The Creative Penn Podcast For Writers
The Creative Penn Podcast For Writers

The Creative Penn Podcast For Writers

Joanna Penn

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Writing Craft and Creative Business

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Managing Multiple Projects And The Art of the Long-Term Author Career with Kevin J. Anderson
FEB 9, 2026
Managing Multiple Projects And The Art of the Long-Term Author Career with Kevin J. Anderson
<p>How do you juggle multiple book projects, a university teaching role, Kickstarter campaigns, and rock albums—all without burning out? What does it take to build a writing career that spans decades, through industry upheavals and personal setbacks? Kevin J. Anderson shares hard-won lessons from his 40+ year career writing over 190 books.</p> <p>In the intro, <a href="https://www.draft2digital.com/blog/bookshop-org-and-draft2digital-partner-enabling-independent-bookstores-to-profit-from-self-published-ebooks/" target="_blank" rel="noopener" title="">Draft2Digital partners with Bookshop.org for ebooks</a>; <a href="https://newsroom.spotify.com/2026-02-05/bookshop-partnership-page-match-announcement/" target="_blank" rel="noopener" title="">Spotify announces PageMatch and print partnership with Bookshop.org</a>; Eleven Audiobooks; <a href="https://www.kickstarter.com/projects/403649867/the-essential-indie-publishing-books" target="_blank" rel="noopener" title="">Indie author non-fiction books Kickstarter</a>; <em><a href="https://www.jfpenn.com/bones" target="_blank" rel="noopener" title="">Bones of the Deep</a></em> &#8211; J.F. Penn</p> <figure class="wp-block-image"><a href="https://www.thecreativepenn.com/kwl" target="_blank" rel="noreferrer noopener"><img fetchpriority="high" decoding="async" width="1024" height="176" src="https://www.thecreativepenn.com/wp-content/uploads/2023/12/KWL-Primary_Colour-1024x176.png" alt="" class="wp-image-35982" srcset="https://www.thecreativepenn.com/wp-content/uploads/2023/12/KWL-Primary_Colour-1024x176.png 1024w, https://www.thecreativepenn.com/wp-content/uploads/2023/12/KWL-Primary_Colour-300x52.png 300w, https://www.thecreativepenn.com/wp-content/uploads/2023/12/KWL-Primary_Colour-768x132.png 768w, https://www.thecreativepenn.com/wp-content/uploads/2023/12/KWL-Primary_Colour-1536x264.png 1536w, https://www.thecreativepenn.com/wp-content/uploads/2023/12/KWL-Primary_Colour-2048x352.png 2048w" sizes="(max-width: 1024px) 100vw, 1024px" /></a></figure> <p><a href="https://www.thecreativepenn.com/kwl" target="_blank" rel="noreferrer noopener"></a>This podcast is sponsored by&nbsp;<a href="https://www.thecreativepenn.com/kwl" target="_blank" rel="noreferrer noopener">Kobo Writing Life</a>, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the&nbsp;<a href="http://kobowritinglife.com/category/kwl-podcast/" target="_blank" rel="noreferrer noopener">Kobo Writing Life podcast</a>&nbsp;for interviews with successful indie authors.</p> <p>This show is also supported by my Patrons. Join my Community at&nbsp;<a href="https://www.patreon.com/thecreativepenn" target="_blank" rel="noreferrer noopener">Patreon.com/thecreativepenn</a>&nbsp;</p> <figure class="wp-block-image size-large"><a href="https://wordfire.com/" target="_blank" rel=" noreferrer noopener"><img decoding="async" width="1024" height="351" src="https://www.thecreativepenn.com/wp-content/uploads/2025/01/Kevin-J-Anderson-1024x351.jpg" alt="" class="wp-image-36694" srcset="https://www.thecreativepenn.com/wp-content/uploads/2025/01/Kevin-J-Anderson-1024x351.jpg 1024w, https://www.thecreativepenn.com/wp-content/uploads/2025/01/Kevin-J-Anderson-300x103.jpg 300w, https://www.thecreativepenn.com/wp-content/uploads/2025/01/Kevin-J-Anderson-768x263.jpg 768w, https://www.thecreativepenn.com/wp-content/uploads/2025/01/Kevin-J-Anderson.jpg 1458w" sizes="(max-width: 1024px) 100vw, 1024px" /></a></figure> <p>Kevin J. Anderson is the multi-award-winning and internationally bestselling author of over 190 books across different genres, with over 24 million copies in print across 34 languages. He's also the director of publishing at Western Colorado University, as well as a publisher at WordFire Press, an editor and rock album lyricist, and he's co-written&nbsp;<em>Dune</em>&nbsp;books and worked on the recent&nbsp;<em>Dune</em>&nbsp;movies and TV show.</p> <p>You can listen above or on&nbsp;<a href="https://www.thecreativepenn.com/podcasts/" target="_blank" rel="noreferrer noopener">your favorite podcast app</a>&nbsp;or read the notes and links below. Here are the highlights, and the full transcript is below.&nbsp;</p> <p><strong>Show Notes</strong></p> <ul class="wp-block-list"> <li>Managing multiple projects at different stages to maximise productivity without burning out</li> <li>Building financial buffers and multiple income streams for a sustainable long-term career</li> <li>Adapting when life disrupts your creative process, from illness to injury</li> <li>Lessons learned from transitioning between traditional publishing, indie, and Kickstarter</li> <li>Why realistic expectations and continuously reinventing yourself are essential for longevity</li> <li>The hands-on publishing master's program at Western Colorado University</li> </ul> <p>You can find Kevin at&nbsp;<a href="https://wordfire.com/" target="_blank" rel="noreferrer noopener">WordFire.com</a>&nbsp;and buy his books direct at&nbsp;<a href="https://wordfireshop.com/" target="_blank" rel="noreferrer noopener">WordFireShop.com</a>.</p> <h3 class="wp-block-heading">Transcript of Interview with Kevin J. Anderson</h3> <p><strong>Jo:</strong> Kevin J. Anderson is the multi award-winning and internationally bestselling author of over 190 books across different genres, with over 24 million copies in print across 34 languages. </p> <p>He's also the Director of Publishing at Western Colorado University, as well as a publisher at WordFire Press, an editor, a rock album lyricist, and he's co-written Dune books and worked on the recent Dune movies and TV show.</p> <p>Welcome back to the show, Kevin.</p> <p><strong>Kevin:</strong> Well, thanks, Joanna. I always love being on the show.</p> <p><strong>Jo:</strong> And we're probably on like 200 books and like 50 million copies in print. I mean, how hard is it to keep up with all that?</p> <p><strong>Kevin:</strong> Well, it was one of those where we actually did have to do a list because my wife was like, we really should know the exact number. And I said, well, who can keep track because that one went out of print and that's an omnibus. So does it count as something else? </p> <p>Well, she counted them. But that was a while ago and I didn't keep track, so&#8230;</p> <p><strong>Jo:</strong> Right.</p> <p><strong>Kevin:</strong> I'm busy and I like to write. That's how I've had a long-term career. It's because I don't hate what I'm doing. I've got the best job in the world. I love it.</p> <p><strong>Jo:</strong> So that is where I wanted to start. You've been on the show multiple times. People can go back and have a listen to some of the other things we've talked about. I did want to talk to you today about managing multiple priorities.</p> <p>You are a director of publishing at Western Colorado University. I am currently doing a full-time master's degree as well as writing a novel, doing this podcast, my Patreon, all the admin of running a business, and I feel like I'm busy. </p> <p>Then I look at what you do and I'm like, this is crazy. People listening are also busy. We're all busy, right. But I feel like it can't just be writing and one job—you do so much. </p> <h3 class="wp-block-heading">So how do you manage your time, juggle priorities, your calendar, and all that?</h3> <p><strong>Kevin:</strong> I do it brilliantly. Is that the answer you want? I do it brilliantly.</p> <p>It is all different things. If I were just working on one project at a time, like, okay, I'm going to start a new novel today and I've got nothing else on my plate. Well, that would take me however long to do the research and the plot. </p> <p>I'm a full-on plotter outliner, so it would take me all the while to do—say it's a medieval fantasy set during the Crusades. Well, then I'd have to spend months reading about the Crusades and researching them and maybe doing some travel. </p> <p>Then get to the point where I know the characters enough that I can outline the book and then I start writing the book, and then I start editing the book, which is a part that I hate. I love doing the writing, I hate doing the editing. Then you edit a whole bunch.</p> <p>To me, there are parts of that that are like going to the dentist—I don't like it—and other parts of it are fun. </p> <p>So by having numerous different projects at different stages, all of which require different skill sets or different levels of intensity—</p> <h3 class="wp-block-heading">I can be constantly switching from one thing to another and basically be working at a hundred percent capacity on everything all the time. </h3> <p>And I love doing this. So I'll be maybe writing a presentation, which is what I was doing before we got on this call this morning, because I'm giving a new keynote presentation at Superstars, which is in a couple of weeks. </p> <p>That's another thing that was on our list—I helped run Superstars. I founded that 15 years ago and it's been going on. So I'll be giving that talk. </p> <p>Then we just started classes for my publishing grad students last week. So I'm running those classes, which meant I had to write all of the classes before they started, and I did that.</p> <p>I've got a Kickstarter that will launch in about a month. I'm getting the cover art for that new book and I've got to write up the Kickstarter campaign. And I have to write the book. I like to have the book at least drafted before I run a Kickstarter for it. So I'm working on that. </p> <p>A Kickstarter pre-launch page should be up a month before the Kickstarter launches, and the Kickstarter has to launch in early March, so that means early February I have to get the pre-launch page up. So there's all these dominoes. One thing has to go before the next thing can go.</p> <p>During the semester break between fall semester—we had about a month off—I had a book for Blackstone Publishing and Weird Tales Presents that I had to write, and I had plotted it and I thought if I don't get this written during the break, I'm going to get distracted and I won't finish it.</p> <p>So I just buckled down and I wrote the 80,000-word book during the month of break. This is like Little House on the Prairie with dinosaurs. It's an Amish community that wants to go to simpler times. So they go back to the Pleistocene era where they're setting up farms and the brontosaurus gets into the cornfield all the time.</p> <p><strong>Jo:</strong> That sounds like a lot of fun.</p> <p><strong>Kevin:</strong> That's fun. So with the grad students that I have every week, we do all kinds of lectures. </p> <p>Just to reassure people, I am not at all an academic. I could not stand my English classes where you had to write papers analysing this and that. My grad program is all hands-on, pragmatic. You actually learn how to be a publisher when you go through it. </p> <p>You learn how to design covers, you learn how to lay things out, you learn how to edit, you learn how to do fonts.</p> <p>One of the things that I do among the lectures every week or every other week, I just give them something that I call the real world updates. Like, okay, this is the stuff that I, Kevin, am working on in my real world career because the academic career isn't like the real world.</p> <p>So I just go listing about, oh, I designed these covers this week, and I wrote the draft of this dinosaur homestead book, and then I did two comic scripts, and then I had to edit two comic scripts. </p> <p>We just released my third rock album that's based on my fantasy trilogy. And I have to write a keynote speech for Superstars. And I was on Joanna Penn's podcast. And here's what I'm doing.</p> <p>Sometimes it's a little scary because I read it and I go, holy crap, I did a lot of stuff this week.</p> <p><strong>Jo:</strong> So I manage everything on Google Calendar. Do you have systems for managing all this? Because you also have external publishers, you have actual dates when things actually have to happen. Do you manage that yourself or does Rebecca, your wife and business partner, do that? </p> <h3 class="wp-block-heading">How do you manage your calendar?</h3> <p><strong>Kevin:</strong> Well, Rebecca does most of the business stuff, like right now we have to do a bunch of taxes stuff because it's the new year and things. She does that and I do the social interaction and the creating and the writing and stuff.</p> <p>My assistant Marie Whittaker, she's a big project management person and she's got all these apps on how to do project managing and all these sorts of things. She tried to teach me how to use these apps, but it takes so much time and organisation to fill the damn things out.</p> <p>So it's all in my head. I just sort of know what I have to do. I just put it together and work on it and just sort of know this thing happens next and this thing happens next.</p> <p>I guess one of the ways is when I was in college, I put myself through the university by being a waiter and a bartender. </p> <p>As a waiter and a bartender, you have to juggle a million different things at once. This guy wants a beer and that lady wants a martini, and that person needs to pay, and this person's dinner is up on the hot shelf so you've got to deliver it before it gets cold.</p> <p>It's like I learned how to do millions of things and keep them all organised, and that's the way it worked. And I've kept that as a skill all the way through and it has done me good, I think.</p> <p><strong>Jo:</strong> I think that there is a difference between people's brains, right? So I'm pretty chaotic in terms of my creative process. I'm not a plotter like you. I'm pretty chaotic, basically. But I come across—</p> <p><strong>Kevin:</strong> I've met you. Yes.</p> <p><strong>Jo:</strong> I know. But I'm also extremely organised and I plan everything. That's part of, I think, being an introvert and part of dealing with the anxiety of the world is having a plan or a schedule.</p> <p>So I think the first thing to say to people listening is they don't have to be like you, and they don't have to be like me. It's kind of a personal thing. I guess one thing that goes beyond both of us is, earlier you said you basically work at a hundred percent capacity. </p> <p>So let's say there's somebody listening and they're like, well, I'm at a hundred percent capacity too, and it might be kids, it might be a day job, as well as writing and all that. And then something happens, right? You mentioned the real world. I seem to remember that you broke your leg or something.</p> <p><strong>Kevin:</strong> Yes.</p> <p><strong>Jo:</strong> And the world comes crashing down through all your plans, whether they're written or in your head. </p> <h3 class="wp-block-heading">So how do you deal with a buffer of something happening, or you're sick, or Rebecca's sick, or the cat needs to go to the vet? </h3> <p>Real life—how do you deal with that?</p> <p><strong>Kevin:</strong> Well, that really does cause problems. We had, in fact, just recently—so I'm always working at, well, let's be realistic, like 95% of Kevin capacity.</p> <p>Well, my wife, who does some of the stuff here around the house and she does the business things, she just went through 15 days of the worst crippling migraine string that she's had in 30 years. </p> <p>So she was curled up in a foetal position on the bed for 15 days and she couldn't do any of her normal things. I mean, even unloading the dishwasher and stuff like that.</p> <p>So if I'm at 95% capacity and suddenly I have to pick up an extra 50%, that causes real problems. So I drink lots of coffee, and I get less sleep, and you try to bring in some help. </p> <p>I mean, we have Rebecca's assistant and the assistant has a 20-year-old daughter who came in to help us do some of the dishes and laundry and housework stuff.</p> <p>You mentioned before, it was a year ago. I always go out hiking and mountain climbing and that's where I write. I dictate. I have a digital recorder that I go off of, and that's how I'm so productive. </p> <p>I go out, I walk in the forest and I come home with 5,000 words done in a couple of hours, and I always do that. That's how I write.</p> <p>Well, I was out on a mountain and I fell off the mountain and I broke my ankle and had to limp a mile back to my car. So that sort of put a damper on me hiking. </p> <p>I had a book that I had to write and I couldn't go walking while I was dictating it. It has been a very long time since I had to sit at a keyboard and create chapters that way.</p> <p><strong>Jo:</strong> Mm-hmm.</p> <p><strong>Kevin:</strong> And my brain doesn't really work like that. It works in an audio—I speak this stuff instead.</p> <p>So I ended up training myself because I had a big boot on my foot. I would sit on the back porch and I would look out at the mountains here in Colorado and I would put my foot up on another chair and I'd sit in the lawn chair and I'd kind of close my eyes and I would dictate my chapters that way. </p> <h3 class="wp-block-heading">It was not as effective, but it was plan B. So that's how I got it done.</h3> <p>I did want to mention something. When I'm telling the students this every week—this is what I did and here's the million different things—one of the students just yesterday made a comment that she summarised what I'm doing and it kind of crystallised things for me.</p> <p>She said that to get so much done requires, and I'm quoting now, &#8220;a balance of planning, sprinting, and being flexible, while also making incremental forward progress to keep everything moving together.&#8221;</p> <p>So there's short-term projects like fires and emergencies that have to be done. You've got to keep moving forward on the novel, which is a long-term project, but that short story is due in a week. So I've got to spend some time doing that one. </p> <p>Like I said, this Kickstarter's coming up, so I have to put in the order for the cover art, because the cover art needs to be done so I can put it on the pre-launch page for the Kickstarter.</p> <p>It is a balance of the long-term projects and the short-term projects. And I'm a workaholic, I guess, and you are too.</p> <p><strong>Jo:</strong> Yes.</p> <p><strong>Kevin:</strong> You totally are. Yes.</p> <p><strong>Jo:</strong> I get that you're a workaholic, but as you said before, you enjoy it too. So you enjoy doing all these things. It's just sometimes life just gets in the way, as you said.</p> <p>One of the other things that I think is interesting—so sometimes physical stuff gets in the way, but in your many decades now of the successful author business, there's also the business side. </p> <p>You've had massive success with some of your books, and I'm sure that some of them have just kind of shrivelled into nothing. There have been good years and bad years.</p> <h3 class="wp-block-heading">So how do we, as people who want a long-term career, think about making sure we have a buffer in the business for bad years and then making the most of good years?</h3> <p><strong>Kevin:</strong> Well, that's one thing—to realise that if you're having a great year, you might not always have a great year. That's kind of like the rockstar mentality—I've got a big hit now, so I'm always going to have a big hit. So I buy mansions and jets, and then of course the next album flops.</p> <p>So when you do have a good year, you plan for the long term. You set money aside. You build up plan B and you do other things.</p> <p>I have long been a big advocate for making sure that you have multiple income streams. You don't just write romantic epic fantasies and that's all you do. That might be what makes your money now, but the reading taste could change next year. They might want something entirely different.</p> <p>So while one thing is really riding high, make sure that you're planting a bunch of other stuff, because that might be the thing that goes really, really well the next year.</p> <p>I made my big stuff back in the early nineties—that was when I started writing for Star Wars and X-Files, and that's when I had my New York Times bestselling run. I had 11 New York Times bestsellers in one year, and I was selling like millions of copies.</p> <p>Now, to be honest, when you have a Star Wars bestseller, George Lucas keeps almost all of that. You don't keep that much of it. But little bits add up when you're selling millions of copies. So it opened a lot of doors for me.</p> <p>So I kept writing my own books and I built up my own fans who liked the Star Wars books and they read some of my other things. If you were a bestselling trad author, you could keep writing the same kind of book and they would keep throwing big advances at you. It was great.</p> <p>And then that whole world changed and they stopped paying those big advances, and paperback, mass market paperback books just kind of went away. </p> <p>A lot of people probably remember that there was a time for almost every movie that came out, every big movie that came out, you could go into the store and buy a paperback book of it—whether it was an Avengers movie or a Star Trek movie or whatever, there was a paperback book. </p> <p>I did a bunch of those and that was really good work. They would pay me like $15,000 to take the script and turn it into a book, and it was done in three weeks. They don't do that anymore.</p> <p>I remember I was on a panel at some point, like, what would you tell your younger self? What advice would you give your younger self?</p> <p>I remember when I was in the nineties, I was turning down all kinds of stuff because I had too many book projects and I was never going to quit writing. I was a bestselling author, so I had it made.</p> <p>Well, never, ever assume you have it made because the world changes under you. They might not like what you're doing or publishing goes in a completely different direction.</p> <h3 class="wp-block-heading">So I always try to keep my radar up and look at new things coming up.</h3> <p>I still write some novels for trad publishers. This dinosaur homestead one is for Blackstone and Weird Tales. They're a trad publisher. I still publish all kinds of stuff as an indie for WordFire Press. I'm reissuing a bunch of my trad books that I got the rights back and now they're getting brand new life as I run Kickstarters.</p> <p>One of my favourite series is &#8220;Dan Shamble, Zombie P.I.&#8221; It's like the Addams Family meets The Naked Gun. It's very funny. It's a private detective who solves crimes with monsters and mummies and werewolves and things.</p> <p>I sold the first one to a trad publisher, and actually, they bought three. I said, okay, these are fast, they're fun, they're like 65,000 words. You laugh all the way through it, and you want the next one right away. So let's get these out like every six months, which is like lightning speed for trad publishing.</p> <p>They just didn't think that was a good idea. They brought them out a year and a half apart. It was impossible to build up momentum that way.</p> <p>They wanted to drop the series after the third book, and I just begged them—please give it one more chance. So they bought one more book for half as much money and they brought it out again a year and a half later.</p> <p>And also, it was a trad paperback at $15. And the ebook was—Joanna, can you guess what their ebook was priced at?</p> <p><strong>Jo:</strong> $15.</p> <p><strong>Kevin:</strong> $15. And they said, gee, your ebook sales are disappointing. I said, well, no, duh. I mean, I am jumping around—I'm going like, but you should have brought these out six months apart. You should have had the ebook, like the first one at $4.</p> <h3 class="wp-block-heading">Jo: But you're still working with traditional publishers, Kevin?</h3> <p><strong>Kevin:</strong> I'm still working with them on some, and I'm a hybrid. There are some projects that I feel are better served as trad books, like the big Dune books and stuff. I want those all over the place and they can cash in on the movie momentum and stuff.</p> <p>But I got the rights back to the Dan Shamble stuff. The fans kept wanting me to do more, and so I published a couple of story collections and they did fine. But I was making way more money writing Dune books and things.</p> <p>Then they wanted a new novel. So I went, oh, okay. I did a new novel, which I just published at WordFire. But again, it did okay, but it wasn't great. I thought, well, I better just focus on writing these big ticket things. But I really liked writing Dan Shamble. </p> <h3 class="wp-block-heading">Somebody suggested, well, if the fans want it so much, why don't you run a Kickstarter? </h3> <p>I had never run a Kickstarter before, and I kind of had this wrong attitude. I thought Kickstarters were for, &#8220;I'm a starving author, please give me money.&#8221; And that's not it at all. It's like, hey, if you're a fan, why don't you join the VIP club and you get the books faster than anybody else?</p> <p>So I ran a Kickstarter for my first Dan Shamble book, and it made three times what the trad publisher was paying me. And I went, oh, I kind of like this model. So I have since done like four other Dan Shamble novels through Kickstarters, made way more money that way.</p> <p>And we just sold—we can't give any details yet—but we have just sold it. It will be a TV show. There's a European studio that is developing it as a TV show, and I'm writing the pilot and I will be the executive producer.</p> <p><strong>Jo:</strong> Fantastic.</p> <p><strong>Kevin:</strong> So I kept that zombie detective alive because I loved it so much.</p> <p><strong>Jo:</strong> And it's going to be all over the place years later, I guess.</p> <p>Just in terms of—given I've been in this now, I guess 2008 really was when I got into indie—and over the time I've been doing this, I've seen people rise and then disappear. A lot of people have disappeared. There are reasons, burnout or maybe they were just done.</p> <p><strong>Kevin:</strong> Yes.</p> <p><strong>Jo:</strong> But in terms of the people that you've seen, the characteristics, I guess, of people who don't make it versus people who do make it for years. And we are not saying that everyone should be a writer for decades at all. Some people do just have maybe one or two books. </p> <h3 class="wp-block-heading">What do you think are the characteristics of those people who do make it long-term?</h3> <p><strong>Kevin:</strong> Well, I think it's realistic expectations.</p> <p>Like, again, this was trad, but my first book I sold for $4,000, and I thought, well, that's just $4,000, but we're going to sell book club rights, and we're goingn to sell foreign rights, and it's going to be optioned for movies. And the $4,000 will be like, that's just the start.</p> <p>I was planning out all this extra money coming from it, and it didn't even earn its $4,000 advance back and nothing else happened with it.</p> <p>Well, it has since, because I've since reissued it myself, pushed it and I made more money that way. But it's a slow burn. </p> <p>You build your career. You start building your fan base and then your next one will sell maybe better than the first one did. Then you keep writing it, and then you make connections, and then you get more readers and you learn how to expand your stuff better. You've got to prepare for the long haul.</p> <p>I would suggest that if you publish your very first book on KU, don't quit your day job the next day. Not everybody can or should be a full-time writer.</p> <p>We here in America need to have something that pays our health insurance. That is one of the big reasons why I am running this graduate program at Western Colorado University—because as a university professor, I get wonderful healthcare. </p> <p>I'm teaching something that I love, and I'm frankly doing a very good job at it because our graduates—something like 60% of them are now working as writers or publishers or working in the publishing world. </p> <p>So that's another thing. I guess what I do when I'm working on it is I kind of always say yes to the stuff that's coming in. If an opportunity comes—hey, would you like a graphic novel on this?—and I go, yes, I'd love to do that. Could you write a short story for this anthology? Sure, I'd love to do that.</p> <p>I always say yes, and I get overloaded sometimes. But I learned my lesson. It was quite a few years ago where I was really busy. </p> <p>I had all kinds of book deadlines and I was turning down books that they were offering me. Again, this was trad—book contracts that had big advances on them. And anthology editors were asking me. </p> <p>I was really busy and everybody was nagging me—Kevin, you work too hard. And my wife Rebecca was saying, Kevin, you work too hard.</p> <p>So I thought, I had it made. I had all these bestsellers, everything was going on. So I thought, alright, I've got a lot of books under contract. I'll just take a sabbatical. I'll say no for a year. I'll just catch up. I'll finish all these things that I've got. I'll just take a breather and finish things.</p> <p>So for that year, anybody who asked me—hey, do you want to do this book project?—well, I'd love to, but I'm just saying no. And would you do this short story for an anthology? Well, I'd love to, but not right now. Thanks. And I just kind of put them off.</p> <p>So I had a year where I could catch up and catch my breath and finish the stuff.</p> <p>And after that, I went, okay, I am back in the game again. Let's start taking these book offers. And nothing. Just crickets. And I went, well, okay. Well, you were always asking before—where are all these book deals that you kept offering me? Oh, we gave them to somebody else.</p> <p><strong>Jo:</strong> This is really difficult though, because on the one hand—well, first of all, it's difficult because I wanted to take a bit of a break. So I'm doing this full-time master's and you are also teaching people in a master's program, right.</p> <p>So I have had to say no to a lot of things in order to do this course. And I imagine the people on your course would have to do the same thing. There's a lot of rewards, but they're different rewards and it kind of represents almost a midlife pivot for many of us.</p> <p>So how do we balance that then—the stepping away with what might lead us into something new? I mean, obviously this is a big deal. I presume most of the people on your course, they're older like me. People have to give stuff up to do this kind of thing.</p> <h3 class="wp-block-heading">So how do we manage saying yes and saying no?</h3> <p><strong>Kevin:</strong> Well, I hate to say this, but you just have to drink more coffee and work harder for that time. Yes, you can say no to some things. My thing was I kind of shut the door and I just said, I'm just going to take a break and I'm going to relax. </p> <p>I could have pushed my capacity and taken some things so that I wasn't completely off the game board.</p> <p>One of the things I talk about is to avoid burnout. If you want a long-term career, and if you're working at 120% of your capacity, then you're going to burn out.</p> <p>I actually want to mention something. Johnny B. Truant just has a new book out called <em>The Artisan Author</em>. I think you've had him on the show, have you?</p> <p><strong>Jo:</strong> Yes, absolutely.</p> <p><strong>Kevin:</strong> He says a whole bunch of the stuff in there that I've been saying for a long time. He's analysing these rapid release authors that are a book every three weeks. And they're writing every three weeks, every four weeks, and that's their business model.</p> <p>I'm just like, you can't do that for any length of time. I mean, I'm a prolific writer. I can't write that fast. That's a recipe for burnout, I think.</p> <p>I love everything that I'm doing, and even with this graduate program that I'm teaching, I love teaching it. I mean, I'm talking about subjects that I love, because I love publishing. I love writing. I love cover design. I love marketing. I love setting up your newsletters.</p> <p>I mean, this isn't like taking an engineering course for me. This is something that I really, really love doing. And quite honestly, it comes across with the students. They're all fired up too because they see how much I love doing it and they love doing it.</p> <p>One of the projects that they do—we get a grant from Draft2Digital every year for $5,000 so that we do an anthology, an original anthology that we pay professional rates for. So they put out their call for submissions.</p> <p>This year it was Into the Deep Dark Woods. And we commissioned a couple stories for it, but otherwise it was open to submissions. And because we're paying professional rates, they get a lot of submissions. I have 12 students in the program right now. They got 998 stories in that they had to read.</p> <p><strong>Jo:</strong> Wow.</p> <p><strong>Kevin:</strong> They were broken up into teams so they could go through it, but that's just overwhelming. They had to read, whatever that turns out to be, 50 stories a week that come in.</p> <p>Then they write the rejections, and then they argue over which ones they're going to accept, and then they send the contracts, and then they edit them. And they really love it.</p> <h3 class="wp-block-heading">I guess that's the most important thing about a career—you've got to have an attitude that you love what you're doing. </h3> <p>If you don't love this, please find a more stable career, because this is not something you would recommend for the faint of heart.</p> <p><strong>Jo:</strong> Yes, indeed. I guess one of the other considerations, even if we love it, the industry can shift. Obviously you mentioned the nineties there—things were very different in the nineties in many, many ways. Especially, let's say, pre-internet times, and when trad pub was really the only way forward.</p> <p>But you mentioned the rapid release, the sort of book every month. Let's say we are now entering a time where AI is bringing positives and negatives in the same way that the internet brought positives and negatives. We're not going to talk about using it, but what is definitely happening is a change.</p> <p>Industry-wise—for example, people can do a book a day if they want to generate books. That is now possible. There are translations, you know. Our KDP dashboard in America, you have a button now to translate everything into Spanish if you want. You can do another button that makes it an audiobook.</p> <p>So we are definitely entering a time of challenge, but if you look back over your career, there have been many times of challenge. </p> <h3 class="wp-block-heading">So is this time different? Or do you face the same challenges every time things shift?</h3> <p><strong>Kevin:</strong> It's always different. I've always had to take a breath and step back and then reinvent myself and come back as something else.</p> <p>One of the things with a long-term career is you can't have a long-term career being the hot new thing. You can start out that way—like, this is the brand new author and he gets a big boost as the best first novel or something like that—but that doesn't work for 20 years.</p> <p>I mean, you've got to do something else. If you're the sexy young actress, well, you don't have a 50-year career as the sexy young actress.</p> <p>One of the ones I'm loving right now is Linda Hamilton, who was the sexy young actress in Terminator, and then a little more mature in the TV show Beauty and the Beast, where she was this huge star.</p> <p>Then she's just come back now. I think she's in her mid-fifties. She's in Stranger Things and she was in Resident Alien and she's now this tough military lady who's getting parts all over the place. She's reinvented herself.</p> <p>So I like to say that for my career, I've crashed and burned and resurrected myself. You might as well call me the Doctor because I've just come back in so many different ways.</p> <p>You can't teach an old dog new tricks, but—</p> <h3 class="wp-block-heading">If you want to stay around, no matter how old of a dog you are, you've got to learn new tricks.</h3> <p>And you've got to keep learning, and you've got to keep trying new things.</p> <p>I started doing indie publishing probably around the time you did—2009, something like that. I was in one of these great positions where I was a trad author and I had a dozen books that I wrote that were all out of print. </p> <p>I got the rights back to them because back then they let books go out of print and they gave the rights back without a fight. So I suddenly found myself with like 12 titles that I could just put up. I went, oh, okay, let's try this. </p> <p>I was kind of blown away that that first novel that they paid me $4,000 for that never even earned it back—well, I just put it up on Kindle and within one year I made more than $4,000. I went, I like this, I've got to figure this out.</p> <p>That's how I launched WordFire Press. Then I learned how to do everything. I mean, back in those days, you could do a pretty clunky job and people would still buy it. Then I learned how to do it better.</p> <p><strong>Jo:</strong> That time is gone.</p> <p><strong>Kevin:</strong> Yes. I learned how to do it better, and then I learned how to market it. Then I learned how to do print on demand books. Then I learned how to do box sets and different kinds of marketing.</p> <p>I dove headfirst into my newsletter to build my fan base because I had all the Star Wars stuff and X-Files stuff and later it was the Dune stuff. I had this huge fan base, but I wanted that fan base to read the Kevin Anderson books, the Dan Shamble books and everything.</p> <p>The only way to get that is if you give them a personal touch to say, hey buddy, if you liked that one, try this one. And the way to do that is you have to have access to them.</p> <p>So I started doing social media stuff before most people were doing social media stuff. I killed it on MySpace. I can tell you that. </p> <p>I had a newsletter that we literally printed on paper and we stuck mailing labels on. It went out to 1,200 people that we put in the mailbox.</p> <p><strong>Jo:</strong> Now you're doing that again with Kickstarter, I guess. But I guess for people listening, what are you learning now? </p> <h3 class="wp-block-heading">How are you reinventing yourself now in this new phase we are entering?</h3> <p><strong>Kevin:</strong> Well, I guess the new thing that I'm doing now is expanding my Kickstarters into more.</p> <p>So last year, the biggest Kickstarter that I've ever had, I ran last year. It was this epic fantasy trilogy that I had trad published and I got the rights back. </p> <p>They had only published it in trade paperback. So, yes, I reissued the books in nice new hardcovers, but I also upped the game to do these fancy bespoke editions with leather embossed covers and end papers and tipped in ribbons and slip cases and all kinds of stuff and building that.</p> <p>I did three rock albums as companions to it, and just building that kind of fan base that will support that.</p> <p>Then I started a Patreon last year, which isn't as big as yours. I wish my Patreon would get bigger, but I'm pushing it and I'm still working on that.</p> <p>So it's trying new things. Because if I had really devoted myself and continued to keep my MySpace page up to date, I would be wasting my time. You have to figure out new things.</p> <p>Part of me is disappointed because I really liked in the nineties where they just kept throwing book contracts at me with big advances. And I wrote the book and sent it in and they did all the work. But that went away and I didn't want to go away. So I had to learn how to do it different.</p> <p>After a good extended career, one of the things you do is you pay it forward. I mentor a lot of writers and that evolved into me creating this master's program in publishing.</p> <p>I can gush about it because to my knowledge, it is the only master's degree that really focuses on indie publishing and new model publishing instead of just teaching you how to get a job as an assistant editor in Manhattan for one of the Big Five publishers.</p> <p><strong>Jo:</strong> It's certainly a lot more practical than my master's in death.</p> <p><strong>Kevin:</strong> Well, that's an acquired taste, I think.</p> <p>When they hired me to do this—and as I said earlier, I'm not an academic—and I said if I'm going to teach this, it's a one year program. They get done with it in one year. It's all online except for one week in person in the summer.</p> <p>They're going to learn how to do things. They're not going to get esoteric, analysing this poem for something. When they graduate from this program, they walk out with this anthology that they edited, that their name is on.</p> <p>The other project that they do is they reissue a really fancy, fine edition of some classic work, whether it's H.G. Wells or Jules Verne or something. They choose a book that they want to bring back and they do it all from start to finish.</p> <p>They come out of it—rather than just theoretical learning—they know how to do things. </p> <p>Surprise, I've been around in the business a long time, so I know everybody who works in the business. So the heads of publishing houses and the head of Draft2Digital or Audible—and we've got Blackstone Audio coming on in a couple weeks. We've got the head of Kickstarter coming on as guest speakers.</p> <p>I have all kinds of guest speakers. Joanna, I think you're coming on—</p> <p><strong>Jo:</strong> I'm coming on as well, I think. </p> <p><strong>Kevin:</strong> You're coming on as a guest speaker. It's just like they really get plugged in. I'm in my seventh cohort now and I just love doing it. The students love it and we've got a pretty high success rate.</p> <h3 class="wp-block-heading">So there's your plug. We are open for applications now. </h3> <p>It starts in July. And my own website is <a href="https://wordfire.com/" target="_blank" rel="noopener" title="">WordFire.com</a>, and there's a section on there on the <a href="https://wordfire.com/publishing-masters-degree/" target="_blank" rel="noopener" title="">graduate program</a> if anybody wants to take a look at it.</p> <p>Again, not everybody needs to have a master's degree to be an indie publisher, but there is something to be said for having all of this stuff put into an organised fashion so that you learn how to do all the things.</p> <p>It also gives you a resource and a support system so that they come out of it knowing a whole lot of people.</p> <p><strong>Jo:</strong> Brilliant. Well, thanks so much for your time, Kevin. That was great.</p> <p><strong>Kevin:</strong> Thanks. It's a great show.</p> <hr class="wp-block-separator has-alpha-channel-opacity"/><p>The post <a href="https://www.thecreativepenn.com/2026/02/09/managing-multiple-projects-and-the-art-of-the-long-term-author-career-with-kevin-j-anderson/">Managing Multiple Projects And The Art of the Long-Term Author Career with Kevin J. Anderson</a> first appeared on <a href="https://www.thecreativepenn.com">The Creative Penn</a>.</p>
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62 MIN
Research Like An Academic, Write Like an Indie With Melissa Addey
FEB 2, 2026
Research Like An Academic, Write Like an Indie With Melissa Addey
<p><strong>How can indie authors raise their game through academic-style rigour?</strong> How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career.</p> <p>In the intro, mystery and thriller tropes [<a href="https://wishidknownforwriters.com/" target="_blank" rel="noopener" title="">Wish I'd Known Then</a>]; The differences between trad and indie in 2026 [<a href="https://productiveindiefictionwriter.com/trad-vs-indie-iii/" target="_blank" rel="noopener" title="">Productive Indie Fiction Writer</a>]; Five phases of an author business [<a href="https://www.youtube.com/watch?v=nGX7gDqtvCM" target="_blank" rel="noopener" title="">Becca Syme</a>]; <em><a href="https://www.jfpenn.com/bones" target="_blank" rel="noopener" title="">Bones of the Deep</a></em> &#8211; J.F. Penn; </p> <figure class="wp-block-image"><a href="https://www.bookfunnel.com/thecreativepenn/" target="_blank" rel="noreferrer noopener"><img decoding="async" width="1514" height="368" src="https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1.png" alt="" class="wp-image-37166" srcset="https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1.png 1514w, https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1-300x73.png 300w, https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1-1024x249.png 1024w, https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1-768x187.png 768w" sizes="(max-width: 1514px) 100vw, 1514px" /></a></figure> <p><a href="https://bookfunnel.com/thecreativepenn/" target="_blank" rel="noreferrer noopener"></a></p> <p>Today's show is sponsored by Bookfunnel,&nbsp;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&nbsp;<a href="https://bookfunnel.com/thecreativepenn/" target="_blank" rel="noreferrer noopener">bookfunnel.com/thecreativepenn</a></p> <p>This show is also supported by my Patrons. Join my Community at&nbsp;<a href="https://www.patreon.com/thecreativepenn" target="_blank" rel="noreferrer noopener">Patreon.com/thecreativepenn</a>&nbsp;</p> <figure class="wp-block-image size-full"><a href="https://www.melissaaddey.com/" target="_blank" rel=" noreferrer noopener"><img decoding="async" width="915" height="300" src="https://www.thecreativepenn.com/wp-content/uploads/2026/02/Melissa-Addey.jpg" alt="" class="wp-image-37338" srcset="https://www.thecreativepenn.com/wp-content/uploads/2026/02/Melissa-Addey.jpg 915w, https://www.thecreativepenn.com/wp-content/uploads/2026/02/Melissa-Addey-300x98.jpg 300w, https://www.thecreativepenn.com/wp-content/uploads/2026/02/Melissa-Addey-768x252.jpg 768w" sizes="(max-width: 915px) 100vw, 915px" /></a></figure> <p>Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors.</p> <p>You can listen above or on&nbsp;<a href="https://www.thecreativepenn.com/podcasts/" target="_blank" rel="noreferrer noopener">your favorite podcast app</a>&nbsp;or read the notes and links below. Here are the highlights and the full transcript is below.&nbsp;</p> <p><strong>Show Notes</strong></p> <ul class="wp-block-list"> <li>Making the leap from a corporate career to full-time writing with a young family</li> <li>Why Melissa pursued a PhD in creative writing and how it fuelled her author business</li> <li>What indie authors can learn from academic rigour when researching historical fiction</li> <li>The problems with academic publishing—pricing, accessibility, and creative restrictions</li> <li>Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching</li> <li>Using AI tools effectively as part of the research process without losing your unique voice</li> </ul> <p>You can find Melissa at <a href="https://www.melissaaddey.com/" target="_blank" rel="noopener" title="">MelissaAddey.com</a>.</p> <h3 class="wp-block-heading">Transcript of the interview with Melissa Addey</h3> <p><strong>JOANNA:</strong> Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa.</p> <p><strong>MELISSA:</strong> Hello. Thank you for having me.</p> <p><strong>JOANNA:</strong> It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago.</p> <h3 class="wp-block-heading">So tell us a bit more about you and how you got into writing and self-publishing.</h3> <p><strong>MELISSA:</strong> I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress.</p> <p>At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise.</p> <p>I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way.</p> <p>I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this.</p> <p>I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on.</p> <p>So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it.</p> <p><strong>JOANNA:</strong> You mentioned you had a job before in business. </p> <h3 class="wp-block-heading">Are you full-time in all these roles that you're doing now, or do you still have that job?</h3> <p><strong>MELISSA:</strong> No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. </p> <p>I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, &#8220;Do you think it would be possible if I tried to do the jump? Would that be okay?&#8221; </p> <p>There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump.</p> <p><strong>JOANNA:</strong> That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important.</p> <p>The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. </p> <h3 class="wp-block-heading">How long did you think you would leave it before you just gave up? And how did that go? </h3> <p>Because that beginning is so difficult, especially with a new baby.</p> <p><strong>MELISSA:</strong> I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it.</p> <p>I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. </p> <p>I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before.</p> <p>He said, &#8220;Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.&#8221;</p> <p>It really felt like that. Even little things—like Mslexia (a writing magazine) gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try.</p> <p>Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work.</p> <p>By the time that finished, the royalties had taken over from the studentship. That was such a gift.</p> <p><strong>JOANNA:</strong> A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. </p> <h3 class="wp-block-heading">You worked really hard to get that funding, I presume.</h3> <p><strong>MELISSA:</strong> I did, yes. You do have to do the work for it, just to be clear.</p> <p>My sister had done a PhD in an entirely different subject. She said, &#8220;You should do a PhD in creative writing.&#8221; I said, &#8220;That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?&#8221; She said, &#8220;Oh, they might. Try.&#8221;</p> <p>So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then.</p> <p>So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one.</p> <p><strong>JOANNA:</strong> So let's go to the bigger question: why do a PhD in creative writing? </p> <p>Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. </p> <h3 class="wp-block-heading">So why did you want to do a PhD? What drew you to academic research?</h3> <p><strong>MELISSA:</strong> Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that.</p> <p>It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element.</p> <p>Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue.</p> <p>Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, &#8220;Are you insane? Doing a PhD with a three-year-old and a baby?&#8221; But the thing about three-year-olds and babies is they're quite intellectually boring. </p> <p>Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling.</p> <p>I felt I needed something else. I needed something for me that would be interesting. </p> <p>I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. </p> <p>Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together.</p> <p><strong>JOANNA:</strong> So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture.</p> <p><strong>MELISSA:</strong> Your topic sounds fascinating.</p> <p><strong>JOANNA:</strong> It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. </p> <p>I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books.</p> <p>So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different.</p> <h3 class="wp-block-heading">What lessons can indie authors learn from this kind of academic rigour? </h3> <p>What do you think of in terms of the rigour and what can we learn?</p> <p><strong>MELISSA:</strong> I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. </p> <p>Not secondhand, but going back to those primary sources. Not &#8220;somebody said that somebody said something.&#8221; Well, let's go back to the original. Have a look at that, because you get a lot from that.</p> <p>I think you immerse yourself more deeply. Someone can tell you, &#8220;This is how they spoke in the 1800s.&#8221; If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply.</p> <p>Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, &#8220;I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.&#8221;</p> <p>I think, well, that's okay, but you won't find the weird little things. I tend to call it &#8220;the footnotes of history.&#8221; You won't find the weird little things that really make something come alive, that really make a time and a place come alive.</p> <p>I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual.</p> <p>He could have given her a fan and I could have fact-checked and gone, &#8220;Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.&#8221;</p> <p>Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. </p> <p>If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place.</p> <p><strong>JOANNA:</strong> I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way.</p> <h3 class="wp-block-heading">I used to call it &#8220;the serendipity of the stacks&#8221; in the physical library. </h3> <p>You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it.</p> <p><strong>MELISSA:</strong> Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, &#8220;Have I done enough?&#8221;</p> <p><strong>JOANNA:</strong> Mm-hmm.</p> <p><strong>MELISSA:</strong> I get asked that a lot when I talk about writing historical fiction. People go, &#8220;But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, &#8216;Oh, how did you not read such-and-such?'&#8221;</p> <p>I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, &#8220;Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.&#8221; You're familiar with those bibliographies in a way that at the beginning you're not. </p> <p>At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop.</p> <p>The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. </p> <p>Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that.</p> <p><strong>JOANNA:</strong> One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? </p> <h3 class="wp-block-heading">For people who might be immersed in academia, how can they release themselves into doing something like self-publishing?</h3> <p>Because there's still a lot of stigma within academia.</p> <p><strong>MELISSA:</strong> You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that.</p> <p>The publisher will say things like, &#8220;Well, could you just cut 10,000 words out of that?&#8221; Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that.</p> <p>The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous.</p> <p>I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions.</p> <p>I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia.</p> <p>You wouldn't have to make it &#8220;pop&#8221; as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally.</p> <p>I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. </p> <p>I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning&#8230;</p> <p>It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic.</p> <p><strong>JOANNA:</strong> I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words.</p> <p><strong>MELISSA:</strong> I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really.</p> <p>In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible.</p> <p><strong>JOANNA:</strong> I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. </p> <p>The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? </p> <h3 class="wp-block-heading">Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia?</h3> <p><strong>MELISSA:</strong> I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there.</p> <p>I do think there's space to come up with a different system where you could say, &#8220;So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.&#8221; You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit.</p> <p>I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. </p> <p>Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back.</p> <p><strong>JOANNA:</strong> I remember. I did one of those surveys.</p> <p><strong>MELISSA:</strong> She got told in no uncertain terms, &#8220;Do not write about this. You will ruin your career.&#8221; She stuck with it. She was right to stick with it. But she was told by senior academics, &#8220;Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.&#8221;</p> <p>They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it.</p> <p><strong>JOANNA:</strong> It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing.</p> <p><strong>MELISSA:</strong> Yes.</p> <p><strong>JOANNA:</strong> Sometimes it can take a year, two years or more to get a paper through the process.</p> <p><strong>MELISSA:</strong> Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, &#8220;Huh? That's really old.&#8221; And you'll be going, &#8220;No, it's literally two years.&#8221; But yes, very, very slow.</p> <p><strong>JOANNA:</strong> Let's come back to how we can help other people who might not want to be doing academic-level stuff. </p> <h3 class="wp-block-heading">One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? </h3> <p>They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts?</p> <p><strong>MELISSA:</strong> I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever.</p> <p>I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. </p> <p>They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things.</p> <p>So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head.</p> <p><strong>MELISSA:</strong> I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author.</p> <p>I'll say, &#8220;Right, these things are true&#8221;—especially things that I think people will go, &#8220;She made that up. That is not true.&#8221; I'll go, &#8220;No, no, these are true.&#8221; These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. </p> <p>I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. </p> <p>Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it.</p> <p><strong>JOANNA:</strong> I'm similar with my author's notes. I've just done the author's note for <a href="https://www.jfpenn.com/bones" target="_blank" rel="noopener" title="">Bones of the Deep</a>, which has some merfolk in it, and I've got a book on <a href="https://amzn.to/4k5ZHRS" target="_blank" rel="noopener" title="">Merpeople</a>. It's awesome. It's just a brilliant book. I'm like, this has to go in.</p> <p>You could question whether that is really nonfiction or something else. But I think that's really important.</p> <h3 class="wp-block-heading">Just to be more practical: when you're actually writing, what tools do you use? </h3> <p>I use <a href="https://www.thecreativepenn.com/scrivenersoftware" target="_blank" rel="noopener" title="">Scrivener</a> and I keep all my research there. I'm using EndNote for academic stuff.</p> <p><strong>MELISSA:</strong> I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word.</p> <p>I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again.</p> <p>You mentioned citations, and that's fascinating to me. Do you know the story about <em>Angle of Repose</em> by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. </p> <p>He includes those and works with them in the story. He mentioned her very briefly, like, &#8220;Oh, and thanks to the relatives of so-and-so.&#8221; Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it.</p> <p>I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, &#8220;This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it&#8221;—I think that wouldn't have happened at all.</p> <p>That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those.</p> <p><strong>JOANNA:</strong> That's part of the academic rigour too—</p> <h3 class="wp-block-heading">You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. </h3> <p>What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it.</p> <p><strong>MELISSA:</strong> I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. </p> <p>I could go, &#8220;Oh no, I've invented this theory and it's this.&#8221; I didn't have to constantly go, &#8220;As somebody else said, as somebody else said.&#8221; I was like, no, no. This is me. I said this thing.</p> <p>I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it.</p> <p>In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do.</p> <p><strong>JOANNA:</strong> I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before.</p> <p>Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT.</p> <p>You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe—</p> <h3 class="wp-block-heading">Why do you think research is worth doing? It's important for academic reasons, but personal growth as well.</h3> <p><strong>MELISSA:</strong> Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. </p> <p>What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place?</p> <p>That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it.</p> <p>As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down.</p> <p>If you then go, &#8220;Okay, well now I'm going to write four books, five books, six books, still in that place and time&#8221;—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again.</p> <p>Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. </p> <p>I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. </p> <p>So there are places to make up the time again a bit. But I do think there's a joy in it as well.</p> <p><strong>JOANNA:</strong> I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting.</p> <p>For example, my books <em>How to Write a Novel</em> and <em>How to Write Nonfiction</em>—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process.</p> <h3 class="wp-block-heading">Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter.</h3> <p><strong>MELISSA:</strong> How dare you not credit yourself!</p> <p><strong>JOANNA:</strong> But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous.</p> <p><strong>MELISSA:</strong> No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense.</p> <p><strong>JOANNA:</strong> I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly.</p> <p>It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people.</p> <p><strong>MELISSA:</strong> Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously.</p> <p>I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? </p> <p>The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it.</p> <p>Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it.</p> <p><strong>JOANNA:</strong> It's an interesting one. I think it's just the care. Taking more care is what I would like people to do.</p> <p>So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of &#8220;give me an overview and tell me some good places to start.&#8221;</p> <p>The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. </p> <h3 class="wp-block-heading">What are your thoughts on AI usage and tools? How can people balance that?</h3> <p><strong>MELISSA:</strong> Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step.</p> <p>I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified.</p> <p>I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail.</p> <p>I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. </p> <p>It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with.</p> <p>I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it.</p> <p>This is where AI should go, &#8220;Well, in this field, there are these people. They've done these things.&#8221; Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. </p> <p>You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it.</p> <p>I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. &#8220;Could you make an artist statement and a something and a blah?&#8221; </p> <p>You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it?</p> <p><strong>JOANNA:</strong> Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research.</p> <p>In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself.</p> <h3 class="wp-block-heading">I'd encourage people to consider using it for part of the research process.</h3> <p>But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself.</p> <p><strong>MELISSA:</strong> Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore.</p> <p>That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it.</p> <p><strong>JOANNA:</strong> I kind of laugh when people say, &#8220;Oh, I can tell when it's AI.&#8221; I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. </p> <p>We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. </p> <h3 class="wp-block-heading">Some people are not strong enough to resist what an AI might suggest. Any thoughts on that?</h3> <p><strong>MELISSA:</strong> Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. </p> <p>That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you.</p> <p>&#8220;What does that look like?&#8221; &#8220;No, I didn't mean that at all.&#8221; &#8220;How about what does this look like?&#8221; &#8220;Oh no, no, not like that.&#8221; &#8220;Oh yes, a bit like that, but a bit more like whatever.&#8221;</p> <p>I remember doing that and talking to someone about it, going, &#8220;Oh, that's really quite an interesting use of it.&#8221; And they said, &#8220;Why don't you use a person?&#8221;</p> <p>I said, &#8220;Well, because who am I going to call at 8:30 in the morning on a Thursday and go, &#8216;Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'&#8221; Who's going to do that for you?</p> <p><strong>JOANNA:</strong> I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time.</p> <p>My husband came in and saw the fresco I was writing about. He said, &#8220;No one's going to talk to you about this. Nobody.&#8221;</p> <p><strong>MELISSA:</strong> Yes, exactly.</p> <p><strong>JOANNA:</strong> Nobody cares.</p> <p><strong>MELISSA:</strong> Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do.</p> <p><strong>JOANNA:</strong> It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that.</p> <p><strong>JOANNA:</strong> Okay, we're almost out of time. </p> <h3 class="wp-block-heading">Where can people find you and your books online? Also, tell us a bit about the types of books you have.</h3> <p><strong>MELISSA:</strong> I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once.</p> <p>I'm at <a href="https://www.melissaaddey.com/" target="_blank" rel="noopener" title="">MelissaAddey.com</a> and you can go and have a bit of a browse and download a free novel if you want. Try me out.</p> <p><strong>JOANNA:</strong> Brilliant. Well, thanks so much for your time, Melissa.</p> <p><strong>MELISSA:</strong> That was great. Thank you. It was fun.</p> <hr class="wp-block-separator has-alpha-channel-opacity"/> <hr class="wp-block-separator has-alpha-channel-opacity"/><p>The post <a href="https://www.thecreativepenn.com/2026/02/02/research-like-an-academic-write-like-an-indie-with-melissa-addey/">Research Like An Academic, Write Like an Indie With Melissa Addey</a> first appeared on <a href="https://www.thecreativepenn.com">The Creative Penn</a>.</p>
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61 MIN
Selling Books Live On Social Media With Adam Beswick
JAN 26, 2026
Selling Books Live On Social Media With Adam Beswick
<p><strong>Could live selling be the next big opportunity for indie authors?</strong> Adam Beswick shares how organic marketing, live streaming, and direct sales are transforming his author career—and how other writers can do the same.</p> <p>In the intro, book marketing principles [<a href="https://selfpublishingadvice.org/podcast-marketing-must-dos/" target="_blank" rel="noopener" title="">Self-Publishing with ALLi</a>]; Interview with <br>Tobi Lutke, the CEO and co-founder of Shopify [<a href="https://www.davidsenra.com/episode/tobi-lutke" target="_blank" rel="noopener" title="">David Senra</a>]; <a href="https://prowritingaid.com/mindsurvey" target="_blank" rel="noopener" title="">The Writer's Mind Survey</a>; <em><a href="https://www.jfpenn.com/bones" target="_blank" rel="noopener" title="">Bones of the Deep</a></em> &#8211; J.F. Penn; <a href="https://www.selfpublishingadvice.org/indieauthorlab" target="_blank" rel="noopener" title="">Alliance of Independent Authors Indie Author Lab</a>.</p> <figure class="wp-block-image"><a href="https://www.prowritingaid.com/joanna" target="_blank" rel="noreferrer noopener"><img decoding="async" width="1200" height="300" src="https://www.thecreativepenn.com/wp-content/uploads/2024/10/PWA-wordmark-1200x300-pink.png" alt="PWA wordmark 1200x300 pink" class="wp-image-36589" srcset="https://www.thecreativepenn.com/wp-content/uploads/2024/10/PWA-wordmark-1200x300-pink.png 1200w, https://www.thecreativepenn.com/wp-content/uploads/2024/10/PWA-wordmark-1200x300-pink-300x75.png 300w, https://www.thecreativepenn.com/wp-content/uploads/2024/10/PWA-wordmark-1200x300-pink-1024x256.png 1024w, https://www.thecreativepenn.com/wp-content/uploads/2024/10/PWA-wordmark-1200x300-pink-768x192.png 768w" sizes="(max-width: 1200px) 100vw, 1200px" /></a></figure> <p><a href="http://www.prowritingaid.com/joanna" target="_blank" rel="noreferrer noopener"></a>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&nbsp;<em>before</em>&nbsp;you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at&nbsp;<a href="http://www.prowritingaid.com/joanna" target="_blank" rel="noreferrer noopener">www.ProWritingAid.com/joanna</a></p> <p>This show is also supported by my Patrons. Join my Community at&nbsp;<a href="https://www.patreon.com/thecreativepenn" target="_blank" rel="noreferrer noopener">Patreon.com/thecreativepenn</a>&nbsp;</p> <div class="wp-block-image"> <figure class="aligncenter size-full"><a href="https://apbeswickpublications.com/" target="_blank" rel=" noreferrer noopener"><img decoding="async" width="880" height="300" src="https://www.thecreativepenn.com/wp-content/uploads/2026/01/AP-Beswick.png" alt="" class="wp-image-37325" srcset="https://www.thecreativepenn.com/wp-content/uploads/2026/01/AP-Beswick.png 880w, https://www.thecreativepenn.com/wp-content/uploads/2026/01/AP-Beswick-300x102.png 300w, https://www.thecreativepenn.com/wp-content/uploads/2026/01/AP-Beswick-768x262.png 768w" sizes="(max-width: 880px) 100vw, 880px" /></a></figure> </div> <p>Adam Beswick is a bestselling fantasy author and an expert in TikTok marketing for authors, as well as a former NHS mental health nurse. Adam went full-time as an indie author in 2023 and now runs AP Beswick Publications.</p> <p>You can listen above or on&nbsp;<a href="https://www.thecreativepenn.com/podcasts/" target="_blank" rel="noreferrer noopener">your favorite podcast app</a>&nbsp;or read the notes and links below. Here are the highlights and the full transcript is below.&nbsp;</p> <p><strong>Show Notes</strong></p> <ul class="wp-block-list"> <li>How Adam scaled from garden office to warehouse, with his wife leaving her engineering career to join the business</li> <li>Why organic marketing (free video content) beats paid ads for testing what resonates with readers</li> <li>The power of live selling: earning £3,500 in one Christmas live stream through TikTok shop</li> <li>Mystery book bags: a gamified approach to selling that keeps customers coming back</li> <li>Building an email list of actual buyers through direct sales versus relying on platform algorithms</li> <li>Why human connection matters more than ever in the age of AI-generated content</li> </ul> <p>You can find Adam at <a href="https://apbeswickpublications.com/" target="_blank" rel="noopener" title="">APBeswickPublications.com</a> and on TikTok as <a href="https://www.tiktok.com/@a.p_beswick_publications" target="_blank" rel="noopener" title="">@a.p_beswick_publications</a>.</p> <h3 class="wp-block-heading">Transcript of interview with Adam Beswick</h3> <p><strong>Jo:</strong> Adam Beswick is a bestselling fantasy author and an expert in TikTok marketing for authors, as well as a former NHS mental health nurse. Adam went full-time as an indie author in 2023 and now runs AP Beswick Publications. Welcome back to the show, Adam.</p> <p><strong>Adam:</strong> Hi there, and thank you for having me back.</p> <p><strong>Jo:</strong> Oh, I'm super excited to talk to you today. Now, you were last on the show in May 2024, so just under two years, and you had gone full-time as an author the year before that. So just tell us—</p> <h3 class="wp-block-heading">What's changed for you in the last couple of years? What does your author business look like now?</h3> <p><strong>Adam:</strong> That is terrifying to hear that it was that long ago, because it genuinely feels like it was a couple of months ago. Things have certainly been turbocharged since we last spoke. </p> <p>Last time we spoke I had a big focus on going into direct sales, and I think if I recall correctly, we were just about to release a book by Alexis Brooke, which was the first book in a series that we had worked with another author on, which was the first time we were doing that.</p> <p>Since then, we now have six authors on our books, with a range of full agreements or print-only deals. With that focus of direct selling, we have expanded our TikTok shop.</p> <p>In 2024, I stepped back from TikTok shop just because of constraints around my own time. We took TikTok shop seriously again in 2025 and scaled up to a six-figure revenue stream throughout 2025, effectively starting from scratch.</p> <p>That means we have had to go from having an office pod in the garden, to my wife now has left her career as a structural engineer to join the business because there was too much for me to manage. </p> <p>We went from this small office space, to now we have the biggest office space in our office block because we organise our own print runs and do all our distribution worldwide from what we call &#8220;AP HQ.&#8221;</p> <p><strong>Jo:</strong> And you don't print books, but you have a warehouse.</p> <p><strong>Adam:</strong> Yes, we have a warehouse. We work with different printers to order books in. We print quite large scale—well, large scale to me—volumes of books. Then we have them ordered to here, and then we will sign them all and distribute everything from here.</p> <p><strong>Jo:</strong> Sarah, your wife, being a structural engineer—it seems like she would be a real help in organising a business of warehousing and all of that. </p> <h3 class="wp-block-heading">Has that been great [working with your wife]? </h3> <p>Because I worked with my husband for a while and we decided to stop doing that.</p> <p><strong>Adam:</strong> Well, we're still married, so I'm taking that as a win! And funnily enough, we don't actually fall out so much at work. When we do, it's more about me being quite chaotic with how I work, but also I can at times be quite inflexible about how I want things to be done.</p> <p>But what Sarah's fantastic at is the organisation, the analytics. She runs all the logistical side of things. When we moved into the bigger office space, she insisted on us having different offices. She's literally shoved me on the other side of the building. </p> <p>So I'm out the way—I can just come in and write, come and do my bit to sign the books, and then she can just get on with organising the orders and getting those packed and sent out to readers.</p> <p>She manages all the tracking, the customs—all the stuff that would really bog me down. I wouldn't say she necessarily enjoys it when she's getting some cranky emails from people whose books might have gone missing or have been held up at customs, but she's really good at that side.</p> <p>She's really helped bring systems in place to make sure the fulfilment side is as smooth as possible.</p> <p><strong>Jo:</strong> I think this is so important, and I want everyone to hear you on this. Because at heart, you are the creative, you are a writer, and sure you are building this business, but I feel like one of the biggest mistakes that creative-first authors make is not getting somebody else to help them. </p> <p>It doesn't have to be a spouse, right? It can also be another professional person. Sacha Black's got various people working for her. </p> <h3 class="wp-block-heading">I think you just can't do it alone, right?</h3> <p><strong>Adam:</strong> Absolutely not. I would have drowned long before now. When Sarah joined the team, I was at a position where I'd said to her, &#8220;Look, I need to look at bringing someone in because I'm drowning.&#8221;</p> <p>It was only then she took a look at where her career was, and she'd done everything she wanted to do. She was a senior engineer. She'd completed all the big projects. I mean, this is a woman who's designed football stands across the UK and some of the biggest barn conversions and school conversions and things like that. </p> <p>She'd done everything professionally that she'd wanted to and was perhaps losing that passion that she once had.</p> <p>So she said she was interested, and we said, &#8220;Look, why don't you come and spend a bit of time working with me within the business, see whether it works for you, see if we can find an area that works for you—not you working for the business, the business working for you—that we maintain that work-life balance.&#8221;</p> <p>And then if it didn't work, we were in a position where we could set her up to start working for herself as an engineer again, but under her own terms. </p> <p>Then we just went from strength to strength. We made it through the first year. I think we made it through the first year without any arguments, and she's now been full-time in the business for two years.</p> <p><strong>Jo:</strong> I think that's great. Really good to hear that. Because when I met you, probably in Seville I think it was, I was like, &#8220;You are going to hit some difficulty,&#8221; because I could see that if you were going to scale as fast as you were aiming to—</p> <h3 class="wp-block-heading">There are problems of scale, right? There's a reason why lots of us don't want a bloomin' warehouse.</h3> <p><strong>Adam:</strong> Yes, absolutely. I think it's twofold. I am an author at heart—that's my passion—but I'm also a businessman and a creative from a marketing point of view. I always see writing as the passion. The business side and the creating of content—that's the work. So I never see writing as work.</p> <p>When I was a nurse, I was the nurse that was always put on the wards where no one else wanted to work because that's where I thrived. I thrive in the chaos. </p> <p>Put me with people who had really challenging behaviour or were really unwell and needed that really intense support, displayed quite often problematic behaviours, and I would thrive in those environments because I'd always like to prove that you can get the best out of anyone.</p> <p>I very much work in that manner now. The more chaotic, the more pressure-charged the situation is, the better I thrive in that. If I was just sat writing a book and that was it, I'd probably get less done because I'd get bored and I wouldn't feel like I was challenging myself.</p> <p>As you said, the flip side of that is that risk of burnout is very, very real, and I have come very, very close. But as a former mental health nurse, I am very good at spotting my own signs of when I'm not taking good care of myself. And if I don't, Sarah sure as hell does.</p> <p><strong>Jo:</strong> I think that's great. Really good to hear. Okay, so you talked there about creating the content as work, and—</p> <h3 class="wp-block-heading">You have driven your success, I would say, almost entirely with TikTok. Would that be right?</h3> <p><strong>Adam:</strong> Well, no, I'd come back and touch on that just to say it isn't just TikTok. I would say definitely organic marketing, but not just TikTok.</p> <p>I'm always quick to pivot if something isn't working or if there's a dip in sales. I'm always looking at how we can—not necessarily keep growing—but it's about sustaining what you've built so that we can carry on doing this.</p> <p>If the business stops earning money, I can't keep doing what I love doing, and me and my wife can't keep supporting our family with a stable income, which is what we have now.</p> <p>I would say TikTok is what started it all, but I did the same as having all my books on Amazon, which is why I switched to doing wide and direct sales: I didn't want all my eggs in one basket.</p> <p>I was always exploring what platforms I can use to best utilise organic marketing, to the point where my author TikTok channel is probably my third lowest avenue for directing traffic to my store at the moment.</p> <p>I have a separate channel for my TikTok shop, which generates great traffic, but that's a separate thing because I treat my TikTok shop as a separate audience. That only goes out to a UK audience, whereas my main TikTok channel goes out to a worldwide audience.</p> <p><strong>Jo:</strong> Okay. So we are going to get into TikTok, and I do want to talk about that, but you said TikTok Shop UK and—</p> <h3 class="wp-block-heading">Then you mentioned organic marketing. What do you mean by that?</h3> <p><strong>Adam:</strong> When I say organic marketing, I mean marketing your books in a way that is not a detriment to your bank balance.</p> <p>To break that down further: you can be paying for, say for example, you set up a Facebook ad and you are paying five pounds a day just for a testing phase for an ad that potentially isn't going to work. </p> <p>You potentially have to run 5, 6, 7, 8, 9, 10 ads at five pounds a day to find one ad that works, that will make your book profitable. There's a lot of testing, a lot of money that goes into that.</p> <p>With organic marketing, it's using video marketing or slideshows or carousels on TikTok, Instagram, YouTube, Facebook—wherever you want to put it—to find the content that does resonate with your readers, that generates sales, and it doesn't cost you anything.</p> <p>I can create a video on TikTok, put it out there, and it reaches three, four hundred people. That hasn't cost me any money at all. Those three, four hundred people have seen my content. That's not TikTok's job for that to generate sales. That's my job to convert those views into sales.</p> <p>If it doesn't, I just need to look at the content and say, &#8220;Well, that hasn't hit my audience, or if it has, it hasn't resonated. What do I need to do with my content to make it resonate and then transition into sales?&#8221;</p> <p>Once you find something that works, it's just a case of rinse and repeat. Keep tweaking it, keep changing or using variants of that content that's working to generate sales.</p> <p>If you manage to do that consistently, you've already got content that you know works. So when you've built up consistent sales and you are perhaps earning a few thousand pounds a month—it could be five figures a month—you've then got a pool of money that you've generated.</p> <p>You can use that then to invest into paid ads, using the content you've already created organically and tested organically for what your audience is going to interact with.</p> <p><strong>Jo:</strong> Okay. I think because I'm old school from the old days, we would've called that content marketing. But I feel like the difference of what you are doing and what TikTok—I think the type of behaviour TikTok has driven is the actual sales, the conversion into sales.</p> <p>So for example, this interview, right? My podcast is content marketing. It puts our words out in the world and some people find us, and some people buy stuff from us. So it's content marketing, but it's not the way you are analysing content that actually drives sales.</p> <p>Based on that content, there's no way of tracking any sales that come from this interview. We are just never going to know.</p> <p>I think that's the big difference between what you are doing with content versus what I and many other, I guess, older creators have done, which is—</p> <h3 class="wp-block-heading">We put stuff out there for free, hope that some people might find us, and some of those people might buy. </h3> <p>It's quite different.</p> <p><strong>Adam:</strong> I would still argue that it is organic marketing, because you've got a podcast that people don't have to pay to listen to, that they get enjoyment from, and the byproduct of that is you generate some income passively through that.</p> <p>If you think of your podcast as one product and your video content is the same—these social media platforms—you don't just post your podcast on one platform. </p> <p>You will utilise as many platforms as you can, unless you have a brand agreement where a platform is paying you to solely use their platform because you or yourself are the driver for the audience there.</p> <p>I would say a podcast is a form of organic marketing. I could start a podcast about video marketing. I could start a podcast about reading. The idea being you build up an audience and then when you drop in those releases, that audience then goes and buys that product.</p> <p>For example, if you've got a self-help book coming out, if you drop that into your podcast, chances are you're going to get a lot more sales from your audience that are here to listen to you as the inspirational storyteller that you are from a business point of view than what you would if you announced that you had a new crime novel coming out or a horror story you've written.</p> <p>Your audience within here is generally an author audience who are looking to refine their craft—whether that be the writing or the selling of the books or living the dream of being a full-time author. I think it's more a terminology thing.</p> <p><strong>Jo:</strong> Well, let's talk about why I wanted to talk to you. A friend of ours told me that you are doing really well with live sales. This was just before Christmas, I think. And I was like, &#8220;Live sales? What does that even mean?&#8221;</p> <p>Then I saw that Kim Kardashian was doing live sales on TikTok and did this &#8220;Kim's Must Have&#8221; thing, and Snoop Dogg was there, and it was this massive event where they were selling.</p> <p>I was like, &#8220;Oh, it's like TV sales—the TV sales channel where you show things and then people buy immediately.&#8221;</p> <p>And I was like, &#8220;Wait, is Adam like the Kim Kardashian of the indie author?&#8221;</p> <h3 class="wp-block-heading">So tell us about this live sale thing.</h3> <p><strong>Adam:</strong> Well, I've not got that far to say that I have the Kim Kardashian status! What it is, is that I'm passionate about learning, but also sharing what's working for me so that other authors can succeed—without what I'm sharing being stuck behind a paywall.</p> <p>It is a big gripe of mine that you get all these courses and all these things you can do and everything has to be behind a paywall. If I've got the time, I'll just share. </p> <p>Hence why we were in Vegas doing the presentations for Indie Author Nation, which I think had you been in my talk, Jo, you would've heard me talking about the live selling.</p> <p><strong>Jo:</strong> Oh, I missed it. I'll have to get the replay.</p> <p><strong>Adam:</strong> I only covered a short section of it, but what I actually said within that talk is, for me, live selling is going to be the next big thing. If you are not live selling your books at the moment, and you are not paying attention to it, start paying attention to it.</p> <p>I started paying attention about six months ago, and I have seen constant growth to a point where I've had to post less content because doing one live stream a week was making more money than me posting content and burning myself out every single day for the TikTok shop.</p> <p>I did a live stream at the beginning of Christmas, for example. A bit of prep work went into it. We had a whole Christmas set, and within that one live stream we generated three and a half thousand pounds of organic book sales.</p> <p><strong>Jo:</strong> Wow.</p> <p><strong>Adam:</strong> Obviously that isn't something that happened overnight. That took me doing a regular Friday stream from September all the way through to December to build up to that moment.</p> <p>In fact, I think that was Black Friday, sorry, where we did that. But what I looked at was, &#8220;Right, I haven't got the bandwidth because of all the plates I was spinning to go live five days a week. However, I can commit to a Friday morning.&#8221;</p> <p>I can commit to a Friday morning because that is the day when Sarah isn't in the office, and it's my day to pack the orders. So I've already got the orders to pack, so I thought I'll go live whilst I'm packing the orders and just hang out and chat.</p> <p>I slowly started to find that on average I was earning between three to four hundred pounds doing that, packing orders that I already had to pack. I've just found a way to monetise it and engage with a new audience whilst doing that.</p> <p>The thing that's key is it is a new audience. You have people who like to consume their content through short-form content or long-form content. Then you have people who like to consume content with human interaction on a live, and it's a completely different ballgame.</p> <p>What TikTok is enabling us to do—on other platforms I am looking at other platforms for live selling—you can engage with an audience, but because on TikTok you can upload your products, people can buy the products direct whilst you are live on that platform. </p> <p>For that, you will pay a small fee to TikTok, which is absolutely worth it. That's part of the reason we've been able to scale to having a six-figure business within TikTok shop itself as one revenue stream.</p> <p><strong>Jo:</strong> Okay. So a few things. You mentioned there the integration with TikTok shop. As I've said many times, I'm not on TikTok—I am on Instagram—and on Instagram you can incorporate your Meta catalogue to Shopify.</p> <h3 class="wp-block-heading">Do you think the same principle applies to Instagram or YouTube as well?</h3> <p>I think YouTube has an integration with Shopify. Do you think the same thing would work that way?</p> <p><strong>Adam:</strong> I think it's possible. Yes, absolutely. As long as people can click and buy that product from whatever content they are watching—but usually what it will have to do is redirect them to your store, and you've still got all the conversion metrics that have to kick in.</p> <p>They have to be happy with the shipping, they have to be happy with the product description and stuff like that. With TikTok shop, it's very much a one-stop shop. People click on the product, they can still be watching the video, click to buy something, and not leave the stream.</p> <p><strong>Jo:</strong> So the stream's on, and then let's say you are packing one of your books—</p> <h3 class="wp-block-heading">Does that product link just pop up and then people can buy that book as you are packing it?</h3> <p><strong>Adam:</strong> So we've got lots and lots of products on our store now. I always have a product link that has all our products listed, and I always keep all of the bundles towards the top because they generate more income than a single book sale.</p> <p>What will happen is I can showcase a book, I'll tap the screen to show what product it is that I'm packing, and then I'll just talk about it. If people want it, they just click that product link and they can buy it straight away.</p> <p>What people get a lot of enjoyment from—which I never expected in a million years—is watching people pack their order there and then. As an author, we're not just selling a generic product. We're selling a book that we have written, that we have put our heart and soul into. People love that. </p> <p>It's a way of letting them into a bit of you, giving them a bit of information, talking to them, showing them how human you are. </p> <p>If you're on that live stream being an absolute arse and not very nice, people aren't going to buy your books. But if you're being welcoming, you're chatting, you're talking to everyone, you're interacting, you're showcasing books they probably will.</p> <p>What we do is if someone orders on the live stream, we throw some extra stuff in, so they don't just get the books, they'll get some art prints included, they'll get some bookmarks thrown in, and we've got merch that we'll throw in as a little thank you.</p> <p>Now it's all stuff that is low cost to us, because actually we're acquiring a customer in that moment. I've got people who come onto every single Friday live stream that I do now. </p> <p>They have bought every single product in our catalogue and they are harassing me for when the next release is out because they want more, before they even know what that is. They want it because it's being produced by us—because of our brand.</p> <p>With the lives, what I found is the branding has become really important. We're at a stage where we're being asked—because I'm quite well known for wearing beanie hats on live streams or video content—people are like, &#8220;When are you going to release some beanie hats?&#8221;</p> <p>Now and again, Sarah will drop some AP branded merch. It'll be beer coasters with the AP logo on, or a tote bag with the AP logo on. It's not stuff that we sell at this stage—we give them away. </p> <p>The more money people spend, the more stuff we put in. And people are like, &#8220;No, no, you need to add these to the store because we want to buy them.&#8221;</p> <p>The brand itself is growing, not just the book sales. It's becoming better known. We've got Pacificon in April, and there's so many people on that live stream that have bought tickets to meet us in person at this conference in April, which is amazing. There's so much going on. </p> <p>With TikTok shop, it only works in the country where you are based, so it only goes out to a UK audience, which is why I keep it separate from my main channel. That means we're tapping into a completely new audience, because up until last year, I'd always targeted America—that's where my biggest readership was.</p> <p><strong>Jo:</strong> Wow. There's so much to this. Okay. First of all, most people are not going to have their own warehouse. Most people are not going to be packing live.</p> <h3 class="wp-block-heading">So for authors who are selling on, let's just say Amazon, can live sales still work for them? </h3> <p>Could they still go live at a regular time every week and talk about a book and see if that drives sales, even if it's at Amazon?</p> <p><strong>Adam:</strong> Yes, absolutely. I would test that because ultimately you're creating a brand, you're putting yourself out there, and you're consistently showing up.</p> <p>You can have people that have never heard of you just stumble across your live and think, &#8220;What are they doing there?&#8221; They're a bit curious, so they might ask some questions, they might not. They might see some other interactions. There's a million and one things you can do on that live to generate conversation.</p> <p>I've done it where I've had 150 books to sign, so I've just lined up the books, stood in front of the camera, switched the camera on while I'm signing the books, and just chatted away to people without any product links.</p> <p>People will come back and be like, &#8220;Oh, I've just been to your store and bought through your series,&#8221; and stuff like that. So absolutely that can work. The key is putting in the work and setting it up. </p> <p>I started out by getting five copies of one book, signing them, and selling them on TikTok shop. I sold them in a day, and then that built up to effectively what we have now. That got my eyes open for direct selling. </p> <p>When I was working with BookVault and they were integrated with my store, orders came to me, but then they went to BookVault—they printed and distributed. </p> <p>Then we got to a point scaling-wise where we thought, &#8220;If we want to take this to the next level, we need to take on distribution ourselves,&#8221; because the profit lines are better, the margins are bigger.</p> <p>That's why we started doing it ourselves, but only once we'd had a proven track record of sales spanning 18 months to two years and had the confidence.</p> <p>It was actually with myself and Sacha that we set up at the same time and egged each other on. I think I was just a tiny bit ahead of her with setting up a warehouse. And then as you've seen, Sacha's gone from strength to strength.</p> <p>It doesn't come without its trigger warnings in the sense of it isn't an easy thing to do. I think you have to have a certain skill set for live selling. You have to have a certain mindset for the physicality that comes with it.</p> <p>When we've had a delivery of two and a half thousand books and we've got to bring them up to the first floor where the office is—I don't have a massive team of people. It's myself and Sarah, and every now and again we get my dad in to help us because he's retired now. We'll give him a bottle of wine as a thank you.</p> <p><strong>Jo:</strong> You need to give him some more wine, I think!</p> <p><strong>Adam:</strong> Yes! But you've gotta be able to roll your sleeves up and do the work.</p> <p>I think if you've got the work ethic and that drive to succeed, then absolutely anyone can do it. There's nothing special about my books in that sense.</p> <p>I've got a group called Novel Gains where I've actually started a monthly challenge yesterday, and we've got nearly two and a half thousand people in the group now. </p> <p>The group has never been more active because it's really energised and charged. People have seen the success stories, and people are going on lives who never thought it would work for them.</p> <p>Lee Mountford put a post up yesterday on the first day of this challenge just to say, &#8220;Look, a year ago I was where you were when Adam did the last challenge. I thought I can't do organic marketing, I can't get myself on camera.&#8221;</p> <h3 class="wp-block-heading">Organic marketing and live selling is now equating to 50% of his income.</h3> <p><strong>Jo:</strong> And he doesn't have a warehouse.</p> <p><strong>Adam:</strong> Well, he scaled up to it now, so he's got two lockups because he scaled up.</p> <p>He started off small, then he thought, &#8220;Right, I'm going to go for it.&#8221; He ordered a print run of a few of his books—I think 300 copies of three books. Bundled them up, sold them out within a few months.</p> <p>Then he's just scaled from there because he's seen by creating the content, by doing the lives, that it's just creating a revenue stream that he wasn't tapping into.</p> <p>Last January when we did the challenge, he was really engaged throughout the process. He was really analytical with the results he was getting. But he didn't stop after 30 days when that challenge finished. He went away behind the scenes for the next 11 months and has continued to grow. He is absolutely thriving now.</p> <p>Him and his wife—a husband and wife team—his wife is also an author, and they've now added her spicy books to their TikTok shop. They're just selling straight away because he's built up the audience. He's built up that connection.</p> <p><strong>Jo:</strong> I think that's great. And I love hearing this because I built my business on what I've called content marketing—you're calling it organic marketing. So I think it's really good to know that it's still possible; it's just a different kind.</p> <p>Now I just wanna get some specifics. One—</p> <h3 class="wp-block-heading">Where can people find your Novel Gains stuff?</h3> <p><strong>Adam:</strong> So <a href="https://www.facebook.com/groups/870314997912256/" target="_blank" rel="noopener" title="">Novel Gains</a> is an online community on Facebook. As I said, there's no website, there's no fancy website, there's no paid course or anything. It is just people holding themselves accountable and listening to my ramblings every now and again when I try and share pills of wisdom to try and motivate and inspire.</p> <p>I also ask other successful authors to drop their story about organic marketing on there, to again get people fired up and show what can be achieved.</p> <p><strong>Jo:</strong> Okay. That's on Facebook.</p> <p>So then let's talk about the setup. I think a lot of the time I get concerned about video because I think everything has to be on my phone. </p> <h3 class="wp-block-heading">How are you setting this up technically so you can get filmed and also see comments and all of this kind of stuff?</h3> <p><strong>Adam:</strong> Just with my phone.</p> <p><strong>Jo:</strong> It is just on your phone?</p> <p><strong>Adam:</strong> Yes. I don't use any fancy camera tricks or anything. I literally just settle my phone and hit record when I'm doing it.</p> <p><strong>Jo:</strong> But you set it up on a tripod or something?</p> <p><strong>Adam:</strong> Yes. So I'll have a tripod. I don't do any fancy lighting or anything like that because I want the content to seem as real as possible.</p> <p>I'll set up the camera at an angle that shows whatever task I'm doing. For example, if I'm packing orders, I can see the screen so I can see the comments as they're coming up. It's close enough to me to interact.</p> <p>At Christmas, we did have a bit of a setup—it did look like a QVC channel, I'm not going to lie! I was at the back. There was a table in front of me with products on. We had mystery book bags. We had a Christmas tree. We had a big banner behind me.</p> <p>The camera was on the other side of the room, but I just had my laptop next to me that was logged into TikTok, so I was watching the live stream so I could see any comments coming up.</p> <p><strong>Jo:</strong> Yes, that's the thing. So you can have a different screen with the comments. Because that's what I'm concerned about—it might just be the eyesight thing, but I'm like, I just can't literally do everything on the phone.</p> <p><strong>Adam:</strong> TikTok has a studio—TikTok Studio—that you can download, and you can get all your data and analytics in there for your live streams.</p> <p>At the moment, I'll just tap the screen to add a new product or pin a new product. You can do all that from your computer on this studio where you can say, &#8220;Right, I'm showcasing this product now,&#8221; click on it and it'll come up onto the live stream. You just have to link the two together.</p> <p><strong>Jo:</strong> I'm really thinking about this. Partly this is great because my other concern with TikTok and all these video channels is how much can be done by AI now. TikTok has its own AI generation stuff.</p> <p>A lot of it's amazing. I'm not saying it's bad quality, I'm saying it's amazing quality, but—</p> <h3 class="wp-block-heading">What AI can't do is the live stuff. </h3> <p>You just can't—I mean, I imagine you can fake it, but you can't fake it.</p> <p><strong>Adam:</strong> Well, you'd be surprised. I've seen live streams where it's like an avatar on the screen and there is someone talking and then the avatar moving in live as that person's talking.</p> <p><strong>Jo:</strong> Right?</p> <p><strong>Adam:</strong> I've seen that where it's animals, I've seen it where it's like a 3D person. There's a really popular stream at the minute that is just a cartoon cat on the stream. Whenever you send a gift, it starts singing whoever sent it—it gets a name—and that's a system that someone has somehow set up.</p> <p>I have no idea how they've set it up, but they're literally not doing it. That can run 24 hours a day. There's always hundreds and hundreds of people on it sending gifts to hear this cat sing with an AI voice their name.</p> <p>Yes, AI will work and it will work for different things. But I think with us and with our books, people want that human connection more than ever because of AI. Use that to your advantage.</p> <p><strong>Jo:</strong> Okay. So the other thing I like about this idea is you are doing these live sales and then you are looking at the amount you've sold. But are you making changes to it? Or are you only tweaking the content on your prerecorded stuff? </p> <h3 class="wp-block-heading">Your live is so natural. How are you going to change it up, I guess?</h3> <p><strong>Adam:</strong> I am always testing what is working, what's not working. For example, I'm a big nerd at heart and I collect Pokémon cards. Now that I'm older, I can afford some of the more rare stuff, and me and my daughter have a lot of enjoyment collecting Pokémon cards together.</p> <p>We follow channels, we watch stuff on YouTube, and I was looking at what streamers do with Pokémon cards and how they sell like mystery products on an app or whatnot.</p> <p>I was like, &#8220;How can I apply this to books?&#8221; And I came up with the idea of doing mystery book bags. People pay 20 pounds, they get some goodies—some carefully curated goodies, as we say, that &#8220;Mrs. B&#8221; has put together.</p> <p>On stream, I never give the audience Sarah's name. It's always &#8220;Mrs. B.&#8221; So Mrs. B has built up her own brand within the stream—they go feral when she comes on camera to say hi!</p> <p>Then there's some goodies in there. That could be some tote socks, a tote bag, cup holders, page holders, metal pins, things like that. Then inside that, I'll pull out a thing that will say what book they're getting from our product catalogue.</p> <p>What I make clear is that could be anything from our product catalogue. So that could be a single book, it could be six books, it could be a three-book bundle. There's all sorts that people can get. It could be a deluxe special edition.</p> <p>People love that, and they tend to buy it because there's so much choice and they might be struggling with, &#8220;Right, I don't know what to get.&#8221; So they think, &#8220;You know what? I'll buy one of them mystery book bags.&#8221;</p> <p>I only do them when I'm live. I've done streams where the camera's on me. I've done top-down streams where you can only see my hands and these mystery book bags. Every time someone orders one, I'm just opening it live and showcasing what product they get from the stream.</p> <p>People love it to the point where every stream I do, they're like, &#8220;When are you doing the next mystery book bags? When are you doing the next ones?&#8221;</p> <h3 class="wp-block-heading">Jo: So if we were on live now and I click to buy, you see the order with my name and you just write &#8220;Jo&#8221; on it, and then you put it in a pile?</h3> <p><strong>Adam:</strong> So you print labels there and then, which I'll do. Exactly. If I'm live packing them—I'm not going to lie—when I'm set up properly, I don't have time to pack them because the orders are coming in that thick and fast.</p> <p>All I do is have a Post-it note next to me, and I'll write down their username, then I'll stick that onto their order. I'll collect everything, showcase what they're getting, the extra goodies that they're getting with their order, and then I'll stick the Post-it on and put that to one side.</p> <p>To put that into context as something that works through testing different things: we started off doing 60 book bags—30 of them were spicy book bags, 30 were general fantasy which had my books and a couple of our authors that haven't got spice in their books—and the aim was to sell them within a month.</p> <p>We sold them within one stream. 60 book bags at 20 pounds a pop. What that also generated is people then buying other products while we're doing it. It also meant that I'd do it all on a Friday, and we'd come in on a Monday and start the week with 40, 50, 60 orders to pack regardless of what's coming from the Shopify store.</p> <p>The level of orders is honestly obscene, but we've continuously learned how best to manage this. We learned that actually, if you showcase the orders, stick a Post-it on, when we print the shipping labels, it takes us five minutes to just put all the shipping labels with everyone's orders. </p> <p>Then we can just fire through packing everything up because everything's already bundled together. It literally just needs putting in a box.</p> <p><strong>Jo:</strong> Okay. So there's so much we could talk about, but hopefully people will look into this more. So I went to go watch a video—I thought, &#8220;Oh, well, I'll just go watch Adam do this. I'm sure there's a recording&#8221;—and then I couldn't find one. So tell me about that. </p> <h3 class="wp-block-heading">Does [the live recording] just disappear or what?</h3> <p><strong>Adam:</strong> Yes, it does. It's live for a reason. You can download it afterwards if you want, and then you've got content to repurpose.</p> <p>In fact, you're giving me an idea. I've done a live today—I could download that clip that's an hour and 20 minutes long. Some of it, I'm just rambling, but some of it's got some content that I could absolutely use because I'm engaging with people.</p> <p>I've showcased books throughout it because I've been packing orders. I had an hour window before this podcast and I had a handful of orders to pack. So I just jumped on a live and I made like 250 pounds while doing a job that I would already be having to do.</p> <p>I could download that video, put it in OpusClip, and that will then generate short-form content for me of the meaningful interaction through that, based on the parameters that I give it. So that's absolutely something you could do. In fact, I'm probably going to do it now that you've given me the idea.</p> <p><strong>Jo:</strong> Because even if it was on another channel, like you could put that one on YouTube.</p> <p><strong>Adam:</strong> Yes. Wherever you want. It doesn't have a watermark on it.</p> <p><strong>Jo:</strong> And what did you say? OpusClip?</p> <p><strong>Adam:</strong> OpusClip, yes. If you do long-form content of any kind, you can put that in and then it'll pull out meaningful content. Loads of like 20, 30 short-form content video clips that you can use. It's a brilliant piece of software if you use it the right way.</p> <p><strong>Jo:</strong> Okay. Well I want you to repurpose that because I want to watch you in action, but I'm not going to turn up for your live—although now I'm like, &#8220;Oh, I really must.&#8221;</p> <p>So does that also mean—you said it's UK only because the TikTok shop is linked to the UK—</p> <h3 class="wp-block-heading">So people in America can't even see it?</h3> <p><strong>Adam:</strong> So sometimes they do pop in, but again, that's why I have a separate channel for my main author account. </p> <p>When I go live on that, anyone from around the world can come in. But if I've got shoppable links in, chances are the algorithm is just going to put that out to a UK audience because that's where TikTok will then make money.</p> <p>If I want to hit my US audience, I'll jump on Instagram because that's where I've got my biggest following. So I'll jump on Instagram and go live over there at a time that I know will be appropriate for Americans.</p> <p><strong>Jo:</strong> Okay. We could talk forever, but I do have just a question about TikTok itself. All of these platforms seem to follow a way of things where at the beginning it's much easier to get reach. It is truly organic. It's really amazing. </p> <p>Then they start putting on various brakes—like Facebook added groups, and then you couldn't reach people in your groups. And then you had to pay to play.</p> <p>Then in the US of course, we've got a sale that has been signed. Who knows what will happen there.</p> <h3 class="wp-block-heading">What are your thoughts on how TikTok has changed? What might go on this year, and how are you preparing?</h3> <p><strong>Adam:</strong> So, I think as a businessman and an author who wants to reach readers, I use the platforms for what I can get out of them without having to spend a stupid amount of money. If those platforms stop working for me, I'll stop using them and find one that does.</p> <p>With organic reach on TikTok, I think you'll always have a level of that. Is it harder now? Yes. Does that mean it's not achievable? Absolutely not.</p> <p>If your content isn't reaching people, or you're not getting the engagement that you want, or you find fulfilling, you need to look at yourself and the content you are putting out. You are in control of that.</p> <p>There's elements of this takeover in America—again, I've got zero control over that, so I'm not going to lose any sleep over it. I'll focus on areas that are making a difference.</p> <p>As I said, TikTok isn't the biggest earner for my business. My author channel's been absolutely dead for a good six months or so. But that means I get stagnant with the content I'm creating. So the challenge I'm doing at the minute, I'm taking part to create fresh content every day to recharge myself.</p> <p>I've got Instagram and Facebook that generate high volumes of traffic every single day. And usually if they stop, TikTok starts to work.</p> <p>Any algorithm changes—things will change when it changes hands in America—but primarily it still wants to make money. It's a business. </p> <p>If anything, it might make it harder for us to reach America because it will want to focus on reaching an American audience for the people that are buying TikTok shop. But they want it because they want the TikTok shop because of the amount of money that it is generating.</p> <p>It's gone from a small amount of people making money to large volumes of businesses across the entire USA—like over here now—that are reaching an audience that previously you had to have deep pockets to reach, to get your business set up.</p> <p>Now you've got all these businesses popping up that are starting from scratch because they're reaching people. They've got a product that's marketable, that people want to enjoy. They want to be part of that growth.</p> <p>I think that will still happen. It might just be a few of the parameters change, like Facebook does all the time.</p> <p><strong>Jo:</strong> Things will always change. That is key. </p> <h3 class="wp-block-heading">We should also say by selling direct, you've built presumably a very big email list of buyers as well.</h3> <p><strong>Adam:</strong> Yes. I've actually got a trophy that Shopify sent me because we hit 10,000 sales—10,000 customers. I think we're nearing 16,000 sales on there now.</p> <p>We've got all that customer data. We don't get that on TikTok. We haven't got the customer data.</p> <p><strong>Jo:</strong> Ah, that's interesting. Okay.</p> <p>How do you not though? Oh, because—did they ship it?</p> <p><strong>Adam:</strong> So if you link it with your Shopify and you do all your shipping direct, the customer data has to come to your Shopify, otherwise you can't ship.</p> <p>When TikTok ship it for you—so I print the shipping labels, but they organise the couriers—all the customer data's blotted out. It's like redacted, so you don't see it.</p> <p><strong>Jo:</strong> Ah, see that is in itself a cheeky move.</p> <p><strong>Adam:</strong> Yes. But if it's linked to your Shopify, you get all that data and your Shopify is your store. So your Shopify will keep that data. They kept affecting how I extracted the shipping labels and stuff like that, and just kept making life really difficult. So I've just switched it back.</p> <p>I think Sarah has found an app that works really well for correlating the two.</p> <p><strong>Jo:</strong> Yes, but this is a really big deal. We carp on about it all the time, but—</p> <h3 class="wp-block-heading">If you sell direct and you do get the customer data, you are building an email list of actual buyers as opposed to freebie seekers.</h3> <p>Which a lot of people have.</p> <p><strong>Adam:</strong> Absolutely, and that's the same for you. If you send poor products out or your customer has a poor experience, they're not going to come back and order from you again.</p> <p>If your customer has a really good experience and opens the products and sees all this extra care that's gone in and all the books are signed, then they've not had to pay extra.</p> <p>There was a Kickstarter—I'm not going to name which author it was—but it was an author whose book I was quite excited to back. They had these special editions they'd done, but you had to buy a special edition for an extra 30 quid if you wanted it signed.</p> <p>I was like, &#8220;Absolutely not.&#8221; If these people are putting their hands in their pockets for these deluxe special editions, and if you're a big name author, it's certainly not them that have anything to do with it. They just have other companies do it all for them.</p> <p>Whereas with us, you are creating everything. Our way of saying thank you to everyone is by signing the book.</p> <p><strong>Jo:</strong> I love that you're still so enthusiastic about it and that it seems to be going really well. So we're almost out of time, but just quickly—</p> <h3 class="wp-block-heading">Tell people a bit more about the books that they can find in your stores and where people can find them.</h3> <p><strong>Adam:</strong> Yes. So we publish predominantly fantasy, and we have moved into the spicy fantasy world. We have a few series there.</p> <p>You can check out <a href="https://apbeswickpublications.com/" target="_blank" rel="noopener" title="">APBeswickPublications.com</a> where you will see our full product catalogue and all of my books.</p> <p>On TikTok shop, we are under <a href="https://www.tiktok.com/@a.p_beswick_publications" target="_blank" rel="noopener" title="">a.p_beswick_publications</a>. That's the best place to see where I go live—short-form content. I'll post spicy books on there, but on lives, I showcase everything.</p> <p>I also have <a href="https://www.tiktok.com/@fantasy.books.uk" target="_blank" rel="noopener" title=""></a><a href="https://www.tiktok.com/@fantasy.books.uk" target="_blank" rel="noreferrer noopener">fantasy.books.uk</a>, where that's where you'll see the videos or product links for the non-spicy fantasy books.</p> <p><strong>Jo:</strong> And what time do you go live in the UK?</p> <p><strong>Adam:</strong> So I go live 8:00 AM every Friday morning.</p> <p><strong>Jo:</strong> Wow. Okay. I might even have to check that out. This has been so great, Adam. Thanks so much for your time.</p> <p><strong>Adam:</strong> Well, thank you for having me.</p><p>The post <a href="https://www.thecreativepenn.com/2026/01/26/selling-books-live-on-social-media-with-adam-beswick/">Selling Books Live On Social Media With Adam Beswick</a> first appeared on <a href="https://www.thecreativepenn.com">The Creative Penn</a>.</p>
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66 MIN
Leaving Social Media, Writing Iconic Characters, and Building Trust With Claire Taylor
JAN 12, 2026
Leaving Social Media, Writing Iconic Characters, and Building Trust With Claire Taylor
<p>How can you build iconic characters that your readers want to keep coming back to? <strong>How can you be the kind of creator that readers trust, even without social media?</strong> With Claire Taylor</p> <p>In the intro, Dan Brown talks writing and publishing [<a href="https://www.tetragrammaton.com/content/dan-brown" target="_blank" rel="noopener" title="">Tetragrammaton</a>]; <br>Design Rules That Make or Break a Book [<a href="https://selfpublishingadvice.org/podcast-design-rules/" target="_blank" rel="noopener" title="">Self-Publishing Advice</a>]; <br>Amazon’s DRM change [<a href="https://kindlepreneur.com/amazon-drm-epub-downloads/" target="_blank" rel="noopener" title="">Kindlepreneur</a>]; Show me the money [<a href="http://www.howdoyouwrite.net/episodes/542" target="_blank" rel="noopener" title="">Rachael Herron</a>]; AI bible translation [<a href="https://wycliffe.net/2025/06/20/the-impact-of-ai-on-bible-translation-opportunities-and-challenges/" target="_blank" rel="noopener" title="">Wycliffe</a>, <a href="https://x.com/Pontifex/status/1986776900811837915?s=20" target="_blank" rel="noopener" title="">Pope Leo tweet</a>]. Plus, <a href="https://www.eventbrite.co.uk/e/business-for-authors-turn-your-writing-into-a-thriving-creative-business-tickets-1976009109439?aff=oddtdtcreator" target="_blank" rel="noopener" title="">Business for Authors 24 Jan webinar</a>, and <em><a href="https://www.jfpenn.com/bones" target="_blank" rel="noopener" title="">Bones of the Deep</a></em>.</p> <figure class="wp-block-image"><a href="https://www.bookfunnel.com/thecreativepenn/" target="_blank" rel="noreferrer noopener"><img decoding="async" width="1514" height="368" src="https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1.png" alt="" class="wp-image-37166" srcset="https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1.png 1514w, https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1-300x73.png 300w, https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1-1024x249.png 1024w, https://www.thecreativepenn.com/wp-content/uploads/2025/10/BookFunnel-1-768x187.png 768w" sizes="(max-width: 1514px) 100vw, 1514px" /></a></figure> <p><a href="https://bookfunnel.com/thecreativepenn/" target="_blank" rel="noreferrer noopener"></a></p> <p>Today's show is sponsored by Bookfunnel,&nbsp;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&nbsp;<a href="https://bookfunnel.com/thecreativepenn/" target="_blank" rel="noreferrer noopener">bookfunnel.com/thecreativepenn</a></p> <p>This show is also supported by my Patrons. Join my Community at&nbsp;<a href="https://www.patreon.com/thecreativepenn" target="_blank" rel="noreferrer noopener">Patreon.com/thecreativepenn</a>&nbsp;</p> <figure class="wp-block-image size-full"><a href="https://www.liberatedwriter.com/" target="_blank" rel=" noreferrer noopener"><img decoding="async" width="889" height="300" src="https://www.thecreativepenn.com/wp-content/uploads/2026/01/Claire-Taylor.png" alt="" class="wp-image-37303" srcset="https://www.thecreativepenn.com/wp-content/uploads/2026/01/Claire-Taylor.png 889w, https://www.thecreativepenn.com/wp-content/uploads/2026/01/Claire-Taylor-300x101.png 300w, https://www.thecreativepenn.com/wp-content/uploads/2026/01/Claire-Taylor-768x259.png 768w" sizes="(max-width: 889px) 100vw, 889px" /></a></figure> <p>Claire Taylor is a humour and mystery author, the owner of FFS Media, and a certified Enneagram coach. She teaches authors to write stronger stories and build sustainable careers at <a href="https://www.liberatedwriter.com/" target="_blank" rel="noopener" title="">LiberatedWriter.com</a>, and her book is <em>Write Iconic Characters: Unlocking the Core Motivations that Fuel Unforgettable Stories</em>.</p> <p>You can listen above or on&nbsp;<a href="https://www.thecreativepenn.com/podcasts/" target="_blank" rel="noreferrer noopener">your favorite podcast app</a>&nbsp;or read the notes and links below. Here are the highlights, and the full transcript is below.&nbsp;</p> <p><strong>Show Notes</strong></p> <ul class="wp-block-list"> <li>Why Claire left social media and how she still markets her books and services</li> <li>What the Enneagram is and how core fears and desires shape character motivation</li> <li>Using Enneagram types (including Wednesday Addams as an example) to write iconic characters</li> <li>Creating rich conflict and relationships by pairing different Enneagram types on the page</li> <li>Coping with rapid change, AI, and fear in the author community in 2026</li> <li>Building a trustworthy, human author brand through honesty, transparency, and vulnerability</li> </ul> <p>You can find Claire at <a href="https://www.liberatedwriter.com/" target="_blank" rel="noopener" title="">LiberatedWriter.com</a>, <a href="https://www.ffs.media/" target="_blank" rel="noopener" title="">FFS.media</a>, or on Substack as <em><a href="https://liberatedwriter.substack.com/" target="_blank" rel="noopener" title="">The Liberated Writer</a></em>.</p> <h3 class="wp-block-heading">Transcript of the interview with Claire Taylor</h3> <p><strong>Joanna:</strong> Claire Taylor is a humour and mystery author, the owner of FFS Media, and a certified Enneagram coach. She teaches authors to write stronger stories and build sustainable careers at <a href="https://www.liberatedwriter.com/" target="_blank" rel="noopener" title="">LiberatedWriter.com</a>, and her book is <em>Write Iconic Characters: Unlocking the Core Motivations that Fuel Unforgettable Stories</em>.</p> <p>So, welcome back to the show, Claire.</p> <p><strong>Claire:</strong> Thank you so much for having me back. I'm excited to be here.</p> <p><strong>Joanna:</strong> It's great to have you back on the show. It was March 2024 when you were last on, so almost two years now as this goes out. Give us a bit of an update. </p> <h3 class="wp-block-heading">How has your writing craft and your author business changed in that time?</h3> <p><strong>Claire:</strong> One of the things I've been focusing on with my own fiction craft is deconstructing the rules of how a story “should” be. That's been a sort of hobby focus of mine.</p> <p>All the story structure books aren't law, right? That's why there are so many of them. They're all suggestions, frameworks. They're all trying to quantify humans’ innate ability to understand a story.</p> <p>So I'm trying to remember more that I already know what a story is, deep down. My job as an author is to keep the reader's attention from start to finish and leave them feeling the way I hope they’ll feel at the end. That’s been my focus on the craft side.</p> <p>On the author business side, I've made some big shifts. I left social media earlier this year, and I've been looking more towards one-on-one coaching and networking.</p> <p>I did a craft-based Kickstarter, and I’d been focusing a lot on “career, career, career”—very business-minded—and now I'm creating more content again, especially around using the Enneagram for writing craft.</p> <p>So there’s been a lot of transition since 2024 for me.</p> <p><strong>Joanna:</strong> I think it's so important—and obviously we're going to get into your book in more detail—but I do think it's important for people to hear about our pivots and transitions.</p> <p>I haven't spoken to you for a while, but I actually started a master's degree a few months back. I'm doing a full-time master's alongside everything else I do. So I've kind of put down book writing for the moment, and I'm doing essay writing and academic writing instead. It's quite different, as you can imagine.</p> <p>It sounds like what you’re doing is different too. </p> <h3 class="wp-block-heading">One thing I know will have perked up people’s ears is: “I left social media.” Tell us a bit more about that.</h3> <p><strong>Claire:</strong> This was a move that I could feel coming for a while. I didn’t like what social media did to my attention. Even when I wasn’t on it, there was almost a hangover from having been on it.</p> <p>My attention didn’t feel as sharp and focused as it used to be, back before social media became what it is now.</p> <p>So I started asking myself some questions:</p> <ul class="wp-block-list"> <li>What is lost if I leave?</li> <li>What is gained if I leave?</li> <li>And what is social media <em>actually</em> doing for me today?</li> </ul> <p>Because sometimes we hold on to what it <em>used</em> to do for us, and we keep trying to squeeze more and more of that out of it. But it has changed so much.</p> <p>There are almost no places with sufficient organic reach anymore. It’s all pay-to-play, and the cost of pay-to-play keeps going up.</p> <p>I looked at the numbers for my business. My Kickstarter was a great place to analyse that because they track so many traffic sources so clearly. I could see exactly how much I was getting from social media when I advertised and promoted my projects there.</p> <p>Then I asked: can I let that go in order to get my attention back and make my life feel more settled? And I decided: yes, I can. That’s worth more to me.</p> <p><strong>Joanna:</strong> There are some things money can’t buy. Sometimes it really isn’t about the money.</p> <h3 class="wp-block-heading">I like your question: what is lost and what is gained?</h3> <p>You also said it’s all pay-to-play and there’s no organic reach. I do think there <em>is</em> some organic reach for some people who don’t pay, but those people are very good at playing the game of whatever the platform wants.</p> <p>So, TikTok for example—you might not have to pay money yet, but you do have to play their game. You have to pay with your time instead of money.</p> <p>I agree with you. I don’t think there’s anywhere you can literally just post something and know it will reliably reach the people who follow you.</p> <p><strong>Claire:</strong> Right. Exactly. TikTok currently, if you really play the game, will sometimes “pick” you, right? But that “pick me” energy is not really my jam.</p> <p>And we can see the trend—this “organic” thing doesn’t last. It's organic <em>for now</em>. You can play the game <em>for now</em>, but TikTok would be crazy not to change things so they make more money. So eventually everything becomes pay-to-play.</p> <p>TikTok is fun, but for me it’s addictive. I took it off my phone years ago because I would do the infinite scroll. There’s so much candy there.</p> <p>Then I’d wake up the next morning and notice my mood just wasn’t where I wanted it to be. My energy was low. I really saw a correlation between how much I scrolled and how flat I felt afterwards.</p> <p>So I realised: I’m not the person to pay-to-play or to play the game here. I’m not even convinced that the pay-to-play on certain social media networks is being tracked in a reliable, accountable way anymore. Who is holding them accountable for those numbers?</p> <p>You can sort of see correlation in your sales, but still, I just became more and more sceptical. In the end, it just wasn’t for me.</p> <p>My life is so much better on a daily basis without it. That’s definitely a decision I have not regretted for a second.</p> <p><strong>Joanna:</strong> I’m sorry to keep on about this, but I think this is great because this is going out in January 2026, and there will be lots of people examining their relationship with social media. It’s one of those things we all examine every year, pretty much.</p> <p>The other thing I’d add is that you are a very self-aware person. You spend a lot of time thinking about these things and noticing your own behaviour and energy. Stopping and thinking is such an important part of it.</p> <p>But let’s tackle the big question: one of the reasons people don’t want to come off social media is that they’re afraid they don’t know how else to market.</p> <h3 class="wp-block-heading">How are you marketing if you’re not using social media?</h3> <p><strong>Claire:</strong> I didn’t leave social media overnight. Over time, I’ve been adjusting and transitioning, preparing my business and myself mentally and emotionally for probably about a year.</p> <p>I still market to my email list. That has always been important to my business.</p> <p>I’ve also started a Substack that fits how my brain works. Substack is interesting. Some people might consider it a form of social media—it has that new reading feed—but it feels much more like blogging to me. It’s blogging where you can be discovered, which is lovely. I’ve been doing more long-form content there.</p> <p>You get access to all the emails of your subscribers, which is crucial to me. I don’t want to build on something I can’t take with me.</p> <p>So I’ve been doing more long-form content, and that seems to keep my core audience with me. I’ve got plenty of people subscribed; people continue to come back, work with me, and tell their friends.</p> <p>Word of mouth has always been the way my business markets best, because it’s hard to describe the benefits of what I do in a quick, catchy way. It needs context. So I’m leaning even more on that.</p> <p>Then I’m also shifting my fiction book selling more local.</p> <p><strong>Joanna:</strong> In person?</p> <p><strong>Claire:</strong> Yes. In person and local. Networking and just telling more people that I’m an author. Connecting more deeply with my existing email lists and communities and selling that way.</p> <p><strong>Joanna:</strong> I think at the end of the day it does come back to the email list.</p> <p>I think this is one of the benefits of selling direct to people through Shopify or Payhip or whatever, or locally, because you can build your email list. Every person you bring into your own ecosystem, you get their data and you can stay in touch.</p> <p>Whereas all the things we did for years to get people to go to Amazon, we didn’t get their emails and details. It’s so interesting where we are right now in the author business.</p> <p>Okay, we’ll come back to some of these things, but let’s get into the book and what you do. Obviously what underpins the book is the Enneagram.</p> <h3 class="wp-block-heading">Just remind us what the Enneagram is, why you incorporate it into so much of your work, and why you find it resonates so much.</h3> <p><strong>Claire:</strong> The Enneagram is a framework that describes patterns of thoughts, feelings, and actions that tend to arise from nine different core motivations. Those core motivations are made up of a fear–desire pair.</p> <p>So, for instance, there’s the fear of lacking worth and the desire to be worthy. That pair is the Type Three core motivation. If you’re a Type Three, sometimes called “The Achiever,” that’s your fundamental driver.</p> <p>What we fear and desire above all the other fears and desires determines where our attention goes. And attention is something authors benefit greatly from understanding.</p> <p>We have to keep people’s attention, so we want to understand our own attention and how to cultivate it. The things our attention goes to build our understanding of ourselves and the world.</p> <p>Being intentional about that, and paying attention to what your characters pay attention to—and what your readers are paying attention to—is hugely beneficial. It can give you a real leg up. That’s why I focus on the Enneagram. I find it very useful at that core level.</p> <p>You can build a lot of other things on top of it with your characters: their backstory, personal histories, little quirks—all of that can be built off the Enneagram foundation.</p> <p>Why I like the Enneagram more than other frameworks like MBTI or the Big Five is that it not only shows us how our fears are confining us—that’s really what it’s charting—but it also shows us a path towards liberation from those fears.</p> <p>That’s where the Enneagram really shines: the growth path, the freedom from the confines of our own personality. It offers that to anyone who wants to study and discover it.</p> <p>A lot of the authors I work with say things like, “I’m just so sick of my own stuff.” And I get it. We all get sick of running into the same patterns over and over again. We can get sick of our personality!</p> <p>The Enneagram is a really good tool for figuring out what’s going on and how to try something new, because often we can’t even see that there <em>are</em> other options. We have this particular lens we’re looking through. That’s why I like to play with it, and why I find it so useful.</p> <p><strong>Joanna:</strong> That’s really interesting. It sounds like you have a lot of mature authors—and when I say “mature,” I mean authors with a lot of books under their belt, not necessarily age.</p> <p>There are different problems at different stages of the author career, and the problem you just described—“I’m getting sick of my stuff”—sounds like a mature author issue.</p> <h3 class="wp-block-heading">What are some of the other issues you see in the community that are quite common amongst indie authors?</h3> <p><strong>Claire:</strong> One that comes up a lot, especially early on, is: “Am I doing this right?”</p> <p>That’s a big question. People say, “I don’t know if I’m doing this right. I’m going to mess it up. This person told me this was the way to do things, but I don’t think I can do it this way. Am I doomed?” That’s the fear.</p> <p>A lot of what I help people with is seeing that there isn’t a single “right” way to do this. There’s a way that’s going to feel more aligned to you, and there are millions of ways to approach an author career because we’re all constructing it as we go.</p> <p>You were there in the early days. We were all just making this up as we went along.</p> <p><strong>Joanna:</strong> Exactly. There was a time when ebooks were PDFs, there wasn’t even a Kindle, and there was no iPhone. We were literally just making it up.</p> <p><strong>Claire:</strong> Right. Exactly. That spirit of “we’re all making it up” is important.</p> <p>Some of us have come up with frameworks that work for us, and then we tell other people about them—“Here’s a process; try this process”—but that doesn’t mean it’s <em>the</em> process.</p> <p>Understanding what motivates you—those core motivations—helps you see where you’re going to bump into advice that’s not right for you, and how to start making decisions that fit your attention, your life, your desires in this author role.</p> <p>Early on we do a lot of that work. Then there are the authors who started a while ago and have a bunch of books. </p> <h3 class="wp-block-heading has-text-align-left">They hit a point where they say, “I’ve changed so much since I started writing. I need to figure out how to adjust my career.”</h3> <p><strong>Joanna:</strong> Tell us more about that, because I think that’s you and me. How do we deal with that?</p> <p><strong>Claire:</strong> Well, crying helps.</p> <p><strong>Joanna:</strong> That is true! There’s always a bit of crying involved in reinvention. From my perspective, my brand has always been built around <em>me</em>. People are still here—I know some people listening who have been with the podcast since I started it in 2009—and I’ve always been me.</p> <p>Even though I’ve done loads of different things and changed along the way, at heart I’m still me. I’m really glad I built a personal brand around who I am, rather than around one genre or a single topic.</p> <h3 class="wp-block-heading">How about you? How do you see it?</h3> <p><strong>Claire:</strong> I’m the same.</p> <p>I just can’t stick with something that doesn’t feel right for me anymore. I’ll start to rebel against it. </p> <p>There’s also that “good girl” part of me that wants to do things the way they’re supposed to be done and keep everybody happy. I have to keep an eye on her, because she’ll default to “this is the way it <em>should</em> be done,” and then I end up constricted.</p> <p>As we advance through our careers, positioning around what motivates us and what we love, and allowing ourselves to understand that it’s okay to change—even though it’s painful—is crucial.</p> <p>It’s actually destructive not to change over time. We end up forfeiting so many things that make life worth living if we don’t allow ourselves to grow and change. We end up in this tiny box.</p> <p>People sometimes say the Enneagram is very restrictive. “It’s only nine types, you’re putting me in a box.” </p> <p>It’s like: no. These are the boxes we’ve put <em>ourselves</em> in. Then we use the Enneagram to figure out how to get out of the box.</p> <p>As we start to see the box we’ve put ourselves in with our personality—“that’s me, that’s not me”—we realise how much movement we actually have, how many options we have, while still being ourselves.</p> <p><strong>Joanna:</strong> So many options. This kind of brings us into your book, because part of the personal brand thing is being real and having different facets.</p> <p>Your book is <em>Write Iconic Characters</em>, and presumably these are characters that people want to read more about. It uses the Enneagram to construct these better characters.</p> <p>So first up—</p> <h3 class="wp-block-heading">What’s your definition of an iconic character, as opposed to any old character? And how can we use the Enneagram to construct one?</h3> <p><strong>Claire:</strong> An iconic character, in my imagination, is one that really sticks with us after we've finished the story. They become a reference point.</p> <p>We’ll say, “This person is kind of like that character,” or “This situation feels like that character would handle it this way.”</p> <p>It could be our friends, our enemies, someone we meet on the bus—whoever it is might remind us of this character. So they really get lodged in our psyche.</p> <p>An iconic character feels true to some fundamental part of the human condition, even if they’re not strictly human. So, all the alien romance people listening, don’t worry—you’re still in!</p> <p>These characters take on a life of their own. With an iconic character, we may hear them talking to us after the book is done, because we’ve tapped into that essential part of them.</p> <p>They can become almost archetypal—something we go back to over and over again in our minds, both as writers and as readers.</p> <h3 class="wp-block-heading">Joanna: How can we use the Enneagram to construct an iconic character?</h3> <p>I’m asking this as a discovery writer who struggles to construct anything beforehand. It’s more that I write stuff and <em>then</em> something emerges. But I have definitely not had a hit series with an iconic character, so I’m willing to give your approach a try.</p> <p><strong>Claire:</strong> It works with whatever your process is. If you’re a discovery writer, start with that spark of a character in your head.</p> <p>If there’s a character who’s just a glimmer—maybe you know a few things about them—just keep writing. At some point you’ll probably recognise, “Okay, it’s time to go deeper in understanding this character and create a cohesive thread to pull all of this together.”</p> <p>That’s where the Enneagram becomes useful. You can put on your armchair psychologist hat and ask: which of the nine core fears seems like it might be driving the parts of their personality that are emerging?</p> <p>Thankfully, we intuitively recognise the nine types. When we start gathering bits for a new character, we tend to pull from essentially the same constellation of personality, even if we don’t realise it.</p> <p>For instance, you might say, “This character is bold and adventurous,” and that’s all you know. You’re probably <em>not</em> going to also add, “and they’re incredibly shy,” because “bold and adventurous” plus “incredibly shy” doesn’t really fit our intuitive understanding of people. We know that instinctively.</p> <p>So, you’ve got “bold and adventurous.” You write that to a certain point, and then you get to a place where you think, “I don’t really know them deeply.” That’s when you can go back to the nine core fears and start ruling some out quite quickly.</p> <p>In the book, I have descriptions for each of them. You can read the character descriptions, read about the motivations, and start to say, “It’s definitely not these five types. I can rule those out.”</p> <p>If they’re bold and adventurous, maybe the core fear is being trapped in deprivation and pain, or being harmed and controlled. Those correspond to Type Seven (“The Enthusiast”) and Type Eight (“The Challenger”), respectively.</p> <p>So you might say, “Okay, maybe they’re a Seven or an Eight.” From there, if you can pin down a type, you can read more about it and get ideas. You can understand the next big decision point. </p> <p>If they’re a Type Seven, what’s going to motivate them? They’ll do whatever keeps them from being trapped in pain and deprivation, and they’ll be seeking satisfaction or new experiences in some way, because that’s the core desire that goes with that fear.</p> <p>So now, you’re asking: “How do I get them to get on the spaceship and leave Earth?” Well, you could offer them some adventure, because they’re bold and adventurous.</p> <p>I have a character who’s a Seven, and she gets on a spaceship and takes off because her boyfriend just proposed—and the idea of being trapped in marriage feels like: “Nope. Whatever is on this spaceship, I’m out of here.” You can play with that once you identify a type.</p> <p>You can go as deep with that type as you want, or you can just work with the core fear and the basic desire. There’s no “better or worse”—it’s whatever you feel comfortable with and whatever you need for the story.</p> <p><strong>Joanna:</strong> In the book, you go into all the Enneagram types in detail, but you also have a specific example: Wednesday Addams. She’s one of my favourites. People listening have either seen the current series or they have something in mind from the old-school Addams Family.</p> <h3 class="wp-block-heading">Can you talk about [Wednesday Addams] as an example?</h3> <p><strong>Claire:</strong> Doing those deep dives was some of the most fun research for this book.</p> <p>I told my husband, John, “Don’t bother me. I need to sit and binge-watch <em>Wednesday</em> again—with my notebook this time.”</p> <p>Online, people were guessing: “Oh, she’s maybe this type, maybe that type.” As soon as I started watching properly with the Enneagram in mind, I thought: “Oh, this is a Type Eight, this is the Challenger.”</p> <p>One of the first things we hear from her is that she considers emotions to be weakness. Immediately, you can cross out a bunch of types from that.</p> <p>When we’re looking at weak/strong language—that lens of “strength” versus “weakness”—we tend to look towards Eights, because they often sort the world in those terms. They’re concerned about being harmed or controlled, so they feel they need to be strong and powerful. That gave me a strong hint in that direction.</p> <p>If we look at the inciting incident—which is a great place to identify what really triggers a character, because it has to be powerful enough to launch the story—Wednesday finds her little brother Pugsley stuffed in a locker.</p> <p>She says, “Who did this?” because she believes she’s the only one who gets to bully him. That’s a very stereotypical Type Eight thing.</p> <p>The unhealthy Eight can dip into being a bit of a bully because they’re focused on power and power dynamics. But the Eight also says, “These are my people. I protect them. If you’re one of my people, you’re under my protection.” So there’s that protection/control paradox.</p> <p>Then she goes and—spoiler—throws a bag of piranhas into the pool to attack the boys who hurt him. That’s like: okay, this is probably an Eight.</p> <p>Then she has control wrested from her when she’s sent to the new school. That’s a big trigger for an Eight: to not have autonomy, to not have control. She acts out pretty much immediately, tries to push people away, and establishes dominance.</p> <p>One of the first things she does is challenge the popular girl to a fencing match. That’s very Eight behaviour: “I’m going to go in, figure out where I sit in this power structure, and try to get into a position of power straight away.”</p> <p>That’s how the story starts, and in the book I go into a lot more analysis.</p> <p>At one point she’s attacked by this mysterious thing and is narrowly saved from a monster. Her reaction afterwards is: “I would have rather saved myself.” That’s another strong Eight moment. The Eight does not like to be saved by anyone else. It’s: “No, I wanted to be strong enough to do that.”</p> <p>Her story arc is also very Eight-flavoured: she starts off walled-off, “I can do it myself,” which can sometimes look like the self-sufficiency of the Five, but for her it’s about always being in a power position and in control of herself.</p> <p>She has to learn to rely more on other people if she wants to protect the people she cares about. Protecting the innocent and protecting “her people” is a big priority for the Eight.</p> <p><strong>Joanna:</strong> Let’s say we’ve identified our main character and protagonist.</p> <p>One of the important things in any book, especially in a series, is conflict—both internal and external.</p> <h3 class="wp-block-heading">Can we use the Enneagram to work out what would be the best other character, or characters, to give us more conflict?</h3> <p><strong>Claire:</strong> The character dynamics are complex, and all types are going to have both commonalities and conflict between them. That works really well for fiction. But depending on how much conflict you need, there are certain type pairings that are <em>especially</em> good for it.</p> <p>If you have a protagonist who’s an Eight, they’re going to generate conflict everywhere because it doesn’t really bother them. They’re okay wading into conflict.</p> <p>If you ask an Eight, “Do you like conflict?” they’ll often say, “Well, sometimes it’s not great,” but to everyone else it looks like they come in like a wrecking ball.</p> <p>The Eight tends to go for what they want. They don’t see the point in waiting. They think, “I want it, I’m going to go and get it.” That makes them feel strong and powerful.</p> <p>So it’s easy to create external and internal conflict with an Eight and other types. But the <em>nature</em> of the conflict is going to be different depending on who you pair them with.</p> <p>Let’s say you have this Eight and you pair them with a Type One, “The Reformer,” whose core fear is being bad or corrupt, and who wants to be good and have integrity.</p> <p>The Reformer wants morality. They can get a little preachy; they can become a bit of a zealot when they’re more unhealthy.</p> <p>A One and an Eight will have a very particular kind of conflict because the One says, “Let’s do what’s right,” and the Eight says, “Let’s do what gets me what I want and puts me in the power position.”</p> <p>They may absolutely get along if they’re taking on injustice. Ones and Eights will team up if they both see the same thing as unjust. They’ll both take it on together.</p> <p>But then they may reach a point in the story where the choice is between doing the thing that is “right”—maybe self-sacrificing or moral—versus doing the thing that will exact retribution or secure a power-up. That’s where the conflict between a One and an Eight shows up.</p> <p>You can grab any two types and they’ll have unique conflict. I’m actually working on a project on Kickstarter that’s all about character dynamics and relationships—<em>Write Iconic Relationships</em> is the next project—and I go deeper into this there.</p> <p><strong>Joanna:</strong> I was wondering about that, because I did a day-thing recently with colour palettes and interior design—which is not usually my thing—so I was really challenging myself.</p> <p>We did this colour wheel, and they were talking about how the opposite colour on the wheel is the one that goes with it in an interesting way. I thought—</p> <h3 class="wp-block-heading">Maybe there’s something in the Enneagram where it’s like a wheel, and the type opposite is the one that clashes or fits in a certain way. Is that a thing?</h3> <p><strong>Claire:</strong> There <em>is</em> a lot of that kind of contrast.</p> <p>The Enneagram is usually depicted in a circle, one through nine, and there are strong contrasts between types that are right next to each other, as well as interesting lines that connect them.</p> <p>For example, we’ve been talking about the Eight, and right next to Eight is Nine, “The Peacemaker.” Eights and Nines can look like opposites in certain ways. The Nine is conflict-avoidant, and the Eight tends to think you get what you want by pushing into conflict if necessary.</p> <p>Then you’ve got Four, “The Individualist,” which is very emotional, artistic, heart-centred, and Five, “The Investigator,” which you’re familiar with—very head-centred and analytical, thinking-based. The Four and the Five can clash a bit: the head and the heart.</p> <p>So, yes, there are interesting contrasts right next to each other on the wheel. Each type also has its own conflict style. We’re going into the weeds a bit here, but it’s fascinating to play with.</p> <p>There’s one conflict style—the avoidant conflict style, sometimes called the “positive outlook” group—and it’s actually hard to get those types into an enemies-to-lovers romance because they don’t really want to be enemies. That’s Types Two, Seven, and Nine.</p> <p>So depending on the trope you’re writing, some type pairings are more frictional than others. There are all these different dynamics you can explore, and I can’t wait to dig into them more for everyone in the relationships book.</p> <p><strong>Joanna:</strong> The Enneagram is just one of many tools people can use to figure out themselves as well as their characters. Maybe that’s something people want to look at this year.</p> <p>You’ve got this book, you’ve got other resources that go into it, and there’s also a lot of information out there if people want to explore it more deeply.</p> <p>Let’s pull back out to the bigger picture, because as this goes out in January 2026, I think there is a real fear of change in the community right now. Is that something you’ve seen? </p> <h3 class="wp-block-heading">What are your thoughts for authors on how they can navigate the year ahead?</h3> <p><strong>Claire:</strong> Yes, there has been a lot of fear.</p> <p>The rate of change of things online has felt very rapid. The rate of change in the broader world—politically, socially—has also felt scary to a lot of people.</p> <p>It can be really helpful to look at your own personal life and anchor yourself in what hasn’t changed and what feels universal. From there you can start to say, “Okay, I can do this. I’m safe enough to be creative. I can find creative ways to work within this new environment.”</p> <p>You can choose to engage with AI. You can choose to opt out. It’s totally your choice, and there is no inherent virtue in either one. I think that’s important to say.</p> <p>Sometimes people who are anti-AI—not just uninterested but actively antagonistic—go after people who like it. And sometimes people who like AI can be antagonistic towards people who don’t want to use it. But actually, you get to choose what you’re comfortable with.</p> <p>One of the things I see emerging for authors in 2026, regardless of what tools you’re using or how you feel about them, is this question of <em>trustworthiness</em>. I think there’s a big need for that.</p> <p>With the increased number of images and videos that are AI-generated—which a lot of people who’ve been on the internet for a while can still recognise as AI and say, “Yeah, that’s AI”—but that may not be obvious for long. Right now some of us can tell, but a lot of people can’t, and that’s only going to get murkier. </p> <p>There’s a rising mistrust of our own senses online lately. We’re starting to wonder, “Can I believe what I’m seeing and hearing?” And I think that sense of mistrust will increase.</p> <p>As an author in that environment, it’s really worth focusing on: how do I build trust with my readers? That doesn’t mean you never use AI. It might simply mean you disclose, to whatever extent feels right for you, how you use it.</p> <p>There are things like authenticity, honesty, vulnerability, humility, integrity, transparency, reliability—all of those are ingredients in this recipe of trustworthiness that we need to look at for ourselves.</p> <p>If there’s one piece of hard inner work authors can do for 2026, I think it’s asking: “Where have I not been trustworthy to my readers?”</p> <p>Then taking that hard, sometimes painful look at what comes up, and asking how you can adjust. What do you need to change? What new practices do you need to create that will increase trustworthiness?</p> <p>I really think that’s the thing that’s starting to erode online. If you can work on it now, you can hold onto your readers through whatever comes next.</p> <h3 class="wp-block-heading">Joanna: What’s one concrete thing people could do in that direction [to increase trustworthiness]?</h3> <p><strong>Claire:</strong> I would say disclosing if you use AI is a really good start—or at least disclosing how you use it specifically. I know that can lead to drama when you do it because people have strong opinions, but trustworthiness comes at the cost of courage and honesty.</p> <p>Transparency is another ingredient we could all use more of. If transparency around AI is a hard “absolutely not” for you—if you’re thinking, “Nope, Claire, you can get lost with that”—then authenticity is another route.</p> <p>Let your messy self be visible, because people still want some human in the mix. Being authentically messy and vulnerable with your audience helps. If you can’t be reliable and put the book out on time, at least share what’s going on in your life.</p> <p>Staying connected in that way builds trust. Readers will think, “Okay, I see why you didn’t hit that deadline.” But if you’re always promising books—“It’s going to be out on this day,” and then, “Oh, I had to push it back,” and that happens again and again—that does erode the trustworthiness of your brand.</p> <p>So, looking at those things and asking, “How am I cultivating trust, and how am I breaking it?” is hard work.</p> <p>There are definitely ways I look at my own business and think, “That’s not a very trustworthy thing I’m doing.” Then I need to sit down, get real with myself, and see how I can improve that.</p> <p><strong>Joanna:</strong> Always improving is good.</p> <p>Coming back to the personal brand piece, and to being vulnerable and putting ourselves out there: you and I have both got used to that over years of doing it and practising.</p> <p>There are people listening who have never put their photo online, or their voice online, or done a video. They might not use their photo on the back of their book or on their website. They might use an avatar. They might use a pen name. They might be afraid of having anything about themselves online.</p> <p>That’s where I think there is a concern, because as much as I love a lot of the AI stuff, I don’t love the idea of everything being hidden behind anonymous pen names and faceless brands. As you said, being vulnerable in some way and being recognisably human really matters.</p> <p>I’d say: double down on being human. I think that’s really important.</p> <h3 class="wp-block-heading">Do you have any words of courage for people who feel, “I just can’t. I don’t want to put myself out there”?</h3> <p><strong>Claire:</strong> There are definitely legitimate reasons some people wouldn’t want to be visible. There are safety reasons, cultural reasons, family reasons—all sorts of factors.</p> <p>There are also a lot of authors who simply haven’t practised the muscle of vulnerability. You build that muscle a little bit at a time.</p> <p>It does open you up to criticism, and some people are just not at a phase of life where they can cope with that. That’s okay.</p> <p>If fear is the main reason—if you’re hiding because you’re scared of being judged—I do encourage you to step out, gently. This may be my personal soapbox, but I don’t think life is meant to be spent hiding. Things may happen. Not everyone will like you. That’s part of being alive.</p> <p>When you invite in hiding, it doesn’t just stay in one corner. That constricted feeling tends to spread into other areas of your life. </p> <p>A lot of the time, people I work with don’t want to disclose their pen names because they’re worried their parents won’t approve, and then we have to unpack that. You don’t have to do what your parents want you to do. You’re an adult now, right?</p> <p>If the issue is, “They’ll cut me out of the will,” we can talk about that too. That’s a deeper, more practical conversation. But if it’s just that they won’t approve, you have more freedom than you think.</p> <p>You also don’t have to plaster your picture everywhere. Even if you’re not comfortable showing your face, you can still communicate who you are and what matters to you in other ways—through your stories, through your email list, through how you talk to readers.</p> <p>Let your authentic self be expressed in <em>some</em> way. It’s scary, but the reward is freedom.</p> <p><strong>Joanna:</strong> Absolutely. Lots to explore in 2026.</p> <h3 class="wp-block-heading">Tell people where they can find you and your books and everything you do online.</h3> <p><strong>Claire:</strong> <a href="https://www.liberatedwriter.com/" target="_blank" rel="noopener" title="">LiberatedWriter.com</a> is where all of my stuff lives, except my fiction, which I don’t think people here are necessarily as interested in. If you do want to find my fiction, <a href="https://www.ffs.media/" target="_blank" rel="noopener" title="">FFS Media</a> is where that lives.</p> <p>Then I’m on Substack as well. I write long pieces there. If you want to subscribe, it’s <em><a href="https://liberatedwriter.substack.com/" target="_blank" rel="noopener" title="">The Liberated Writer</a></em> on Substack.</p> <p><strong>Joanna:</strong> Brilliant. Well, thanks so much for your time, Claire. That was great.</p> <p><strong>Claire:</strong> Thanks so much for having me.</p><p>The post <a href="https://www.thecreativepenn.com/2026/01/12/leaving-social-media-writing-iconic-characters-and-building-trust-with-claire-taylor/">Leaving Social Media, Writing Iconic Characters, and Building Trust With Claire Taylor</a> first appeared on <a href="https://www.thecreativepenn.com">The Creative Penn</a>.</p>
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