification of, “Okay, this is really limiting me,” then when you can see where something is limiting you, at least you can look for answers. My answers came in the form of meditation. Meditation is a very big thing in my life. Changing my perspective. Learning life mottos to help me deal with those kinds of limitations. Learning that when I write a sex scene, I can't care about my elderly aunt who tells my mother, “Dear God, she ruined the family name.” It is your responsibility to figure out where these limitations are, and then slowly see how you can remove them. I've been in therapy. I have read hundreds of self-help books. I take meditation courses. I take workshop courses. I've done CliftonStrengths with Becca Syme. I don't even know if that's therapy, but it feels like therapy to me as a writer. Knowing my personality traits. I've done Enneagram work with Claire Taylor, which has been huge. The more you know yourself and how your brain is showing up for yourself, the more you can grab tools to use. I wish I could say, “Yes, if everybody meditates 30 minutes a day, you're going to have all blocks removed,” but it's so personal that it's a trick question. If everybody started today and said, “Where is my biggest limitation?” and be real with yourself, there are answers out there. You just have to go slowly and find them, and then the writing more free will come. I hope that wasn't one of those woo-woo answers, but I really do believe it. Jo: I agree. It just takes time. Like our writing career, it just takes time. Keep working on it, keep writing. Jennifer: Yes. And bravery, right? A lot of bravery. Just show up for yourself however you can. If “write free” feels too big, journal for yourself and put it in a locked drawer. Any kind of writing, I think, is therapeutic too. Jo: Brilliant. So where can people find you and your books and everything you do online? Jennifer: The best place to go is my website. I treat it like my home. It's www.JenniferProbst.com. There is so much on it. Not just books, not just free content and free stories. There's an entire section just for writers. There are videos on there. There are a lot of resources. I keep it up to date and it is the place where you can find me. Of course I'm everywhere on social media as Author Jennifer Probst. You can find me anywhere. I always tell everybody: I answer my messages, I answer my emails. That is really important to me. So if you heard this podcast and you want to reach out on anything, please do. I will answer. Jo: Fantastic. Well, thanks so much for your time, Jennifer. That was great. Jennifer: Thanks for having me, Joanna.The post Writing Free: Romance Author Jennifer Probst On A Long-Term Author Career first appeared on The Creative Penn.

What if great friendships aren't found by luck but built through effort?Bestselling novelist Fredrik Backman, the mind behind A Man Called Ove (adapted into the Tom Hanks film A Man Called Otto), Anxious People, and the beloved Beartown series, has spent his career writing about the quiet power of ordinary people. But in his real life, he learned one of his most important lessons from his best friend of 30 years: meaningful friendship is a skill you develop, not a lottery you win.Despite being a self-described introvert, Fredrik discovered that you don't need hundreds of friends. You only get a few humans who truly shape your life. His newest book, My Friends, is a tribute to those relationships and the daily work of showing up for the people who matter most.In this candid and inspiring conversation, Fredrik and I talk about the healing power of friendship, why differences make relationships stronger, the value of having friends who edit us, and the joy of being genuinely happy for someone else.If you want to become a better friend and build deeper connections, this episode offers heartfelt lessons from one of the world's most compassionate storytellers.This is A Bit of Optimism.---------------------------This episode is brought to you by the Porsche USA Macan---------------------------To check out Fredrik's newest book, “My Friends,” visit: https://www.simonandschuster.com/books/My-Friends/Fredrik-Backman/9781982112820Find the full-length speech Fredrik gave for Simon & Schuster here: https://www.youtube.com/watch?v=NSuSyZ92Cjg

Can you be the "perfect mom" while secretly drinking around the clock? In this raw and honest conversation, Rebecca Greene sits down with Emily Redondo, author of Wife Mother Drunk: An Intergenerational Memoir of Loss and Love. From the outside, Emily had it all—four kids, a loving husband, and the picture-perfect family life. But behind closed doors, she was hiding bottles, cycling through seven rehab stays, and battling the shame that comes with chronic relapse. Emily opens up about what it's really like to struggle with alcohol addiction as a mother, why relapse doesn't mean failure, and how generational trauma shaped her relationship with drinking. This isn't a neat redemption story—it's the messy, complicated truth about recovery while raising kids, the unrealistic expectations we place on mothers, and why simply "quitting" isn't always the answer. In this episode, you'll discover: ➤ Why Emily's "perfect mom" appearance masked years of hidden drinking and multiple rehab stays ➤ The reality of chronic relapse and why it doesn't look like the stereotypical image of an "alcoholic mom" ➤ How generational patterns and her own mother's alcoholism influenced Emily's journey ➤ The changes Emily had to make at home beyond just getting sober—including boundaries, dividing household labor, and honest conversations with her kids ➤ Why self-care for mothers goes far beyond bubble baths and manicures Two powerful quotes from Emily "I never, ever quit trying. There was not like this point where it was like, I'm just gonna quit trying to quit. It was every day, every single day." "The more I wallow in what's happened and try to grapple with how terrible I was as a mom, then the more I'm robbing myself of right now. I've used up all the time to do that, and now I'm gonna get over it." Connect with Emily Redondo: Website: https://www.emilyredondoauthor.com/ Instagram: @emily_redondo_author Book: Wife Mother Drunk: An Intergenerational Memoir of Loss and Love (available on Amazon, Simon & Schuster, and other retailers) Learn more about your ad choices. Visit megaphone.fm/adchoices

Kelly Drane, research director at Giffords Law Center, Ned Parker, investigative reporter at Thomson Reuters, and McKay Coppins, staff writer at The Atlantic and the author of Romney: A Reckoning (Simon & Schuster, 2023), talk about guns and the state of political violence in America after conservative activist Charlie Kirk was shot and killed at an event on a Utah college campus.