#AmWriting

KJ

#AmWriting is a podcast and Groupstack hosted by KJ Dell’Antonia, Jess Lahey, Sarina Bowen, & Jennie Nash. Listen, read and join up for hard-won advice and inspiration to help you play big in your writing life and finish work that matters. amwriting.substack.com

  1. 1 day ago

    Margin Notes: Juggling Opportunities and Rewriting the Story After Mistakes

    On the #amwriting podcast’s Margin Notes, host Jennie Nash talks with Dr. Diana Hill, author of Wise Effort, about how writers handle mishaps and self-talk when juggling book-related obligations. Hill describes accidentally booking two plane tickets to a Washington, DC conference, prompting a discussion about shifting the story from “I’m disorganized” to one of abundance and opportunity. Hill introduces Buddhism’s “wise speech” filters—helpful, kind, timely, and true—and distinguishes guilt (which motivates clean-up and repair) from shame (which labels the self as bad and can paralyze writers). They share examples of painful feedback and feelings of insignificance, discuss the “worldly winds” (fame/insignificance, pleasure/pain, blame/disrepute, gain/loss), and conclude that choosing to “pay the price” of a busy, opportunity-seizing life can be healthier than spiraling into blame or defensiveness. #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Read Wise Effort by Dr. Diana Hill Transcript Jennie: [00:00:00] Hi, I’m Jennie Nash, and you’re listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. This is Margin Notes, the place in the podcast where we talk about the big decisions writers face in their work or creative lives. Jennie: And I’m here again with Dr. Diana Hill, author of Wise Effort, and we’re gonna talk about a really interesting reality that you and I have both noticed, Diana, which is that when you’re out there in the world with your book as a writer and you’re juggling all the things, you’re ... You have interviews, you’re putting, you know, inquiries out, you’re showing up for conferences or workshops or events or things, and sometimes things don’t always go the way that you planned. Jennie: So today you have a little experience [00:01:00] with that, which is why we’re even talking today. Diana: Well, it’s, it’s more like things don’t go the way that I plan. It’s more like I had no idea about my own plans because I’m juggling so much. Bec- I, I’m on my way to this pretty, uh, big conference in Washington, DC, and I’m going to present on a book that I wrote, uh, called I Know I Should Exercise, But: 44 Reasons Why We Don’t Move and How to Get Over Them. Diana: And I’m going to present to a bunch of researchers and therapists about this sort of model of what gets in the way of us exercising. And I open up my American Airlines app and realize I have booked myself a ticket today and a ticket tomorrow. I bought two plane tickets to this conference without any awareness that I had already bought one. Diana: And so I had to decide, am I gonna go tomorrow or gonna go today? And, uh, I canceled and said, “Hey, I’d rather...” And I called you, I texted you right away, “Hey, I have an open af- afternoon. Do you wanna meet up, Jennie?” But this is the case, right? [00:02:00] W- when you have so much on your plate because you’re, you are moving pieces around to make things happen, little bits of sand drop through the cracks. Diana: I think, yes, that’s, that is a problem. But what’s the bigger problem is how we treat ourselves after that or during that, or the stories we tell ourselves about who we are and our capabilities. I think I said, “I’m so disorganized,” and you said, “Oh, I’m so disorganized.” And then we said, “Wait a minute, maybe we need to change our script.” Diana: Right? Which is hilarious because that’s what your entire book is about, is telling yourself a different story, not believing the first story that y- comes into your head, which is, oh, well, what happened was you told me that you did this and I laughed and I said, “Oh, I, I do things like that all the time. I c- I think of myself as a terribly disorganized person.” Diana: And that’s when we both stopped and said, “Well, wait a minute. What would the other story here be?” So that’s what- Yeah ... we thought we would talk about. Yeah. I often [00:03:00] think of the Lucille Ball episode when the chocolates are coming down the conveyor belt, and they start speeding up, and she’s stuffing them in her bra, and she’s stuffing it in her face, and they’re, and they’re flying off. Diana: And then you realize, well, wait a minute here, there’s an abundance of chocolate coming your way. Like, this is, this may be a good thing, you know? Like, you have a conference that you’re going to, or you have all these different opportunities that you’re juggling. And we could start there with, uh, shifting to that type of a story, which is a story of there’s so much ‘cause it’s an experience of abundance. Diana: It’s an experience of opportunities, of possibilities, which already shifts our mind into a different place. And you could notice that even in your body when you shift from, “I’m a disorganized mess,” to, “Oh, I have so many opportunities and possibilities right now.” Well, and what’s interesting in your case is that you, it, it wasn’t like you didn’t have a plane ticket. Diana: You had two plane tickets. So in some ways there’s a story of [00:04:00] you’re quite organized. You were gonna get yourself to this conference no matter what. Or a story of I didn’t trust myself, that I bought the plane ticket. So I had, I had to do it twice. But yes, I mean, the, the nature of the human mind is that it’s a story-making machine, and actually everything that we experience comes through the, our, our mental filters, and we get to be the chooser of which stories are most helpful. Diana: In Buddhism, there’s something called wise speech, and wise speech has these four qualities to it. The first quality is, is it helpful? The next one is, is it kind? The next one, which I think is a very useful one, is, is it timely? Like, is it a good time for m- for me to tell myself this story? Sometimes you might wanna tell yourself the story that you’re disorganized and you need to go get organized. Diana: You need to, you know, clean stuff up, do a little , spring cleaning. But telling yourself that when you’re in the middle of a ton of other things and now you have to deal with your low mood and feeling bad about yourself isn’t helpful. And then the fourth [00:05:00] quality of wise speech is, is it true? Sometimes we do need to question, is it true? Diana: Is it not true? But most of the time, if we’re getting all wrapped up with the, is it true? Is it not true? Am I disorganized or not? We’re just doing black and white thinking, and it’s m- usually more a little bit of both. That type of questioning our thoughts or questioning our stories and asking ourselves what would be the most helpful, what would be the most kind, what would be the most timely, and maybe what would be the most true, is a better angle to take with it, I think. Diana: I love that. I love that so much. I know another thing that happens when writers are juggling all the things is sometimes we, we drop one of the balls and w- we disappoint someone. So let’s say in a different iteration of this that you actually were supposed to fly yesterday, and so you missed the conference. Diana: You know, that, that happens when you have a whole bunch of things going on, or you wrote the time wrong down for the podcast interview, or you missed [00:06:00] some critical deadline, and now you have on top of that like, “Oh, I, I let these people down. I said I was gonna show up, and I’m not.” Or, you know, what, what do we do when the disorganization leads to those kinds of thoughts? Diana: Mm-hmm. Well, if, if there is something you need to clean up, sometimes we do need to clean up. Yeah. I mean, that’s kind of getting radically honest with ourself, and there’s, there’s t- two layers to that. Guilt is a, actually an emotion that we evolved as humans for a good reason, to clean stuff up. I made a mistake, I feel a little guilty, I go apologize. Diana: Um, I’ve, I had a, I gave, I did a white lie about something, I got caught, so I admit it. You know, whatever it is. That happened this morning. My son took my AirPod and he, he wouldn’t fess up. And finally he fessed up. I’m like, “See, doesn’t it feel better just to be honest?” Like, it’s just be honest about it. Diana: But there’s a, there’s a distinction between guilt, [00:07:00] which motivates us to just, just to clean stuff up, and shame. Shame is I am bad. There’s something wrong with me. I’m a bad person because I scheduled two flights or because I, you know, had, said a white lie to my mom for taking her AirPod. Shame is pretty detrimental, and it’s the type of emotion that makes us climb back into a hole and not put ourselves out there. Diana: And as writers, we need to be putting ourselves out there a lot. We need to be making lots of mistakes. Maybe every once in a while feeling a little bit guilty for something that we need a course correction on, but we course correct and we move on, as opposed to shame of I am bad, and then we’re paralyzed, frozen, and we go nowhere. Diana: Yeah. Yeah. Gosh, you’re making me think of something that happened to me one time when I was out there promoting a book, and I had been invited to do the keynote speech at a big conference. And- There was a process in place where [00:08:00] my presentation was vetted. Like, I had to submit it and, um, and it was vetted and, and we were really clear on what I was talking about and what I was doing there vis-a-vis what some other of the speakers were doing. Diana: So there was this nice work on the whole presentation, and I felt really confident about what I was doing. And I, I did the, um, presentation and, and it was sort of s- short and, um, I thought

    Margin Notes: Juggling Opportunities and Rewriting the Story After Mistakes
  2. 11 Sept

    Margin Notes: Making Marketing a Creative Project with Stuart Wakefield

    In this Margin Notes episode of the #amwriting podcast, host Jennie Nash talks with book coach and author Stuart Wakefield about approaching marketing as a creative project by making joyful “artifacts” that expand a story world rather than simply asking readers to buy a book. Wakefield shares his creative background, a past period when his creative practice stopped, and how he now immerses himself in projects tied to his latest novel, All Hands on Dick, set in 1956 aboard the cruise ship SS Celestial. Stuart describes the book’s comedic, queer, mid-century influences and its characters, explains creating items like a 3D-printed ocean liner and a hand-cut 10-inch vinyl record featuring AI-assisted big band songs, and discusses building an animated music video. Nash also previews upcoming episodes with Wakefield on using the Blueprint method to develop a series, as he launches his trilogy A Gay Odysea. #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Connect with Stuart * Visit his book coaching site * Read his books * Watch his music video Transcript Jennie: [00:00:00] Hi, I’m Jennie Nash, and you’re listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Hi, everyone. This is Margin Notes, the part of the podcast where we’re talking about the big decisions writers face in their work or creative lives. I’m here today to talk with Stuart Wakefield about making marketing a creative project. And you’ve heard from Stuart before. He has coached on the podcast, and we’ll link to that episode in the show notes. He also will be in episodes to come, which we’ll talk about in a moment, and Stuart is a fascinating individual who’s had a long career in all kinds of things, including TV writing, playwriting, a long stint in IT. What? [00:01:00] And, and now Stuart works with me at Author Accelerator, and he runs his own book coaching business at thebookcoach.co. Welcome, Stuart. Stuart: Thank you for having me, Jennie. I’m really excited to talk to you today. Jennie: I’m excited too. This is such a, such a interesting topic. So the reason this came up is that Stuart launched a new book, which he’ll tell you about in a moment, which is part of a series, which he’ll tell you about in a moment, and I started seeing out on social media just all this really fun content that he was producing. And obviously then I would get to talk to him at work, and I- he just would have so much joy, and then he would say, “Oh, let me show you this other thing.” And when I talk about fun content, I’m talking about, like, music videos, cartoons, animated [00:02:00] little shorts. He wrote a song. He, he’s writing a music video. He 3D printed a ship. He printed a vinyl record. I mean, it’s bonkers. And so I just wanted to dig into this about what are you doing, and why is it creating so much joy, and what can we learn from it? So that’s what we’re here to talk about. Stuart: Oh, oh, oh. Right. Okay. So, so in, in my creative practice, I have always enjoyed... You know, I started acting when I was five, um, so I’ve always been in kind of around the theater, even when my kind of IT career and project management career was all kind of going on. So I’ve always enjoyed that. I, um, started a, a- A degree in fashion design. Um, after a year at art college, I, you know, carried on acting and then had a break in 2003. Uh, if I’m really honest with you, I had a breakdown and- Yeah ... m- [00:03:00] my creative practice just stopped. And about six years later in 2009, I started writing. And you know, I’ve always been a creative person, and I’ve always been a storyteller, and I tend, but I tend to do it in a very short, concise way. So the shortest piece of fiction I’ve sold was 50 words. Jennie: That’s short. Stuart: Right. Okay. So I, um- Have had like a, a side art project. It’s called The Queer Historian of Emotional Truths. Um, and there is a website that sits with that, and the idea is that the queer historian has found artifacts, um, and he is curating those and sharing those on the website, and they might be voicemails, they might be found photos, found objects. And when I got my... So I really love that kind of very small to- storytelling, those, those really poignant moments, [00:04:00] as opposed to great big, long stories. Um, I recently s- sold a story to Divine Femins- Feminine Publishing as well, um, which is again, it’s cozy sci-fi, but it’s very much the small kind of human moments. Jennie: Right. Stuart: And I found that after writing this book, I became so invested in the world that I wanted to do small art projects that kind of lived within that world. So that’s where this has come from. I, I don’t see it as marketing. I see it as telling those smaller stories within that wider world that really convey the joy that not only have I got from writing that, that work, but I think lives on after the reader closes and reads that last, that last page and then closes the book. Jennie: Well, this is why it’s so exciting and inspiring to me, because so often when writers talk about marketing or think about marketing, they’re thinking [00:05:00] about, “Buy my book. Buy my book. Buy my book,” and that’s not at all where you’re coming from. I suspect... Well, with this current project, it’s, it’s brand new, but I suspect that that’s where it’s gonna go, right? That it’s impossible to imagine sh- that you’re gonna share all these creative acts and artifacts and not get people... I was gonna say on board, but that’s gonna be like- The, it’s a- It Stuart: is set follow... It’s set on board a, a ocean liner. Right. So on, on board is great. Jennie: Right? Like the, how could those two things not happen? That, I guess what I’m getting at is I, I often think that the results people want don’t usually come from the path that they think is gonna get them there. Right. The results come from doing the work you love, writing the story you want, and in your case, making this a creative project. Do you- Yes ... do you think that’s [00:06:00] true? Stuart: Yeah. You know, very much so, and I was discussing this with a marketing book coach, uh, Rebecca Grogan. Jennie: Mm-hmm. Stuart: Highly recommend her to any romance writer. So that’s beckythebookcoach.com, and, you know, we got talking about creative projects and how much I don’t really like marketing. I always thought it was a very British thing not to like marketing, but the more and more US writers I, I meet and fellow coaches, again, you know, marketing can feel like something unsavory. Jennie: Right Stuart: And what I really want to do is show people these cool things I’ve made and invite them very much into the world. Because what I do in any of my creative writing projects, I have objects that represent what I’m writing on my desk. So, um, I have a book that’s set in 1907, so I got [00:07:00] artifacts from, from that time. I have a book that’s set, well hopefully coming out in a few months, which is, uh, set in Madrid in 1958, and one of the characters works in a print shop. So I have wooden blocks, wooden printing blocks that spell out this character’s names. So- Jennie: Oh, Stuart: that’s Jennie: so cool. Stuart: So as I switch from project to project, I bring those things and put those onto my desk, and I just find it helps me get into that head space- Jennie: Yeah Stuart: and that emotional connection. Jennie: Yeah. Stuart: So because I still have a, a very strong emotional connection to what it is that I’ve just published, and I know there are two more books coming, I really wanted to sit and kind of immerse myself in that world. And the first object I created was this 3D printed ocean liner, because that has what has been sitting on my desk while I’ve been writing this first book. Jennie: So when you say you 3D printed it, how did you go about [00:08:00] that? Stuart: Okay, so I- Jennie: Oh, and, and let’s just describe, since people can’t see it. It’s, it’s about like eight inches, 10 inches? Uh, yeah, yeah. So- And it’s... Is it made of plastic? Stuart: Yeah. So it’s 3D printed, uh, so it’s kind of a, a resinous kind of plastic that’s- Yeah just melted as it comes through the head. And yeah, so I found, uh, a model online, and then I... My comput- my computer modeling is not great. It’s one of the few things that I’d see that I don’t really, you know, have a skill at. So I contacted a friend and said, you know, “Can you modify this for me? Um, can you change the name on the side of the ship?” ‘Cause the model that was already there, um, had a different name. And yeah, you know, we, we worked on the look and the feel, and then when we were ready, we found someone else to, to actually print it up. So for me, it’s just a lovely object, and I know I’m going to be able to take it to book fairs. There’s one coming up at the end of September- So I have little [00:09:00] wooden life rings, we have ship’s rope, I have a reception bell. Um, so all of these artifacts, again, when s- if somebody comes to my stand at the book fair, they will be walking into the world of the SS Celestial. Jennie: That’s so fun. Okay, so let’s, let’s talk about the, this, the ship and what happens on the ship and the story and the whole thing, ‘cause it’s just too much fun. So it’s, um, set in 1956 on a cruise ship. The name of the book is called All Hands on Dick, and it is currently out. So why don’t you tell us about first All Hands on Dick, and then the series that it, um, begins? Stuart: Okay. So All Hands on Dick follows cruise director Dick Dockery, and Dick is one of those people that puts the passengers’ needs before his own.

    Margin Notes: Making Marketing a Creative Project with Stuart Wakefield
  3. 4 Sept

    Write Big: Beyond the Book Deal

    Host Jennie Nash talks with novelist and journalist Caroline Madden about why writers crave traditional publishing deals and how that desire can become an unhealthy obsession tied to external validation and “pick me” energy. Madden recounts a 20-year path to publication, including losing two agents and dying on submission, then changing her writing through Lisa Cron’s Story Genius, Nash’s Blueprint for a Book, and Donald Maass’s Writing the Breakout Novel Workbook; her later two novels earned deals, including her debut The Marriage Vendetta (HarperCollins) and a forthcoming book. They discuss how redefining “why,” setting a bigger North Star (for Madden, contributing to feminist issues), releasing desperation, and defining success concretely can stabilize writers through rejection and shifting goalposts. Madden advises seeking blunt, market-informed feedback from industry professionals and emphasizes control through craft and writing rather than chasing validation. #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Books Mentioned in this Episode * Story Genius by Lisa Cron * Writing the Breakout Novel by Donald Maass * The Marriage Vendetta by Caroline Madden The Substack Exchange We Couldn’t Find — We Found It! Blueprint Courses 👉 Enroll in the Fiction Blueprint Course 👉 Enroll in the Memoir Blueprint Course 👉 Enroll in the Nonfiction Blueprint Course Transcript Jennie: [00:00:00] Hi, I’m Jennie Nash, and you’re listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Hey, everyone. It’s Jennie, and I have a really fun episode today. I’m speaking with novelist Carolyn Madden, and we just had a fun interaction on Substack about a really profound thing, and we actually just tried to find our interaction, and we’re unable to do so. So we’re going to have to recreate what it was. But the topic that we’re talking about is why writers, especially debut writers, but all writers, so desperately want traditional publishing deals, what that desire is, what that feeling is. And I saw something that Carolyn wrote [00:01:00] on Substack and, and just was like, “This, this. Why is not everybody talking about this?” So we’re going to talk about this. So welcome. Caroline: Thank you so much, Jennie. I’m really thrilled to be here, especially because, um, I have your Blueprint for a Book, a nonfiction book that I ordered. I suppose it must have been maybe 10 years ago. Jennie: Oh my gosh. Well, that was what Caroline: was- 10... Would it be 10 years ago? Jennie: That was what was so... Part of what was so fun was I- Yeah ... I didn’t know who you were, and I responded to this note. And you said, “Oh, I, I know who you are. I have your book.” And, um- Yeah ... and here we are. So that Caroline: was- And you didn’t know that... Yeah, you didn’t know because I do recommend it a lot. So I, I... That’s so funny. Um, so it’s a pure coincidence. And I will say that this is... There was like a turning point. Just to go back a little bit, I’ve had a very, very long, uh, trip, uh, circuitous, scenic route to being published. So [00:02:00] my debut novel, The Marriage Vendetta, was published last year by Harper Collins. But... And it’s about a woman called Eliza, a musician. It’s based on a real-life character. But I have been working on some version of Eliza’s story for- 20 years now at this stage. So it took me more than a decade of actively trying to get published to get my book deal. And there was a pivotal moment where I was brought very low. It’s like in a novel where you have your dark night of the soul. I had lost my second agent. I had died on submission twice, and I thought, “I cannot keep doing this to myself because I will end up an old lady with a pile of unpublished novels. I either quit now or I do something differently.” And what I did was I was like, “Okay, I’m not giving up.” I went online, I ordered Story Genius by Lisa Cron, discovered you through that and bought this book, and I bought the Donald Maass book as well. And those three books were the turning points of my whole writing life, [00:03:00] and completely changed how I wrote. And if I hadn’t bought them, I would still be writing those pointless novels, Jennie, so I’m so grateful. Um- Jennie: Oh, my gosh. Wow. Yeah. So, so it was Lisa Cron’s Story Genius, and we have to get the name of Donald’s book, ‘cause it’s great and it’s ... I’m blanking on it right now. Um- Caroline: Yeah, the one that- I’m just- I have a couple, but it was, um, the How To ... I have it here. Yeah, Writing the Breakout Novel Workbook. This one. Okay. And the funny thing is, Jennie, I mean, last week when you, or the, whenever it was you contacted me, it was just such an exciting moment for me because that was such a pivotal book. But the weird thing is, and I just don’t know how this has happened, it’s like karma, I am now represented by the Donald Maass agency, but I never queried him. It was completely by accident, and I just think there’s some kind of karma at work. I don’t know. Um, Jennie: because I Caroline: haven’t- This is Jennie: crazy. Caroline: It’s just gone crazy. Jennie: It’s crazy. Yeah. It’s ... So more than a dozen years trying to get published, but [00:04:00] you- Yes ... but you write for The Irish Times, is that correct? You’re a journalist. Caroline: Uh, yeah, so, and this kinda comes back to what I was talking about on Substack. I decided I wanted to be published when I was sort of mid-20s, like as a novelist, but I thought, “I’ll start small. I’ll just start trying to get some, um, some small bits and pieces published. Okay, I’ll try and write some journalism.” I, I was working as a tax consultant at the time and I wanted to get out of it. And what happened was I did get some articles published, and then it actually turned into a whole career in journalism that went on for a long time, and I wrote for The Irish Times for a long time, all with the aim of getting a novel published. Jennie: Wow. Caroline: Yeah. Jennie: So, um, I, I actually did a, a speed read of The Marriage Vendetta. It’s such a fun- Thank you ... kind of romp of a, a story. It’s- Yeah ... it’s, um, it’s very feminist Thank you. It’s, it’s, um- Yeah ... funny. It’s dark. It’s, [00:05:00] uh, satire. I, I heard some people describe it as domestic thriller. Yeah. Um, so this, this book has come out now, um, well, last year, and you have another coming out next year. Is- Caroline: Yeah ... is it Jennie: in the Caroline: same Jennie: vein? Yeah. The same type of story? Caroline: It is. It’s a little bit darker, but it is, I suppose, a feminist thriller. And so in total, I’ve written four complete novels. Two of them I wrote before discovering Story Genius and Blueprint for a Book and Donald Maass, and those two died a death. They died. One, one of them died twice on submission, uh, two agents. The other one never even made it on submission. So I wrote two without this method, and I wrote two novels with this method, and both of those have got deals, so it was pivotal. But I think what we were talking about with Substack was I think I put something of saying like, it wasn’t until I stepped back and looked at this obsession that really I [00:06:00] mean, it took over my life. It, it’s why I went into journalism. I put everything into it, and I’ve met so many people, aspiring writers, who are the same. It’s a sort of fixation. It’s an obsession. And when I hit that low point of losing my second agent, I thought, “I’ve got to figure out what is driving this,” because this is destructive in my life. It’s actually an, an unhealthy addiction now at this point. And so obviously I thought, “Is it for the money?” Well, no, because you can make more money in practically any other line of work really, because I’d made no money from it. So- From being a lawyer ... so, you Jennie: know. Yeah. Caroline: Yeah, so it’s, it is not for the money. Okay, is it, um- To get a- a- an audience, to get your message out there. Well, I’m a journalist, so it can’t be that. Oh. Um, and so what I did was I ... I was just like, “Th- th- this, it must be just for sort of, like, the validation.” So what I decided, and I thought, that’s not a very healthy motivator, because it’s never enough, really. You get the book deal, [00:07:00] then, well, someone else got a bigger book deal. So I thought, I’ve got to get, have a ... I, this is gonna destroy me. I, I either have to quit or figure out a healthier perspective of it. So what I did was I zoomed right back out, a bigger picture. Like, let’s say at the end of my days and I look back and I think, “Yeah, that was a life well spent,” what does that look like? And I thought, well, let’s say I have five novels published and they were okay, and people like them. Is that big enough? And I thought, that’s not big enough. And what was important to me at that time were a lot of feminist issues, gender equality, and I thought, if I could move the needle even in the tiniest way on any of those sort of issues, now that is a life well spent. And so then writing a novel just became, that became my North Star. And then I thought, well, writing a novel is only a part of that. Okay, if I get a, uh, get to write a feminist novel with a, with a sort of subtle message, fantastic. It’s part of it. But there are so many other ways within my control that I could try at [00:08:00] least to- Contribute to feminist causes or those sort of things. Um, so it gave me back a sense of control. It put things in perspective as well, and it also took the focus off, like, the ego. Like, I want to be

  4. 28 Aug

    Write Big: Traditional Submission Ends, Commitment Continues

    In this episode of #amwriting, Jennie continues this series of “Write Big” episodes in which she vulnerably shares her own process of turning the Write Big concepts into a book, thanking listeners and inviting them to become paid subscribers. In this tough installment, recorded after a Zoom call with her agent while sick, she explains they are ending submission after sending the proposal to 30 publishers; feedback was largely positive, but publishers felt the book would be hard to break out without a large platform, and there was nothing actionable to change. Jennie feels sad about losing the chance for bookstore placement via a traditional deal, but emphasizes she does not feel rejected and believes strongly in the finished manuscript and her marketing plans. She plans to move forward independently, explore formats and special editions, and frames the moment as what “writing big” means: taking ownership, not playing small, and writing like it matters. #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Transcript [00:00:00] Hey everyone, it’s Jennie, and I’m here to introduce a series of episodes that I’m going to be doing. But before I do that, I just want to thank you for being a listener. I inherited this podcast from KJ, Jess, and Serena back in December, and didn’t really know how it was going to work with just me at the helm or what I was going to do to make it valuable to writers. And I’ve been finding my way, and I’ve just been so grateful that you’re continuing to listen. I appreciate it so much. I have a lot of really cool things planned coming up, so I hope you’ll keep listening, and I also hope that if you’re getting something from it, that you consider becoming a paid subscriber. That helps support me and the producer and assistants who help me put this together, and we would appreciate your support so much. Okay. So the reason that I wanted to introduce this upcoming series is that it’s a series of Write Big episodes that are about me and the project that I’m working on, and it feels a little vulnerable to be sharing in this way. I’ve had some mentors and advisors [00:01:00] suggest that maybe I shouldn’t do this because I’m here on the #amwriting podcast as an authority. I’m the book coach who coaches the book coaches and who has coached a lot of writers, and I come at you from that place of expertise. But in these next episodes, I’m coming at you as a writer my own self, and I’m coming with some pretty raw material. I debated whether or not I should share it at all, but I decided to go ahead. I think it’s the honest way to show that I’m here working on the Write Big issues right alongside you because every writer is. These are not just theoretical ideas. They’re ideas that we all have to wrestle with. It doesn’t matter that I’ve published 12 books or that I’ve coached hundreds of writers and thousands of book coaches. What matters is that I want the book I’m writing to be great, and I want it to make an impact, and I want it to be authentically me, and that’s what writing big is all about. So the [00:02:00] project that you’re going to hear me talk about is trying to turn the Write Big concepts into a Write Big book. And this episode that you’re gonna hear first is a pretty tough one. I want you to know that it all turns out just fine. I’m fine, and I’ll be sharing the journey of my bringing the Write Big book into the world with all of you as we go with some special opportunities to be inside the process with me and to help me make the book as good as it could be. This will all just be a small part of what I have planned for the #amwriting podcast, but I wanted to give you this context before you listen today, just so you know what this episode is all about and the next few ones that follow. Okay, now let’s get to it. This is a Write Big session where I’m bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. Today, I have a bad cold, as you can hear, but I just got off the Zoom with my agent, and I wanted to [00:03:00] capture this moment for all of you because I think it’s really important to capture it. So even though it was a sad call and I feel bad, I wanted to record this right now. And, um, it was sad because we decided that our submission efforts are over and they didn’t work. My agent submitted to 30 publishers, and the overall feedback was amazing, as I shared in some earlier episodes. It was just incredible how many people know me, know my work how well the proposal landed with people, how seriously they considered it. My agent did something that I’ve actually never seen before, which is that she had a spreadsheet, a Google spreadsheet, and she would share the feedback in the spreadsheet as it came in. So I have all of the feedback in this spreadsheet. I’m looking [00:04:00] at it right now. And so what my agent and I decided is that there was really nothing that we could do. There was nothing that we could control. Nobody was saying, “Go out and get a whole bunch of new followers and come back to us.” Nobody was saying anything about a different content or concept. There was just a general feeling that it would be hard to break this book out. I’m not famous, and I don’t have a big following, and I can’t get that. I can’t snap my fingers and, and make that a thing. There are a lot of books in this category from people that do have that. And so I just am at that disadvantage, and there’s, there’s nothing that we could do. So we decided that’s the end of the road. So what I wanted to capture, the reason I wanted to record this was, this is a book called [00:05:00] Write Big. And writing big in my mind- is not about going for it. That’s not what it’s about. It might be, and when you write big, you might do that, and what I was doing in trying to get a traditional deal for this book was going for it, and I’m sad I didn’t get it. That’s the sadness. I’m sad I didn’t get it. I really wanted this book to be in bookstores. I feel like it’s a book that would do really well in bookstores, and should be in bookstores. That was my primary goal for getting a traditional deal, because I’ve self-published the Blueprint books, and they sell very well, and they do very well. And the one publisher that we spoke to commented upon that, actually said, “You do so well. What can we... What could we do that’s different from what you’re already doing?” So that is an [00:06:00] interesting part of the conversation. But I want it to be in bookstores, and it’s hard to be in bookstores, really nearly impossible with a book like this from self-publishing. So the sadness is that I won’t have that. And but underneath all of that sadness and the disappointment that it didn’t work is a belief in what I’m doing. I have a finished manuscript. I have it out with two beta readers, and I’ll be talking about why I picked those two and what that process was and how the feedback from them has gone and what I’m doing with that feedback in later episodes. But I know that this material is good. I know that it’s useful. I’m excited about this material. My proposal had some killer marketing plan in it that I’m really excited to pursue without a [00:07:00] publishing partner, a traditional publishing partner, and some of the things that I wanna pursue will be easier without a publishing partner because I’ll have control over the pricing and special offers and giveaways and things like that. But I... the, this book is not... this, this news is not the end of this book by any stretch of the imagination. It’s just the end of this piece of what I wanted, and that’s the core belief, is that this, this idea is solid and sound, and I’m excited about it, and I wanna bring it into the world, and actually nothing is gonna stop me from doing that, and I feel a fierce, m- what is it? Desire to do that. So I don’t feel like this is a setback. I don’t feel like it’s a referendum on what I wrote. [00:08:00] I don’t feel like it’s personal I don’t feel rejected. Again, I just feel sad because I had a, a dream or a vision of that, of that bookstore thing. But, you know, what does that represent? It... What it means is that this book would get into writers’ hands, and it would get into writers’ hands in that way of, you know, someone wanders into a bookstore and they’re noodling around, and they are come upon that writer book reference shelf in which actually often several of my clients’ books sit. And which is kind of ironic. One of, one of the re- uh, rejection letters actually referenced that they already have a book similar-ish to mine which is somebody that I, that I helped. So, and one of my coaches helped. So, yeah, it’s a little bitter- [00:09:00] bittersweet part of that there, for sure. But, you know, the ultimate goal is that writers get this, and writers use this, and writers make something from the content in this book, and that can happen whether they encounter that book in the bookstore or not. So that is what is gonna happen. I will pursue this and move forward with this on my own. And, It, yeah, it feels, I’m just- I’m sort of closing my eyes and sitting here and trying to feel how I feel. I mean, I knew, I knew what was happening on this call. It wasn’t a surprise to me. It was, you know, we agreed to add the submission and to have this conversation today. So I wasn’t surprised by the news. But, you know, having the call is, is final and the agent that I chose for this project is lovely and loves my work and did it- did all she could do. Um, I have no, I have no, um, [00:10:00] feelings or regrets about her role in this. And yeah, I feel a little, uh... What do I feel? It’s, uh, it’s hard to know what you f

    Write Big: Traditional Submission Ends, Commitment Continues
  5. 22 Aug

    Bonus Margin Notes: Finishing the Blueprint: Recognizing the Shift from Planning to Writing

    In a bonus #amwriting podcast episode, host Jennie Nash talks with academic writing coach Kathy Mazak of Scholar’s Voice (and host of Academic Writing Amplified) about how writers keep going after completing a blueprint and finish what they start. Mazak explains her mission-based work helping academics—especially women and non-binary scholars—publish their research by aligning time management and writing with an academic mission statement. She argues that big blocks of time are unrealistic and that one to two hours once or twice a week can be enough if protected and supported by project management systems. They discuss common obstacles like not honoring writing time, fear of disappointing oneself, and harsh peer review, and emphasize mindset work as at least half the solution. Mazak describes managing multiple projects by focusing on a top three, letting others “sleep,” and “killing” stalled “zombie projects,” plus recognizing stage transitions and solving the right problem at the right level. She shares details on her 12-week Navigate program (scholarsvoice.org/navigate) and why members stay for years. #AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Learn more at http://scholarsvoice.org/. Transcript Jennie: [00:00:00] Hi, I’m Jennie Nash, and you’re listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Hey everyone, it’s Jennie, and I’m here with a bonus episode of the podcast because a lot of our community has been working on their blueprints this summer to begin a new project, find momentum for one that’s gotten derailed, or to work on a revision. And obviously stopping to think before you write is critical, but then the question is, what next? And how, how do we keep going? How do we finish what we started? And I invited my friend Kathy Mazak to join me today to have a conversation about this and to get her insights on this topic. Kathy, we’re in a business mastermind together. That’s how we met, [00:01:00] and we, um, immediately connected because Kathy runs a company called Scholar’s Voice, which you can find at scholarsvoice.com. She has an incredible strategic mind, and her work focuses on helping tenured professors get their research and writing out of the endless backlog and actually submitted and published. So it’s a different kind of writing than we normally talk about on the podcast, but I know we have a lot of a- academics in our audience, um, who are trying to write nonfiction or fiction or memoir, but also probably trying to publish the papers that are sitting on their desk. And Kathy helps so many people do that work and do it well, and she has really Amazing systems for doing that. And so she’s gonna talk a little bit about her program and what she offers at the end, um, or maybe at the beginning too. But, [00:02:00] um, welcome Cathy. Cathy: Yay. Thank you so much for having me. So I know that we met in the business mastermind, but I’ve been following you for many years before that, and been listening to this podcast, and been subscribed to this podcast for, like, at least since 2019 when I started to, like, look at other writing podcasts. Jennie: Yeah. Cathy: And so it is ... It actually has been, like, a dream of mine to be on this podcast, so it’s, like, so- Look at us ... great that we’re doing this here today. Yes. Jennie: I completely forgot to say that you have a podcast as well. What is, what is the name of that? Cathy: Yeah. The podcast is called Academic Writing Amplified. It has, like, we’re headed towards 350 episodes all about, like, getting your, uh, academic papers out there in the world when you’re a busy professor. So yeah. Jennie: One of the things that I most like about your business is the way you describe it as it’s really mission based. Yeah. It’s, it’s [00:03:00] really about helping academics take control of the narrative. Yeah. Right? Do you- Yeah ... do, will you tell us about that, ‘cause I love that. Cathy: Yeah. So for me, right, like, as a writing coach, so I was a full professor, like I went through, I have a PhD. I, I, I got my tenure track job. I went all the way through all the ranks, um, before I left and started this, uh, academic adjacent business. But I do it because, like, my big, like, mission is that the more, especially women and non-binary academics who get their papers out in the world, like, the more those voices are changing fields, and influencing research, and influencing thinking. And I just think, like, that is just so important. That’s why the business is called Scholar’s Voice, ‘cause it’s about getting more diverse, typically marginalized voices out in these research spaces. Um, so [00:04:00] to me that’s my mission, and when I have ... You know, when, when scholars come and do my program they write an academic mission statement, and really their whole time management, um, and writing project management, and sustainable writing practice is designed to, like, support that academic mission. So it’s a very mission based, uh, business for me. But it’s also, like, a, like my clients, like w- who take my programs are also, like, putting their academic missions, like, right at the center of their work. Which also puts writing at the center. Because to me, like, the writing is absolutely, is, is, like, the path to creating this better career, this focus on writing. Jennie: Well, and an academic has courses to teach and committees to go to, meetings to go to, and, you know, so many other demands on their time. And somebody trying to write a book has- Yep ... not [00:05:00] exactly those things, but probably a day job, and kids, and, you know, aging parents they have to care for, and the dog, and the car, and, you know, it’s, it’s writing in, in the real world. Mm-hmm. And the way you set your program up is you’ve honed this over so many years, i- and it’s designed to, to help people actually get the work done. Yeah. So can you tell us a bit about how you structure that program? ‘Cause I think it’ll be instructive to helping folks. Like, okay, here, you’ve finished your blueprint, now what? So- Yeah ... how do you, how do you get people to do it? Cathy: Yeah, yeah. So the first part is that I think that many people, when they think about writers, right, like if they just imagine themselves as a writer, they think that the ideal is, oh, I have like eight hours a day to dedicate to writing, or all my life, or whatever, you know, dreamy scenario we have in our minds. And I [00:06:00] think, like, for academics, i- the, the... it’s like, oh, I need to be on a sabbatical, or I need to not be teaching. I need to... I cannot be doing any other thing. Um, or I can be doing other things, but I need like these big blocks of time to write. And the problem is, like you’re saying, like writing in real life, like that just doesn’t happen. And then when it might happen for academics is over the holiday breaks, like the semester breaks or the summer, but that also isn’t true because you’re also like, you know, being a mom and, and th- you know, doing things with your family, and managing your house, and maybe your aging parents, and whatever else. Like there’s never a time where there’s like nothing going on. So we have to stop thinking that that’s the ideal and rather think, like what I tell my people, and they- Fight me on this, but at the beginning. But I tell them, actually one to two hours once or twice a [00:07:00] week is enough. Jennie: Ah. And Outro: they’ll be like, “No, Cathy: no, Outro: no, Cathy: I Outro: need-” Say that again. Cathy: Yeah, no. Say that again. One to two hours once or twice a week is enough, ‘cause remember, like, the low end of that means one hour a week, and the high end of that is four hours a week. And so a lot of times people come in and, and I’m, you know, for your, for the audience here, like, think about are you doing one hour a week consistently? Are you doing two hours a week consistently? If you’re not, then let’s just, like, back up and go there instead of thinking like, “Oh no, I need these big blocks of time that I can never actually get and hold.” ‘Cause that’s the other thing, it’s so hard to hold a big block. Um, like a four-hour block is hard to o- to hold. Uh, and also Outro: hard- Oh my gosh, four hours? ... to maintain your energy through. Cathy: No, no, people- What? No ... people have Outro: all kinds of ideas. Cathy: And I’m like, and, and the other thing too I think is related to this idea, like for my people, right, that the work day is, like, this eight-hour day. [00:08:00] Like, but you can’t ... I’m thinking you’re not knowledge work for eight hours a day. Like, your brain can’t do that, you know? So we really have to start, just, like, dial it back and start with, like, can I get consistency? Consistency doesn’t have to mean every day. Could I get consistent with one or two hours once or twice, or twice a week, and actually do writing during that time so I have project management skills that mean when I sit down I know what to work on, and see how that works? Because guess what? If you did that, you would be ... Like, everything would be moving towards publication, and there would be many more words on the page. Jennie: Well, I love that so much because one of the things that I find is- Well, with writing or business or anything is I’ll say, “Oh, I’m working so hard, and I’m so busy on it, and I’m spending all this time on it,” but really what I’m doing is sitting down at my desk and- Yeah rearranging, you know, [00:09:00] the folders on my desktop again. Or- Yeah ... um, you know, oh, I’ll just go take a little peek over on Instagra

    Bonus Margin Notes: Finishing the Blueprint: Recognizing the Shift from Planning to Writing
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About

#AmWriting is a podcast and Groupstack hosted by KJ Dell’Antonia, Jess Lahey, Sarina Bowen, & Jennie Nash. Listen, read and join up for hard-won advice and inspiration to help you play big in your writing life and finish work that matters. amwriting.substack.com

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