The Creative Penn Podcast For Writers

Joanna Penn
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Writing Craft and Creative Business

  1. 3d ago

    Reclaiming Your Mind: How To Teach Yourself Anything With J. Daniel Sawyer

    How can you teach yourself anything, even when it challenges the way you see the world? And how can you organise what you learn so it turns into books your readers will find? J. Daniel Sawyer shares his self-education toolkit after decades as a largely self-taught author. In the intro, Spotify for Authors has expanded AI-assisted creation of audiobooks [Spotify]; Who is Narrating the Future? [Publishing Perspectives; 9 ways AI will disrupt authors and publishing from 2019]; Author Voice, Creativity, and Building a Career as an Intuitive Author-Entrepreneur [How Women Write]; A fallow season [Systems and Soul]; How to Write, Publish, and Market Short Stories – Joanna Penn. Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it’s delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book is Reclaiming Your Mind: An Autodidact's Bible. 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 What is an autodidact, and why school doesn't teach you how to learn How to triage information in a world of way too much How to recognise fear in your body and turn it into excitement for learning Sandboxing dangerous ideas so you can learn without threatening your worldview How to organise research and check quotes when writing nonfiction Why you should never publish a book dead You can find Dan at JDSawyer.net, and The Autodidact's Bible is out now on Kickstarter. Transcript of the interview with J. Daniel Sawyer Jo: J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book is Reclaiming Your Mind: An Autodidact's Bible. So welcome back to the show, Dan. Dan: Hello, Joanna. It's great to be back. Jo: Yes, indeed. You were only on the show a few months ago, which is rare I have somebody twice in the same year, so that is quite exciting. We talked about voice mastery last time, very different to the topic of today. But because we did talk a bit more about your background last time, we're going to jump straight into the book. So what is an autodidact, and why write a book on it? Dan: Well, an autodidact is someone who teaches themselves things rather than taking a course. It's not incompatible with being taught by others, of course, but there's a set of skills for being able to pick up new information, new disciplines, new hobbies, whatnot, that's really useful to have. I wrote the book because I was mentoring a friend's kid through high school. They weren't teaching her anything, and she was having a hell of a time figuring out how to get an education in a school that was just not interested in providing one. The process of the conversations over the course of a year forced me to surface all of the tools that I had developed, starting as a child, that allow me to pick up all of those disciplines you were talking about before, plus blacksmithing and academics and other stuff like that. While I have had access to a lot of amazing teachers in my life, I'm largely self-taught, and have become the world expert on a couple of topics as a result. I realised that the tools that you need to teach yourself and the tools that you get in school no longer overlap very much, at least in the US. The old style of classical education, and then the middling style of early school education, both gave you those tools so that when you left school, you were able to continue through the world growing. Nobody does that anymore, so I realised I needed to write a book about all this stuff while it was fresh in my mind, so I did. Jo: I love that. I don't know if it always was like that for some people, too. We all know now more about neurodivergence. Back in the day, when you and I went to school, that wasn't really talked about. It was like if you couldn't learn stuff in the way that it was thrust at you, then you were just dumb, maybe. Dan: Well, what you and I got in school was the very late end of the German model. The German model of education is what arose in the industrial era, and its job is to create good, obedient workers, not necessarily to create independent citizens who can think for themselves and who can move through a world that's changing and learn things. That kind of education came from an older tradition, but it wasn't well suited to pulling people out of the hinterlands and putting them in the factories in a way that they could understand what they were supposed to be doing. So the Germans developed a regimented system that was built around memorisation exclusively, rather than processing. Memorisation and repetition. Whereas a more classical approach would have you do memorisation as part of repetition, processing, evaluation, and creativity. So when you go to school, you get some of the toolkit you need, but not all of it. Jo: Yes, and then I think some people were just so bashed over the head with stuff that they didn't enjoy the process of learning, and maybe just moved away from it now. I want to come back on something you said there, that it didn't enable the independence, the thinking for yourself. We're living in this really weird time now where we're almost in a splintered world where you can find information on anything you want, but a lot of people are finding information, say, on TikTok or in AI-generated books with no rigorous fact-checking. So how can you think for yourself in a world where there's almost way too much now? Dan: Well, one of the most foundational skills of thinking is information triage. The world has always been full of unreliable information, if for no other reason than the state of the art in any given field at any given time is guaranteed to be about 80% wrong. So even if you're being very careful about only hewing to the most accepted body of facts, facts change over time, partly as we learn more and partly as the world changes underneath us. Thinking is different than knowing. Thinking is the ability to evaluate the information you're coming into contact with and figure out what's likely to be useful, and then to check yourself based on what you are more inclined to believe because of the way that you're made up emotionally. It's being able to curb your impulses with an error-checking layer so that you don't get sucked down into a very nasty rabbit hole, which everybody's prone to on one front or another. So that explains the how and why, but the what is things like knowing your basic logic, knowing the informal logical fallacies that everybody's prone to, things like the bandwagon fallacy. We're partly herd animals. We tend to want to join a group for protection and identity. So if we're in a group that believes a certain thing, we're likely to believe it out of fashion, which is great for group solidarity. It's not so great for actually knowing if what you think you know is correct. I've got a whole section of the book devoted to the top 30 or 40 most common informal reasoning fallacies. Knowing how to do basic critical reasoning is one of the things you have to do if you're going to be learning in a way that's useful to you. Then of course, there's another reasoning kit, which is the non-rational reasoning kit, which I also talk about. That's something that you and I as fiction authors use all the time. Jo: Explain more about that [non-rational reasoning kit] then, because people might not know what that is. Dan: All right. So rational reasoning involves logic. If X is true and Y is true, then Z must also be true. That's basic deduction. It basically lets you figure out what's implicit in the body of knowledge you already know. Then subsidiary to that is induction, which is, if X is true and Y is true, what might also be true that could explain X and Y? That's the scientific method. It's less reliable than deduction, but it actually grows your knowledge rather than just revealing it. Non-rational reasoning is things like reasoning through analogy, reasoning through metaphor, reasoning through intuition. These are all reasoning modes that allow you to bring something foreign into your understanding, or to deepen your understanding of something you're already familiar with, in a way that incorporates not just logical propositions, but also emotional truth and relational truth and things like that. Frequently it can generate things you can then subject to logical evaluation and pull new information about the world out of. A really good example of where this happens in science is in visionary experiences. The periodic table, for example, came out of someone's dream. Now, the fact he dreamed it doesn't mean it's true, but what happened while he was dreaming is he had a non-rational reasoning chain that brought him this vision, which he then brought out into the real world and started doing experiments on to see if it would work, and it did. Jo: In that case, yes, I can picture the periodic table, and I often see images of things that help me organise information. So that to me makes sense in terms of somebody who had certain amounts of knowledge, who had some kind of picture in their brain and then was able to prove that. I wanted to circle back. You were talking about cr

  2. Sep 9

    What Machines Can’t Replace: Why AI Makes Us More Human With Anna McPhee

    How can you use AI to research, edit and handle admin and marketing tasks while still writing every single word yourself? How can you double down on being human and reach readers on a personal level? Anna McPhee shares her perspective as a software engineer, author and creative technologist. In the intro, How to Write, Publish, and Market Short Stories out now. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn  Anna McPhee is an author, software engineer, professional speaker, and creative technologist. Her latest book is What Machines Can't Replace: Why AI Makes Us More Human. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.  Show Notes Why writing code is creative work, and what it shares with writing books How AI changed Anna's job as a software engineer without taking her employment The difference between AI assistance and generation How to use custom skills for editing reports, research and repeatable tasks Why the rise of AI makes us crave slow, imperfect, physical things Responding to a negative review by showing up as a human You can find Anna at Anna.kiwi and her new book at WhatMachinesCantReplace.com. Transcript of the interview with Anna McPhee Jo: Anna McPhee is an author, software engineer, professional speaker, and creative technologist. Her latest book is What Machines Can't Replace: Why AI Makes Us More Human. So welcome to the show, Anna. Anna: Hi, Joanna. Thank you so much for having me. Jo: Oh, this is going to be a fun conversation. First up— Tell us a bit more about you and your background in technology, as well as how you got into writing. Anna: I have been in all of these things my whole life, as long as I can remember. When I was just a little girl, writing was my favourite thing, writing stories. It was the whole reason I went to school, to be honest. I always pictured myself as a writer before anything else. My dad was a lecturer in software development, so when I was little, he would teach me how to code. So I've always done both, for as long as I can remember, and my mum is an artist. That's been my upbringing, at the intersection of technology and art, and then writing is my own personal passion. It's naturally flowed throughout my life. I've been in and out of some other careers and chased all the things that have made me feel interested and passionate, but writing has always been there in the background. It's something I do, whether it's been for a hobby or for a profession, so it's always been there. Jo: But you work in software, right? Anna: I do. I work in software, which came to me by chance. I set out as a digital nomad about 15 years ago now. I sold everything I owned and started travelling. The way I thought I was going to fund this was through freelance writing, which I was very optimistic about. We all know now that's a very challenging way to make an income, especially when you don't have a background in it or a portfolio. I did have this childhood background in software engineering and coding. So I set out to be a writer and travel the world as a writer, and actually what I ended up doing was building websites and writing software, because that's what people would pay me to do. So I fell into both at the same time through this chance I took. Jo: I think sometimes people think that programming and software development and these more technical fields are not creative. My husband was a programmer for a long time, and essentially programming is a language. Well, there are lots of languages, but you are creating in a language with computers, right? So is there that much difference? How do you fix these two things in your mind separately, or are they the same thing? Anna: They're so related. Many people might put writing into more of an art, and computer development and programming more into a maths or a science, but I just think there's so much creativity in writing code, in how you choose to structure things, in the language you select for something, the way you approach it. It's very similar to writing a book, I think. I've found a lot of things that are very similar about it, to do with architecture even. When you look at the basics, some people might write a book with no idea where it's going and see where it ends. It's the same with software. People might go into it and not have a plan. Most people will architect their software, or they'll architect their story in the same way. I think there's a lot of crossover between the two. Jo: And there's editing, and doing the “does this do what I want it to do?” I think with software perhaps it's more obvious when something doesn't do what you want it to do than with a book. Anna: Perhaps. Although with AI now, it's becoming a little more vague, because you can think your software's doing what you want it to, but it might not be. It might just look like it is. I think those lines are getting a bit blurrier as technology changes. There's a lot of things in software development that are very similar to writing. We don't have an editor, but we will have unit tests or code reviews, and maybe the CI tests, and we've got all these structures in place that are very similar to writing. Jo: I also think what's interesting, and this has been in the last maybe decade really, is that it used to be you would get a job in the old way, but— Now it seems like your GitHub page, which is almost like your author platform, your programmer platform, can make a real difference in how people find you and your work. So maybe talk a bit about that, because you have a GitHub page, don't you? Anna: I do have a GitHub page, and I've spent a lot of time on it, because you can set up your README file and make it a bit like a website, and introduce all of your projects and what you're working on. Just to combine it a little bit, actually, I use GitHub for my writing. I use it for version control so that I can go back and see the changes that I've made to the things that I'm writing. Even with my book, I had a copy of it backed up in a private repository on GitHub where I could track changes and never lose a backup. I have so much faith in GitHub that it extends beyond the software I write and into everything I do. I keep a copy backed up in GitHub. Jo: That's actually quite funny because, coming into AI in the author community, one of the things that's now talked about is how do you prove that your book is not a one-click generated book? And what you've actually got there is evidence of your process. Anna: Exactly. Jo: Which is kind of hilarious in many ways. Well, let's get into this, because there's so much fear and witch hunting right now and negativity in the author community. As somebody who's grown up with both art and the software side, where do you think those attitudes come from, and how have they changed in different ways? Anna: Oh, people are really afraid. I've got a very moderate perspective, and I think I sit in a very similar position to you. A large number of people that I hear from are either incredibly pro-AI, let it do everything for them, everything, everything, do it for absolutely everything you can think of. Or they're completely terrified and very, very negative about it, and won't use it for anything at all. I can only assume this is going to stabilise with time. There's been a huge amount of outrage against other technologies in the past, even calculators. All technology has come with scepticism and people scared that it's going to take their jobs. I think there's a lot of misinformation out there as well, people who think that AI is trained on books, which it is, and that's a totally valid concern with the copyright and things. I think there's a lot of misunderstanding around what training an AI model actually means in that regard. It's not taking someone's prose and reusing it. It's looking at the underlying mathematical probability of, if you have this word, what is the probability of the next word being this? It's broken down into numbers. I'm not 100 percent sure, but from my perspective of seeing it, the witch hunt comes from a place of fear. I saw an author in a group I'm in recently who said, “Oh, I've written so many novels, and I've run out of ideas for names for my characters. I've used every person I've ever met, I've used their name. That's how many books I've written. How do I get more names?” Someone suggested, “Well, why don't you ask AI for some other names?” “Oh, no, no, no. I could never let AI take over my work like that.” And it was just over the idea of using it to ask a question. So I think there's a feeling that if you let it do one thing, next thing it's going to be doing everything, and it's going to erase you, and your ideas, and your way of doing things. Jo: Just on that, it is interesting, though, isn't it? Because I am trying to use it, like I use Claude Code, and I'm trying to use it for more, and more, and more. I started off using ChatGPT the day it came out in 2022, and have increasingly tried to give the AI tools all the things that will free me up to do the things I love to do. Making lists of names is not on my list of things I love to do. Anna: Yes, exactly. I feel the same way. Jo: So that's the thing, isn't it? The fear is really interesting because we all have fear. One very visceral time I remember feeling very scared was in the pandemic, in those early days when there wasn't a vaccine. That's really the only reference I think I have for it, because like you, I feel like I've grown u

  3. Sep 2

    How To Redesign Your Author Business For The Environment That Actually Exists, With Tracy Cooper-Posey

    How can you redesign your author business for the publishing environment that actually exists, rather than the one you wish you had? And how do you decide which marketing efforts will still bring readers to your books in ten years' time? Tracy Cooper-Posey shares her solar sail theory after more than 25 years as an author. In the intro, reviving your backlist [The Indy Author]; AI as a medium [Tim O'Reilly]; How to Write, Publish, and Market Short Stories – Joanna Penn. ProWritingAid Storyteller sale: Thursday, 3rd September until September 13th 2026 — 25% off all annual licenses as well as Story Critique credits. 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  Tracy Cooper-Posey is the multi-award-winning author of over 200 novels and works of nonfiction, science fiction, fantasy, romance, and historical fiction under three pen names. Her books for authors include The Indie Author Survival Guide and The Productive Indie Fiction Writer. 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 Learning to write again after chemo, one sentence at a time What enshittification means, and why it is the environment rather than you The hallmarks of an indie author business that persists over time The solar sail theory of long-term discoverability Why social media and paid ads have such a short half-life How to find and reduce the operational drag on your business You can find Tracy at ProductiveIndieFictionWriter.com or StoriesRulePress.com. Transcript of the interview with Tracy Cooper-Posey Jo: Tracy Cooper-Posey is the multi-award-winning author of over 200 novels and works of nonfiction, science fiction, fantasy, romance, and historical fiction under three pen names. Her books for authors include The Indie Author Survival Guide and The Productive Indie Fiction Writer. So welcome back to the show, Tracy. Tracy: Hi, Jo. It's great to be back. Jo: Yes. So you were last on the show in October 2023 talking about The Productive Indie Fiction Writer, and we went into depth then. So give us a bit of an update on your author business and also your life. Because it has been a bit of an up and down. Tracy: Yes, it's been a very interesting three years, because I had just gone into remission with cancer when we were talking last. Now I'm out of remission again and facing treatment in the next few weeks. My husband got cancer and went through treatment, and he's cured. So life has been pretty interesting. All that has made me do a lot of deep thinking about the indie author business and my own business and writing in general. So I'm still here. I'm still publishing, 200 plus books now. I had to learn how to write again. But the writing has shifted a lot towards science fiction and fantasy, including cosy science fiction now, which is the new genre that's just creeping in. All three pen names have been Aurealis Award finalists, which is nice. I'm still continuing the nonfiction work, which is something that you said the last time that we spoke. You said, “Now that you've written one, it's likely you'll write more nonfiction.” And I did. Jo: You did. They're excellent books. Just on that, you mentioned cosy sci-fi. For anyone who might not know, where is that genre? What's in that genre of cosy sci-fi? Tracy: It's not really officially a genre yet. It started off with cosy fantasy, which was where the cosy started. Actually, technically it started with cosy mystery, and everyone understands cosy mystery. The body and the murder are off stage. There's a lot of tea drinking. There's lots of friends, and it's all very polite and mannered. You're focusing more on the emotions and the feel, and they've picked up that cosy aspect of mystery and put it on fantasy. So you get books like, I think the primary one is Legends and Lattes. It's about an orc that's running a coffee shop because they got sick of fighting, and the adventures that they have trying to run their coffee shop. So if you pick up that same cosy sensation and put it on science fiction, that's cosy science fiction. But it's so new that it doesn't have a category on Amazon or anything like that. Cosy fantasy does now. Amazon just created a cosy fantasy category a while ago. But cosy science fiction is so new that people are still arguing over which books are cosy science fiction and which are not. Jo: Oh, that's interesting. You're incredibly prolific. You always have been. You mentioned there that you had to learn how to write again after cancer. What do you think happened, and how did you relearn? Because there are people listening who go through these similar things. Tracy: I think a lot of what happened was, well, life just became incredibly complex and challenging, and just getting through a day of pain took a lot of the energy, what they call the spoons. I didn't have the spoons to write anymore. Also you get chemo brain, which is the really interesting one. When I was going through chemo, I would look at a spreadsheet and just couldn't figure out how it worked. It just didn't make sense to me, so I had to hand over the finances and everything to Mark, which was rather interesting. The way I got myself back into writing again was, it was such an alien idea that writing wasn't even on my radar from day to day. I just didn't have the energy or the concentration to do it. So I started off really, really small. The first thing I did was read a lot of favourite books from other authors just to remember why I loved reading. Then I started reading my own books that I had written, just to remind myself of what I used to love about my own work. Then I just cracked the manuscript one day and read as far as I had written and thought, “Okay, what's the next sentence?” And that's the only thing that I would let myself do, was just write the next sentence. That's it. So I wrote the next sentence, and sat there and thought, “Do I want to write the next sentence?” On that particular day, no, I didn't. But I just kept opening the manuscript and looking and thinking about the next sentence, and eventually I wrote a few more. I think it was that coming back to the manuscript over and over with no pressure, just look at it, can you get the next sentence written? Very slowly I started building up, and now I'm pretty much back to the speed that I was at before the diagnosis. Jo: So I guess we could think about it in the same way that your body is physically recovering, your mind is also recovering. It almost feels like people want to disconnect the two. If you get a physical injury, that shouldn't affect your brain. But as you mentioned, having chemo, that in itself is difficult and has impacts on your brain. So if people think about it more as an injury you have to come back from, rather than day one you're back in, I guess. Tracy: Yes. It's really a rehabilitation-style process, and I think the key is you've got to take all pressure off yourself. I know that, for me in particular, because I was such a workhorse, I could feel this stress because I just wasn't getting things done. Once I gave myself permission to just take as long as it takes and just keep coming back to it, that helped enormously. It still took time for that rehabilitation process to actually work. There's a lot of forgiving yourself, and it has to be a gentle process, I think, because situations like cancer and chemo and whatever the situation is that's pulled you away from your manuscript, they're big life events, and there is a lot of stress involved with them both physically and mentally. So you have to give yourself time. Jo: Yes, it's so important. Okay, well, also in these last three years, as you said, you've got back to writing, and one of the books you have also written is The Anti-Enshittification Field Manual for Indie Authors. You also use Cory Doctorow's enshittification concept around the mature indie author industry. So just talk about what that term [enshittification] means? We think it is now established in the industry, in terms of what is going on there. How do we recognise it and adjust? Tracy: It's a very interesting term. The first time I heard it I raised my brows a bit. I was thinking, “Well, that's a bit cheeky.” The more you think about it, the more appropriate the name is. Basically, Cory Doctorow's idea is that any platform, so for the sake of this discussion, let's say Amazon, starts out serving its users extremely well because it needs them. When everyone first got into indie publishing, Amazon was open doors and you could just publish a book and it would sell, because they would push the book and they would do everything they could to make sure that readers saw your book. Then slowly and increasingly, the platform extracts value from those users for somebody else's benefit, usually shareholders, and ultimately for itself. You can track this process where it starts off really great for the users and then slowly shifts so that it becomes a less than stellar experience for the users. For indie authors, we're particularly exposed because our business sits on top of these platforms. So recognising that a lot of the platforms that we use now have enshittified, excuse me, or are i

  4. Aug 26

    From Page One To Done: Fast Drafting Your Novel With Jessica Brody

    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 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 pre-order How to Write a Murder with bonus extras at JessicaBrody.com/preorder 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

  5. Aug 19

    Book Marketing, AI Book Discoverability, And Resilience, With Ricardo Fayet

    How can you get your books surfaced when readers ask an AI what to read next? What are the hallmarks of authors and businesses that last more than a decade in the indie author industry? Ricardo Fayet gives his marketing tips after more than a decade at Reedsy. In the intro, Expanding Your Book’s IP through Merchandising [Wish I'd Known Then]; Guide to writers conferences [Kindlepreneur]; Rick Rubin and Stephen Pressfield on resistance and the muse [Tetragrammaton]; Pulitzer Prize winners disclose AI usage [Nieman Lab]; My new rebuilt fiction site JFPenn.com. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Ricardo Fayet is the co-founder and chief marketing officer of Reedsy, a marketplace for writers to find vetted freelancers, author training courses, and lots more. He's also the author of How to Market a Book and Amazon Ads for Authors. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.  Show Notes How AI search actually finds and ranks the books it recommends Why keywords and search volume are disappearing as marketing metrics Building an internet footprint so your book is worth recommending Why Claude leans on Goodreads while ChatGPT and Gemini lean on Reddit Product is more important than marketing, and how to find your comp titles Passion, business sense and resilience in the authors who last You can find Ricardo at Reedsy.com. Transcript of the interview with Ricardo Fayet Jo: Ricardo Fayet is the co-founder and chief marketing officer of Reedsy, a marketplace for writers to find vetted freelancers, author training courses, and lots more. He's also the author of How to Market a Book and Amazon Ads for Authors. So welcome back to the show, Ricardo. Ricardo: Thank you, Jo. It's been a while. Jo: It has been a while. As we were saying, it's been a decade, which is crazy, because you and I see each other at events and things. For anyone who doesn't know you— Tell us a bit more about you, where you're from, and also, what is Reedsy these days and how have things changed? Ricardo: Yes, sure. I think I'm hard to dissociate from Reedsy because my only background really is Reedsy. We started Reedsy right after business school for most of the founders. There are four founders, and I'm one of them. We've been going since 2014, so it's been 12 years. We started around the same time, and you started even earlier than we did, but we've had the chance to meet at quite a few conferences since. I think the main thing we're still known for is our marketplace. Since the very beginning, Reedsy is a curated marketplace where authors can come in and look for editors, cover designers, marketers, ghostwriters, literary translators, author website designers, pretty much any freelancer you would ever need to hire throughout your writing career. That's how we started. That's our main source of revenue and our main business. Since then, as you mentioned, we've also added courses, live events, so we've got a membership under Reedsy Learning. The main thing we're proud of right now is our writing tool, Reedsy Studio, because we've been pouring a lot of engineering talent into it over the past five, six years, and I think it's a really cool writing tool that is 90% free. It also does the formatting, so it's a good alternative to Vellum or Atticus for those who haven't purchased those tools. So there's a lot of things that Reedsy does at this point, which always makes it hard for me to describe what we do. Jo: But you generally serve writers. That's probably the crux of it. Ricardo: Exactly, yes. We're mostly at the production stage. The thing we say is we help authors make beautiful books, right? That's a little bit the tagline that applies to 90% of what we do, though we also help a little bit with the marketing side of things. Jo: And then just tell people where your accent is from. Ricardo: So I'm half French, half Italian from my parents, and I was born in Spain. So depending on my mood and the moment, it might be anywhere from French, Italian, Spanish. It's anyone's guess, really, at this point. Jo: Yes, exactly. You've been part of the indie author ecosystem, as you said, since 2014. You're often at the author conferences, and you stay abreast of everything that's going on. So what are the biggest changes you've seen in the industry since you started out? Like you said, you guys came from business school. You chose to come into the industry at a particular point, and yet things have changed. So what do you think are the biggest changes, and how have you seen authors adapt? Ricardo: It's crazy, the amount of things that happened in the past 10 years. Obviously we came into the industry as a result of Amazon launching Kindle Direct Publishing, and then the Kindle Store becoming one of the number one places where people buy books. That's what enabled self-publishing in the first place as an industry, and obviously we wouldn't exist without self-publishing being a thing. But then I think probably one of the biggest changes that happened was the introduction of Kindle Unlimited and various other subscription models. Perhaps as a response to that, afterwards, I would say direct sales is the other massive change that happened in the industry. The ability for authors to sell direct to their readers via their websites, or running Kickstarters, or basically the ability to reach your customers directly. Now, obviously, artificial intelligence is probably the biggest change of them all, not just in publishing, across every industry, but of course it's going to affect publishing very strongly, or it has already started making big waves. So I would say those are the three main changes that we've seen happening in the industry. Jo: Just interestingly, given that you're French, Italian, Spanish, European— Has the pace of change been the same in mainland Europe? Because you and I have also met up at European conferences, but I just get the sense that each individual European country, the UK included, as I include the UK in Europe, goes at a different speed. Ricardo: No, they definitely do. Our market at Reedsy is all in English. We only have an English website, and I would say 70% of our market is US, then 15% UK, and then Australia, New Zealand, et cetera. We do have clients in continental Europe, but they're mostly going to be American or British expats. A lot of retired people who write books and use Reedsy services. I think the main reason for that is that self-publishing as an industry hasn't really grown in Spain, France, Italy the way that it's grown in the US and the UK, probably because these are countries where book buying habits are a lot more traditional. So all my friends from high school and university in France, they all buy books, they all buy paper books. They all buy from bookstores. They don't really buy from Amazon that much. They love the smell of paper, all these sorts of things. So obviously that makes it harder for indie authors in those countries because they cannot place their books in the places where people buy them, which is traditional brick-and-mortar bookstores, or at least it's much harder. So there is an indie movement in those countries, but it's much smaller. I would say Germany is maybe the exception in Europe, where I've seen more and more full-time indie authors, but I don't think it's a market that's comparable even to the UK. Jo: Interesting. Okay, so let's go to marketing, because you love marketing, you have a newsletter about it, and you have a book, How to Market a Book, same title as mine, and we've found each other in our Also Boughts over the years. You have, however, updated yours several times. 2025 was your last update. Mine was 2016, so yours is definitely the most up-to-date one. So what are your thoughts on how authors can reach readers now? And let's split this into two. Let's start with some tips for new authors who just have maybe one book and are really just starting out. Ricardo: Yes, first of all, sorry for stealing your title. Jo: Oh, you know, it's never been a problem. Ricardo: We were trying to come up with something… I know, I know, I know. But still, we wanted something more original, and then we realised that for SEO purposes, that's the title we should really go for. The good thing is, if you search “how to market a book” on pretty much any retailer, you're going to find your book or mine in any order really, but those are going to be the top two books to this day, thankfully, so I'm good with that. I think in terms of marketing tips for new authors who have just the one book, I'd say, despite all the changes in the industry, the basics of marketing still stay the same. One of my big mantras when it comes to marketing is that product is more important than marketing. So having a great book is going to be more important, in my opinion, than being a great marketer. Having a great product. By that, I generally don't talk about literary value or prose or anything like that, just because I'm not a book critic. I'm not an editor. My opinion on whether a book is good or not is worth zero. From a marketing standpoint, for me, a good book is one that resonates with its intended audience. So the first step for newer authors is to basically figure out who they wrote this book for, right? Have an idea of who their target market is. A great way to do that, without en

  6. Aug 12

    Going Indie, Publishing Innovation, And The Challenges Of Book Marketing With John Bond

    How can you tell where the real innovation in publishing is happening right now, and why is it emerging from the indie side first? How do you market your own book when you've spent 35 years marketing everyone else's? John Bond talks about Going Indie and what he's learned about authors who last. In the intro, my thoughts on writing with AI, Charles Dickens and encouragement for the 3-year-old dancing to K-Pop at the wedding, UK copyright law, The end of an era — Hugh Howey; Notre Dame, Paris; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it’s delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.  Show Notes Why 2012 was a watershed moment for publishing in the UK Whether the snobbery around self-publishing has finally gone How to co-write a book with someone, and why there's no formula The pride swallowing involved in getting endorsement quotes for your own book The shadow economy of indie sales that no industry chart measures The hallmarks of writers who build a long-term career You can find John at wearewhitefox.com. Transcript of the interview with John Bond Jo: John Bond is the co-founder of Whitefox, a premium publishing services agency, and has over 35 years in traditional publishing, from bookselling to marketing and management. He's also the co-author of Going Indie: Publishing Your Book Your Way, with James Silver. So welcome back to the show, John. John: Thank you, Jo. Thanks so much for having me. Jo: You were last on the show in 2022. You've been on a couple of times, but just set the scene. Tell people a bit more about you and your long background in publishing. John: I suppose I could say I started as a marketing manager at Penguin back in the early 1990s in London, and that role eventually evolved into running sales and marketing, as it often does. I did that at Penguin and at HarperCollins. Then I ran one of the publishing divisions at HarperCollins, including 4th Estate, and published Hilary Mantel and Jonathan Franzen and Chimamanda Ngozi Adichie and others. I left that in 2011 and set up Whitefox in 2012, and it's a classic startup story. It was somebody I worked with at HarperCollins. We sat around a kitchen table, came up with an idea for a business, which was Whitefox, and that's grown into the creative agency that it is today. Jo: So back then, did you think, “I can do this better”? Was that the impetus, “I can do publishing better than Penguin and HarperCollins”? John: No, I thought we would solve a problem. There's something very attractive about that whole startup mentality and beginning something from scratch. I mean, I was in my early 50s. I'd had a long career in traditional publishing. On the plus side, I knew a lot of people, and I thought I could get meetings, people would reply to my phone calls or my emails. On the downside, I didn't necessarily have the energy of a 20 to 25-year-old. I knew a lot of people and I knew quite a lot of things, and I also knew what problems something like Whitefox could solve. We set up with this idea that if we could galvanise and organise the diaspora of freelancers in the publishing space and make them available to anybody that wanted to make a book, that that would be quite a powerful thing. These incredibly creative, wonderful people who were below the radar and were not particularly valued or managed or utilised properly. I thought if we could access that and make that available not just to traditional publishing people who know about these people, but to individual authors, businesses, brands, people that wanted to make a book, and if you added a layer of our expertise from traditional publishing, that could be quite powerful, I suppose. That's what I was thinking back then. Jo: It's funny, though. You said these wonderful freelancers who were not particularly valued or managed or utilised properly. That could also apply to a lot of authors in traditional publishing. John: Totally. Totally. But if I'm honest, I don't think I was thinking about that. What's really evolved since we started, even in that 2011, 2012 period, is so much has happened to independent writers, indie authors. The whole ecosystem has become much more vibrant, and what is accessible to those writers is much greater. I'd like to think we've played a part in that. What that's done is put power back into writers' hands, and that quickly became apparent in the business as a byproduct of what we'd set up. Jo: Yes, and 2012 I do think in the UK was a pivot point, because I got into self-publishing in 2006/2007 when the Americans did with the beginning of the Kindle and the iPhone. Really the American ecosystem grew first. I happened to be in Australia, and so I think I was able to escape the negativity of the vortex in the UK, which took a number more years to embrace self-publishing as a force to be reckoned with as opposed to an embarrassing thing in the corner for vanity press. Do you see 2012 as a changing point in UK publishing? John: I think we'd just come out of the Kindle moment, hadn't we? There were all sorts of conversations going on about how that was going to change things forever. I think no one quite knew what the upshot of that was going to be, but we knew that it was incredibly disruptive. In 2012, Penguin, as it was then, before Penguin Random House, had offered to buy Author Solutions for $115 million, presumably seen as some kind of defensive measure as to what the market was going to evolve into. I think it felt like a real period of change. In the UK, James Daunt took over running Waterstones, and he was then ultimately going to run Barnes & Noble. It felt like a bit of a watershed. I think we were lucky in that sense, that maybe in the UK and in London, what we were creating coincided with an opening up of opportunity and creativity, and people wanting access to more tools to be able to do things themselves. Getting this idea that you invest in your own talent and what that could mean for your ability to do things quicker, better. Some of it was happenstance, but lucky for us. As you say, we then became aware that in a sense a lot of these things had come to fruition earlier on the US side. In London, that whole idea of setting up something that wasn't a traditional rights-owning model, but where you wanted to be working with people creatively, felt actually really exciting and timely. Jo: And when you started to work with independent authors, probably a couple of years after that, you started to work with a lot more indie authors and things really started to change in terms of the business side. Did you feel any of the snobbery from the traditional industry? Like you mentioned, you have a lot of contacts, a lot of connections. I came to your wonderful launch party and there were just people from all over the industry. I wondered if you got any kickback, or if anyone raised their eyebrows a little bit at who you were choosing to work with? John: Oh, definitely. And I would say I really think that's gone. You may think differently, Jo, but from my perspective, I think there has been such an evolution in the nearly 15 years that we've been going. So any of that residual snobbery, looking down your nose at people that were going DIY, producing multiple books, learning from every single publication. We've spoken about this before. I remember you sat on the panel of a FutureBook conference in the UK, which was run by a trade magazine, with this idea of looking at the, in quotes, “digital future of the business.” It felt like there were a lot of things being talked about, but not a lot of action on the traditional side. I suppose some sort of awe that there was some magic going on with people who were making a success of self-publishing. But then quite a lot of people looking down their noses at things that shouldn't get through the gatekeepers. I do think that's gone. Or if it's not completely gone, I can see it on the way out of the door, because there's no room for that when agents are struggling to sell books to publishers because publishers are looking at the next indie author, the next Freida McFadden, the next Sarah J. Maas, the next Rebecca Yarros. So whoever it may be, or wherever they're publishing, whatever they're doing now, wherever they may be, knowing that a lot of those people will already be publishing and be on not their first, second, third or fourth, but potentially their 10th or 11th book. It's a race to see who can help those authors, as a traditional publisher would see it, amplify what they're doing. I think the idea that there's an us and them, if it did exist then, which it certainly did in certain publishing quarters, is gone. I used to go to those conferences, like the FutureBook Conference, and certain publishers would talk about publishing, and when they meant publishing, they meant a really tiny area of quite literary, traditional imprints. That's what publishing meant. They didn't even mean publishing to mean educational publishing, or children's publishing, or

  7. Aug 5

    From Blog To Community To Book: A Non-Fiction Author’s Journey With Suzanne Smith

    How can content marketing in a tight niche build the audience that launches your book? And how do you decide whether to hand your self-published bestseller to a traditional publisher. Suzanne Smith shares what she learned in four years of going from blog to book deal. In the intro, how to stand out as a writer in the age of AI [Nathan Barry Show; Interview with Nathan Barry]; thoughts on asset maintenance; Goodreads giveaway on Bones of the Deep (Aug 5-20, 2026) This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Suzanne Smith is the founder of The Independent Landlord, and the bestselling author of The Good Landlord Handbook. 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 a free blog in a tight niche built the audience for the book Rewriting the book from scratch when the law changed Why speed made self-publishing the only option Building a paid membership after one audience member asked for it Negotiating a Penguin Random House deal with no agent Using AI as a business sidekick, with a control room and an engine room You can find Suzanne at TheIndependentLandlord.com. Transcript of the interview with Suzanne Smith Jo: Suzanne Smith is the founder of The Independent Landlord, and the bestselling author of The Good Landlord Handbook. So welcome to the show, Suzanne. Suzanne: Thank you. Jo: Oh, there's so much to talk about today. But first up— Tell us a bit more about you and your background, and how you got into property and writing after a legal career. Suzanne: Well, I've always loved reading books. In fact, I recently did a French literature degree as a mature student. Being an author was never in the game plan at all. It's not something that I even thought about. I was brought up in New Zealand, so shout out to all the Kiwis and those across the pond in Australia. The thing about it is, Jo, you've lived there yourself. Kiwis are independent, self-reliant and have this great sense of fair play. So that was a very formative experience for me. We moved back to England when I was 16, and I have become thoroughly anglicised since then, but a Kiwi at heart. I always wanted to become a lawyer. New Zealand in some ways on television is quite American, and there was this American programme called The Paper Chase. It was about all of these students at Harvard studying law, and the professor said, “You come here with a skull full of mush and you leave thinking like a lawyer.” I thought, “Oh, I like the sound of that.” I didn't really know what a lawyer was, but everyone seemed to be very happy that I wanted to become one, and then that was it. Jo: So you went into law, and then how did you get into property? Suzanne: So I worked for 25 years as a solicitor. That's like an attorney if you're American. Started off in a law firm, and then I went into pharmaceuticals and I worked for big companies like what is now GSK, GlaxoSmithKline, and small companies as well. When I started out, it was before the internet, before Google. When you're in house, you're very much a generalist. You do a bit of everything. So you help companies grow their business. You're not business prevention, but you're still bound by the code of conduct for solicitors. You've got this role of keeping the company on the right side of the law. Then I had twins, who were born about five years after I became a lawyer, and I decided to work part-time for a while and did an MBA when they were little, part-time through the Open University. I know Jonathan is doing one at the moment. Jo: Yes. He's finished, so that's exciting. Suzanne: That was transformational for me, because I had probably been thinking a bit too much as a lawyer, and it helped me to broaden my view of the world and understand all sorts of things. Sso I continued going up the greasy pole, and then for my last job, in 2015, I joined a biotech company in Cambridge, England, as general counsel and company secretary. It was a long way from home, about two, three hours' drive from home. So I decided to buy a flat, an apartment, and to stay there in the week. I thought to myself, “Well, when I leave this company, I can let it out as a buy-to-let,” but actually as a landlord. So I stayed there for five years, and then when I left, I let out the property. The reason why I decided to leave law after 25 years, I had what I call a sliding doors moment, like in the film. I was 50. I was on holiday with my husband, and we'd probably had one too many rum cocktails. And he said to me, “Well, what do you want to be doing with your life? What would you do if you could do anything?” I was thinking, “Well, I've done law. I want to do something else now.” I didn't really know what that was, and I'd always been thinking about studying French properly, and that's when I left. So I decided, 18 months later, I left to do a French degree at King's College London, full-time. I was the only old person there with lots of 18-year-olds. When I did that, I was able to cash in my share options because I was a good leaver. I retired, and so I started buying properties to let out and became a landlord, without really thinking too much about it, and I used letting agents. They were fine to begin with, but I didn't really have a game plan or anything like that. What I realised is that when I tried to research things online, I couldn't really find anything that was terribly helpful. It was either quite general or it was very legal. So after a while… I became a landlord in 2019. I had the idea, why don't I set up a blog? And this is August 2022, so just four years ago. My husband came up with the idea of the name, The Independent Landlord, because it's that Kiwi spirit, being very independent. I thought, “Right, I'm not going to charge anyone for it. It's a hobby. It's not a business. I'm going to pay it forward and help, use my legal training, practical legal approach, and practical common sense, by doing this blog.” Almost exactly four years ago, I sent my first newsletter to 13 people. Jo: Woo-hoo. Suzanne: And I sent one last week to over 18,000. So it's been quite a journey. Jo: Wow, this is so great. I love this. There's so much in there. The turning 50 and then doing a degree. My master's in death is a little different to your French literature, but I like it. So I love this, and buying properties, starting it on the side, not a business at first, and growing the audience, and obviously you've put so much work in. Then you decide to write a book. So talk about that, because an online blog, although I'm sure your articles and everything were super useful, it's very different to write a blog than a book. So talk about your challenges in writing. Why did you decide to do a book in the first place? Suzanne: Again, I was an accidental landlord, is what they call it when you let a property when you didn't intend to buy it as a buy-to-let, which I did with my Cambridge flat. And I became, in many respects, an accidental author. So I was having a conversation with my husband again and I was saying I'd done this lead magnet to get people to sign up to my newsletter, and a big new law was going through Parliament at the time, called the Renters Reform Bill, that was going to completely transform the way landlords operate. I was saying to my husband, “Oh, I need to update my lead magnet, a little ebook, to explain the new law.” He looked at me and said, “Well, why don't you do a proper book? Write a book.” This was on the 29th of September, 2023. The reason why I mention that is that I thought, “Wow, what a great idea,” and my head was bursting. I went onto Google, and guess what I downloaded on the 1st of October? Jo: My blueprint? Suzanne: Exactly. I found you immediately, the Author Blueprint, and I downloaded it. I checked: on the 1st of October, 2023. Then I listened to almost… well, I think I went back several years on your podcast, just trying to understand. I'm like that. When I try and do something, I just try and learn everything that there is to know about it. So I started writing the book, and I guess the first challenge was I write quickly, and I'm used to writing for people who aren't lawyers, being in-house. So I thought I needed to have a structure. The structure was easy in many respects because, a bit of business at the end, and then you can go through a tenancy. I thought it was important to have a narrative thread all the way through it, just to bring it together. This is the literature degree coming in here. I thought that the mission for everything I do, the reason why I started doing this, is to help landlords, but also to help the experience of renting that people have in England. It's very specific for English law. And to help improve the private rented sector. So that's why I originally set up my blog for free, and I wanted, when people went onto Google, they could find something sensible and very detailed from me. My blog posts were… Well, I've now got over 400,000 words on my blog, so it's a substantial piece of work that is out there free of charge. So what I decided to do was to bring this narrative thread, I call it the good landlord ethos, to the book. Then I wrote very quickly, and I had a pretty good draft by April 2

  8. Jul 29

    How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms

    How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. 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  Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. 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 to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you

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