• Writing Through Grief And Rebooting an Indie Author Business With Jami Albright
    Jun 1 2026
    How do you write when your heart is broken? How do you go back into the publishing business after years away, knowing it's a very different industry to the one you left? With Jami Albright. In the intro, InAudio is now distributing audiobooks to BookShop.org; The Feedback Loop that Makes Better Writers [Author Nation Podcast]; Bones of the Deep on Goodreads. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How Jami started writing fiction at 47 and waited a year before publishing her first bookWhy she fictionalised her sister's terminal cancer story rather than writing a memoirThe difference between writing as therapy and writing for the readerReactivating an email newsletter after almost two years of silenceGoing wide with a standalone women's fiction novel after years in KU and rom-comLetting go of the frantic hustle of indie publishing and redefining what success looks like You can find Jami at JamiAlbright.com. Transcript of the interview with Jami Albright Jo: Jami Albright is the bestselling author of the Brides on the Run romances and the co-host of the Wish I'd Known Then Podcast. Today we're talking about her new novel, The Summer That Changed Us. So, welcome to the show, Jami. Jami: Thank you, Joanna. I've made it. This is my first time on The Creative Penn, so I can retire tomorrow. Jo: And we were saying before the show, I really thought you had been on the show before, because over the years we've connected a lot. We met over a decade ago, didn't we? At the Smarter Artist Summit. I was like, “I'm sure you've been on the show,” and you haven't. So, yes, welcome. Jami: Thank you. You've been on our show, though. We did an interview with you a few years ago. Jo: Yes. Well, anyway, for anyone who doesn't follow your show— Tell us a bit more about you and how you got into writing and publishing. Jami: Okay. So I am the co-host of the Wish I'd Known Then Podcast for Writers. Sara Rosett and I have been doing that podcast since January 2020. Little did we know what was coming, and it really saved me, just mentally, being able to talk to people every week. I never wrote a word of fiction until I was 47. I'd never really written anything. I have really bad grammar. I tell a lot of stories, and I would make up stories, but I'd never write them down because of the grammar thing. But my reading buddy had her birthday coming up in about three months, and I thought, “You know what? I'm going to write Jennifer a book for her birthday. She doesn't care if I have bad grammar.” I just thought it would be on brand. It was so hard. I wrote myself into a corner very fast. When I told her, she said, “Well, now you have to.” So I got Writing a Romance Novel for Dummies, I read that, and I started writing what is now Running from a Rock Star. But then my computer crashed and I lost it, and I was like, “Well, I'm not a writer.” So that was fine. Then I turned 50, and I told my family, “I think the only thing I regret is not finishing that book.” Of course they were like, “Well, you need to just do it again.” I was like, “No, I had 30,000 words.” A few weeks later my daughter came in and said, “Mom, I found this flash drive in my car. I think it has your book on it.” And it was 20,000 of the 30,000 words. So I was like, “Well, it's now or never.” So I joined Romance Writers of America and got involved in a critique group, and they absolutely kicked my butt for a good six months. I think every week they were surprised I came back, because it was so brutal. I knew I didn't know anything, and they taught me to write. Six months after I joined that first critique group, I won my first contest with the first 10 pages of that book. Then I just continued on. Three years later, I published Rock Star. I was going to publish it two years later, but I went to the Smarter Artist Summit, where I met you. I was advised by Julia Cant and Sean Platt and some other people to wait—preferably to have more books written. I had the second book written when the first one came out, but it still needed to be edited. So I waited a year, learned this business, and sold plasma to pay for my edits because I was poor. It was the best decision I ever made. Going to that ...
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    1 hr
  • Accessibility And AI: How New Tools Are Opening Doors For Indie Authors With Jeff Adams
    May 25 2026
    How is AI transforming accessibility for indie authors — and why should you care even if you consider yourself able-bodied? What happens when the tools designed to help people with disabilities end up making everyone's creative business better? Jeff Adams, accessibility expert and romance author, explores how AI is opening doors that were previously closed. In the intro, Spotify Audiobook Innovations; The Economics of Convention Life [The Indy Author]; Friction in your Author Business [Self-Publishing with ALLi]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How ending a long-running podcast made space for more writing — and how to know when it's time to let go of a good thingWhat accessibility really means for indie authors and why your digital content might be excluding part of your audienceHow AI agents like Claude Cowork are removing physical and cognitive barriers for authors with disabilities, chronic pain, or limited energyThe culture of shame around AI use in the writing community and why blanket anti-AI statements can be ableistPractical tools including NotebookLM, ElevenReader, and ChatGPT for marketing copy, metadata management, and multimodal researchExciting futures in personalised reading, real-time translation, and AI browser agents that could change how everyone interacts online You can find Jeff at JeffAdamsWrites.com. Jeff also now has a SubStack at contentforeveryone.substack.com Transcript of the interview with Jeff Adams Jo: Jeff Adams is the author of YA thrillers and gay romance, and the co-author of Content for Everyone, a practical guide for creative entrepreneurs to produce accessible and usable web content. Welcome back to the show, Jeff. Jeff: Thanks so much, Jo. It's good to be back. Jo: It is. You were last on the show in March 2023, so over three years ago now. Give us a bit of an update on your writing and publishing business and what it looks like at the moment. Jeff: Sure. I think the biggest thing that happened is that my husband Will, who is also a writer, we ended the Big Gay Fiction Podcast at the end of 2024, after 470-something episodes. It was basically time to do that. So we both focused on writing from that point. In 2025 we had some of our biggest successes in getting writing out into the world. I refound my groove—my difficulty in writing went away finally. We talked a little bit about that back in 2023 too. Will started a new pen name and started producing again, and it was really good to be able to move in that direction. Jo: Was this the hockey romance that really hit at the right time? Jeff: You know, I wish I could have capitalised more on Heated Rivalry when it came out, but I did get hockey books out, and I think I did get to ride that wave a little bit there too. Jo: Yes, and if people don't know about that, that was a super popular streaming series. Was that based on a book? Jeff: It was, yes. Rachel Reid was the author of that book and that series that then Jacob Tierney optioned and made into what fairly turned into a global phenomenon at the end of 2025. Jo: Yes, absolutely. Although I particularly liked Red, White and Royal Blue. That was the one I liked. Not so much into hockey. But anyway, I just wanted to ask you about the Big Gay Fiction Podcast. As you say, you did hundreds of episodes over many years. You and I met over podcasting. You've had lots of connections with people. You ended it, and I know you struggled with ending it, but it sounds like it went really well for you. So maybe you could talk a bit about— How do you know when it's time to end something—a good thing rather than something bad? Does that make more space for writing, essentially? Jeff: It absolutely did make more space for writing for both of us, in particular for me because I have a day job. I balance everything on the creative side with the day job. Will and I had been talking about it for over a year. It just was like, it's really time. After nine years, getting to that 470 mark, we thought about trying to get to 10 years and we thought about, if not 10, then getting to 500 and ending on a milestone. As we looked at everything in our creative business, it was like, this is fun, we enjoy it, but we're not getting as much out of it as we might be if we were actually also writing books, which we also really want to do. It became...
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    1 hr and 3 mins
  • SuperCreativity And KeyNote Speaking With A Non-Fiction Book With James Taylor
    May 18 2026
    How can you supercharge your creativity in an age when AI is reshaping everything — including how we write, edit, and market our books? What does it look like to use AI as a genuine creative partner rather than a shortcut? And could professional speaking become an income stream that complements your writing career? With James Taylor. In the intro, Audible's new royalty model; New royalty model details [ACX; Kindlepreneur]; Public Speaking for Authors, Creatives and other Introverts; Why Indie Authors Should Ignore the Market’s Mood and Focus on their Mission [Self-Publishing with ALLi]; Lichfield Cathedral; This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn James Taylor is a nonfiction author, professional speaker, podcaster, and entrepreneur who helps people unlock their creative potential. He hosts the SuperCreativity Podcast and his latest book is SuperCreativity: Augmenting Human Creativity in the Age of Artificial Intelligence. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to define creativity and why it's becoming the most valuable skill in the age of AIThe five stages of the creative process — and the stage most people skipThree types of creative purpose: play, self-expression, and legacyHow James used multiple AI tools alongside human collaborators to write, edit, and market SuperCreativityBulk book sales, industry-specific editions, and revenue models for nonfiction author-speakersPractical tips for authors who want to break into professional keynote speaking You can find James at JamesTaylor.me. Transcript of the interview with James Taylor Jo: James Taylor is a nonfiction author, professional speaker, podcaster, and entrepreneur who helps people unlock their creative potential. He hosts the SuperCreativity Podcast and his latest book is SuperCreativity: Augmenting Human Creativity in the Age of Artificial Intelligence. Welcome to the show, James. James: Well, thank you for having me as a guest. I'm looking forward to this conversation today. Jo: It's going to be really good. First up— Tell us a bit more about you and how you got into writing and publishing. James: Well, today I'm a professional keynote speaker, so I deliver about fifty to a hundred keynotes per year in twenty-five-plus countries. Primarily I speak on creativity, innovation, and artificial intelligence. Go back into my deepest, darkest history—I actually used to manage rock stars. That was my old job. I used to be in the music industry for many, many years. I worked with members of The Rolling Stones, and for our listeners in the UK, I managed bands like Deacon Blue. Then I went to the dark side. In 2010, I moved to California to work in Silicon Valley, to work in the world of tech. That got me involved in artificial intelligence. Right about 2017, I was speaking at an event in San Francisco and someone came up to me and said, “You realise you could probably speak for a living, you could do this for a living.” So I thought, well, how does that work? And he told me. Then I embarked on the career that I have today, which is primarily as a speaker, with writing now coming a bit more to the fore. Jo: Wow, I remember Deacon Blue. James: Yes. Jo: “Dignity.” That's crazy. Very, very cool backstory there, but we'll come back to the career side of things. Let's get into super creativity, because my listeners are certainly creatives. Most of the listeners will have a book either on the way or they might even have lots of books. So we all do want to be super creative. How do you define creativity, and why is it important to keep focusing on this even if we do identify that way? James: For me, creativity is about bringing new ideas to the mind. Innovation is about bringing new ideas to the world, but without creativity, there is no innovation. So creativity is really the engine of innovation. Whether that is designing new products, new services, or creating new works of art and new books. The reason that creativity is becoming more important is because of what we're seeing right now in terms of artificial intelligence. AI is going to replace a lot of the non-creative tasks that we currently do in our jobs. If you look at things like the World Economic Forum, there was recently a study with a thousand global business leaders, and work from companies like LinkedIn—they all highlight that creativity is going to be one of the foremost important soft skills for this new future. So creativity, strangely, will actually become more important, not less important, as we go ahead. That's the creativity side. ...
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    1 hr and 7 mins
  • Verb Your Enthusiasm: Transform Your Writing With Stronger Verbs With Sarah Kaufman
    May 11 2026
    How can upgrading your verbs transform flat writing into vivid, page-turning prose? Why do so many writing problems turn out to be verb problems — and how can you fix yours? Sarah Kaufman explores the art of the verb and shares practical tips for making your writing stronger, clearer, and more alive. In the intro, writing as a caregiver and grief [Stark Reflections; The Creative Penn episode]; Beyond Bookshops — Bulk Sales, Gifting and Alternative Distribution [Self-Publishing Advice]; list of money books; London walk along SouthBank; Bones of the Deep: AI-Assisted Artisan Author webinars. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Sarah Kaufman is a Pulitzer Prize–winning critic, an award-winning author, and a writing teacher. Her latest book is Verb Your Enthusiasm: How to Master the Art of the Verb and Transform Your Writing. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why verbs are the most versatile and underrated tool in a writer's toolkitHow to replace flat, explanatory sentences with vivid, action-driven proseThe power of physical and metaphorical verbs to show emotion instead of telling itWhen passive voice works, and when it's hiding somethingBalancing beautiful language with the demands of storytelling and deadlinesHow to broaden your writing expertise into a sustainable portfolio career You can find Sarah at SarahLKaufman.com. Transcript of the interview with Sarah Kaufman Jo: Sarah Kaufman is a Pulitzer Prize–winning critic, an award-winning author, and a writing teacher. Her latest book is Verb Your Enthusiasm: How to Master the Art of the Verb and Transform Your Writing. Welcome to the show, Sarah. Sarah: Thank you so much. I'm delighted to be with you. Jo: This is such a great topic, but first up— Tell us a bit more about you and how you got into writing. Sarah: I got into writing in a backwards way, I guess. The romantic, wonderful thing about writing is the freedom that it gives you, right? That's what we all think about—this freedom to address the world. Then the practical, wonderful thing about writing is developing a focal point, which I had to do in order to write in the first place. I'll explain a little bit about that. I became a dance critic, which is what I did at the Washington Post for 27 years, to have something to write about. That was necessary because, though I've always known that I wanted to be a writer ever since earliest childhood, I just didn't really find things to write about when it came time to actually try to make a living at it. As I was approaching leaving college as an English major, I was getting very anxious about what I was actually going to do, and I didn't have this burning desire to write about any certain thing. I happened to be working as a full-time secretary at a ballet school because I had been a ballet nerd all through my youth. I knew quite a bit about doing ballet, about the steps and about the lingo, so I was a suitable candidate to work at a ballet school. I was learning so much from the teachers there—who had all been professional dancers—about the aesthetics of ballet and how you shape the steps into art and into a performance. I was getting more and more interested in dance. One day the director took me out to lunch and she said, “You should write about dance.” I had seriously never considered that before, but she knew that I was an English major, that I wanted to write. She said, “Look, you know so much,” and she really encouraged me. So I said, “Well, okay, I'll give it a go,” because I had been reading dance criticism. I just started picking it apart and seeing how critics put their reviews together, called up a local paper, took on some freelance assignments, and did a lot of freelancing for years and eventually landed at the Washington Post. So the point I want to make is that I had that thing to write about. Now I had a focal point, and my books grew out of that. The first book I wrote is The Art of Grace: On Moving Well Through Life. That was an exploration of aspects of grace stemming from physical grace, which I knew about from dancers, and looking at connections there with social grace and spiritual grace. Then this verbs book likewise grew out of my work as a dance writer because my goal in writing about dance was to capture the experience of it. I didn't want to be a scholarly type of critic, though I do love that kind of...
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    1 hr and 3 mins
  • AI, Creativity, And The Future of Publishing with Nadim Sadek
    May 8 2026
    Is AI really the end of creativity, or the biggest emancipation of creative energy we've ever seen? How can authors thrive in a time of super abundance, when anyone can make anything? What happens when publishers become technology providers, and agents start shopping for books on our behalf? With Nadim Sadek. In the intro, my AI-Assisted Artisan Author webinars. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Using AI as a research partner, editor, and constructive critic when writing a bookThe ratio of dreaming to executionWhy publishers still draw red lines at AI-written words, and why that may changeInside Shimmr's three-engine advertising system: Strategizer, Generator, and DeployerMultimodal interactivity, agentic purchasing, and the idea of the Panthropic You can find Nadim on LinkedIn or at NadimSadek.com. Transcript of Interview with Nadim Sadek Jo: Nadim Sadek is a serial entrepreneur and the founder and CEO of Shimmr AI, an AI-powered book marketing company, as well as the bestselling author of children's books and non-fiction books, including Quiver, don't Quake: How Creativity Can Embrace AI. So welcome to the show, Nadim. Nadim: It is lovely to be here. I feel very privileged to be invited onto this. Thank you. Jo: Oh, I'm excited to talk to you today, and we're really talking about AI. I wanted to start with the fact that you do seem to have a sort of relentless optimism. How do you remain so optimistic about AI when the publishing industry that we both work in seems so overwhelmingly negative? Lift our eyes to the horizon—what is the bigger picture? Nadim: Oh my goodness. That is a big one. I think my optimism is quite confined actually in the area of publishing. If you were to ask me to speak about AI more broadly—which you're not, but I'm going to give you a little bit of it—I've got lots of concerns. That includes the advent of autonomous weapons and economic singularity, where the wealth from AI as an industry is going into just a few hands, and energy usage, and cultural homogenisation, I suppose, and the potential for brain rot. There's a whole pile of stuff which is really not very good about AI, and all the normal things about fraud and theft and so on. However, if you recognise that and then you say what's going on in publishing, then the obvious thing that you first have to deal with is what did happen with copyright. Is it appropriate to say that things have been stolen and taken without permission and so on? It is. It's going through the American courts at one pace. I saw that Penguin Random House have started a case against OpenAI in Germany, where there will be a much faster legal conclusion—a judge's conclusion, I think. This will begin to put parameters on how copyrighted materials can be used, and possibly also some retrospective judgment about what has happened to this point and what can be done about it. So it's good that you've asked questions so early in our conversation, because I think — It's important to contextualise my optimism. It is whilst noting with regret the behaviour of the AI industry—the models themselves—in not dealing with copyright in the most generous or appropriate fashion. I think we should also recognise that copyright probably wasn't designed for machine learning in the way that it is. Probably the industry wasn't terribly well prepared to note, negotiate with, and navigate the very fast-moving technological culture of AI companies. So I think lots of mistakes have been made on both sides. When you put all that to one side, what's left for me is an amazing emancipation of creative energy and also a huge efficiency being brought to the publishing industry. We can talk about both those things further, but for me that is what's going on. The efficiency of bookmaking and publishing generally—the whole workflow of getting a book out of somebody's head and into a reader's hands—I think is immensely streamlined and improved by AI. Actually, if you talk about it carefully, which I'm sure we will do, the ability of creators to share and let others experience their creative endeavours becomes so much better, so much fuller, so much richer. So that's why I'm excited about it. Jo: Well, let's get into those two things then. You mentioned the emancipation of creative energy, and you've worked with various AI tools as part of your creative and business processes. ...
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    48 mins
  • Self-Publishing in German: How to Translate, Distribute, and Market Your Books with Skye MacKinnon
    May 4 2026
    How is the German market different to English speaking markets, and why might it be worth looking into translation? What are the best ways to translate, self-publish and market your books in German? With Skye MacKinnon. In the intro, thoughts on feeling empty after a book, and the benefits of SubStack for authors [Stark Reflections; Wish I'd Known Then]; AI-Assisted Artisan Author webinars 16 and 23 May. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Skye MacKinnon is the award-winning, USA Today bestselling author of over 70 books across romance and children's books under multiple pen names, most of which are also available in German, which is her bestselling market. Her latest book for authors is Self-Publishing in German: How to Translate, Publish and Market Your Books. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why the German-speaking market is much bigger than just Germany, and which genres sell best thereTitle protection laws, the Impressum, and translator copyrightHow to find and vet human translators, and what a quality translation actually costsThe current state of AI translation for fiction, and why quality assurance passes are essentialDistribution decisions: the Tolino Alliance, Skoobe, libraries, and why IngramSpark doesn't work in GermanyMarketing in German: BookDeals, LovelyBooks, ads, BookTok, and why pre-orders matter even more You can find Skye SkyeMacKinnon.com and her children's books at IslaWynter.com. Transcript of the interview with Skye MacKinnon Jo: Skye MacKinnon is the award-winning, USA Today bestselling author of over 70 books across romance and children's books under multiple pen names, most of which are also available in German, which is her bestselling market. Her latest book for authors is Self-Publishing in German: How to Translate, Publish and Market Your Books. Welcome, Skye. Skye: Hi. Thank you so much for having me. Jo: This is such an interesting topic. But first up— Tell us a bit more about you and how you got into writing and publishing. Skye: I've always loved writing, but I was always told, “Well, you can't be an author. Get a proper job.” So I became a journalist and did that for a few years, but there was always that love of creative writing. At some point when I was getting more active on social media, I was following some other indie authors and realised they're just like me. They're not special people. I had always pictured authors as these mythical beings high up above the rest of us. That gave me the courage to put out my own book. I self-published from the start, never even looked into trad publishing, and that was in 2017. I was really lucky because my first series totally hit it off. I was able to quit my job a year later and I have been a full-time author ever since. I started with romance and then, by accident, got into children's books. Which has been great fun. I don't even have children myself, but it's just that palette cleanser in between. Writing about cute animals and unicorns and just bringing some fun into everything. Nowadays I have about five or six pen names, depending on how you count, across genres, although most of it is romance, and that's my bread and butter really. Jo: Yes, I'm certainly one of those people who wish I could write romance. It always just seems to be the most profitable market in any language, I guess. Let's get into the book. It's a fantastic book. I've been through it myself. It's really packed full of everything you need, so we can't cover everything. Let's start by considering the German language in general. Why is German a good language market to consider expanding into? And for anyone who might not realise, why is it more than Germany? Skye: Well, Germans love to read, and depending on the statistic that you look at, they're generally seen as the third largest book market in the world after English and Mandarin Chinese. So it's a huge market, even though you think of Germany as a small little country in Europe. As you said, it's much more than Germany. Yes, you've got about 83 million people in Germany, but then you've also got Austria, Switzerland, Liechtenstein, parts of Belgium, Luxembourg, and even Italy. So if you look at the whole footprint on the map, it is much bigger than just the one country. A lot of young people there still read and go to bookshops. There's a huge bookshop culture. You will find, if you go to a high street there, way more bookshops than you do here in the UK, for ...
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    1 hr and 9 mins
  • Navigating Uncertainty And Fearless Persistence In A Long Term Creative Career With Adam Leipzig
    Apr 27 2026
    How can you navigate uncertainty in a constantly changing market? Why is persistence the key to a sustainable creative career? Plus why distribution is so important, and the four ways to monetise your creative work. All this and more with Adam Leipzig. In the intro, my reflections on running an author-publisher business after a fantastic e-commerce workshop run by Blubolt, and why you will always pay for marketing with either your time or your money; AI-Assisted Artisan Author webinars; and last call for my Kickstarter Bones of the Deep – J.F. Penn. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing books still matters in a world saturated with visual mediaThe Jeffrey Katzenberg “next” lesson and the power of fearless persistenceHow uncertainty and the “long middle” are essential parts of the creative processWhat film editing can teach writers about cutting, shaping, and refining their workThe 10 Laws of Culturenomics, including why awareness is not desire and why distribution is everythingHow generative AI is changing filmmaking — and why creatives should be the architects, not the tools You can find Adam at AdamLeipzig.com. Transcript of Interview with Adam Leipzig Jo: Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. Welcome to the show, Adam. Adam: Thank you so much for having me, Jo. Jo: I'm excited to talk to you today. You have written several books, but you have worked on many more films. So I wondered, why do you think books still have a part to play in reaching people? What do you love about writing books that is different to your filmmaking work? Adam: You can put so much information in a book, and the beautiful thing about a book is that you can pick it up wherever you want, whenever you want, and leave it off and go back to it. It's just waiting for you and it's there. It really allows me, and other authors like me, to share information in a different way, with more details and more stories and more specificity. I love the ability to just share that information and have it always available. You don't need a device, you don't need to have a subscription. You can just go to it whenever you want. You asked me what I love about writing. Like a lot of writers, I'm not sure I love writing, but I do love having written. The thing about a book is that it's a very solitary exercise. A film is a highly collaborative exercise. No movie gets made by one person. It's made by hundreds or sometimes thousands of people. But this book is just me and a laptop and notes and a lot of thought. It's a very introverted, almost monkish existence while you're doing that, and then it has to go out into the world—and that's when it really starts to interact with people. So there's this huge difference between being alone and being always in a collaborative environment, which is what happens when I'm making a movie. Jo: Most listeners will be independent authors in some way, and a lot of us do this because we're control freaks. We like being the only people. So how is that different? You mentioned collaboration in the film industry, but is it almost freeing to do a book without having that? I mean obviously you have editors and publishers and stuff, but— Is it freeing in some creative way? Adam: It is really nice, because there is not another point of view in the room and I can just say what I feel and know that that's there. At the same time, you're right—I have had some amazing editor help and I've had some great early readers that have given me feedback on it and ...
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    1 hr and 9 mins
  • Kickstarter Tips for Authors: Rewards, Shipping, Marketing, and Lessons Learned
    Apr 20 2026
    Kickstarter has become a key part of the author business for those who want to make more money per book, connect directly with readers, and produce beautiful editions they're proud of. In this episode, I share excerpts from interviews with Oriana Leckert, Head of Publishing at Kickstarter, Russell Nohelty, and Sacha Black, alongside my own hard-won lessons from six campaigns that have now made over $140K combined. Whether you're considering your first campaign or looking to refine your process, we cover everything from overcoming your fears to rewards, fulfilment, shipping, marketing, and why I keep coming back for more. In the intro, Writing StoryBundle; Spotify Expands Audiobook Features and Printed Books; Draft2Digital Activation and Maintenance Fees; comment by Kevin McLaughlin; and Barnes & Noble Press change to Minimum Retail Price for Printed Books; AI-Assisted Artisan Author webinars. This show is supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Joanna Penn is an award-winning New York Times and USA Today bestselling author of thrillers, dark fantasy, short stories and travel memoir under J.F. Penn and also writes non-fiction for authors and hosts The Creative Penn Podcast. What Kickstarter is and why it works differently from a normal book launch The fears that held me back for almost a decade — and whether they were justifiedStarting small: Why you don't need sprayed edges and special hardbacks to run a successful campaign. Creative reward ideas beyond merch: digital rewards, experiential rewards, naming rights, and bundling your backlistCommon mistakes that sink campaigns: overestimating your reach, getting shipping costs wrong, and not allowing enough timeFulfilment realities, printing timelines, and reinvesting profit into future stockMarketing your campaign: pre-launch signups, content marketing, email lists, social media scheduling, and Facebook/Meta adsMy update for campaign #7, Bones of the Deep: what's changed, what I'm doing differently, and how AI tools are part of my process nowWhy I now love Kickstarter campaigns and how the spike income model fits a sustainable creative career You can find my Kickstarter campaign for Bones of the Deep here (until 5 May, 2026) and all my previous campaigns here. Introduction Jo: In this episode, I've included excerpts from my own previous solo show about Kickstarter, as well as excerpts from interviews with Oriana Leckert, the Head of Publishing at Kickstarter; Russell Nohelty, who has done lots of successful Kickstarter campaigns and teaches direct sales; and Sacha Black, who did a six-figure campaign last year. I've also added my updates to the end of the episode filling in any last thoughts. You can listen to the full episodes here: Kickstarter for Authors with Oriana LeckertThe Mindset and Business of Selling Direct with Russell NoheltyLessons Learned and Tips from Pilgrimage, My First Kickstarter CampaignTwo Different Approaches to Selling Direct with Sacha Black and Joanna Penn What is Kickstarter, and why use it instead of a normal book launch? Here's Oriana Leckert, Head of Publishing at Kickstarter — and the numbers she shares will be higher now, as the episode is from February 2025. Oriana: Kickstarter is a crowdfunding platform. We are unique in the crowdfunding landscape for a few reasons. We are only for creative projects, so you can't use Kickstarter for medical bills, investment funding, or charitable donations. Every project has to create something new to share with the world. Jo: Have you got any numbers on how big the Kickstarter industry is now with publishing, or anything you can share around that? Oriana: Yeah, I would love to. First I'll tell you Kickstarter overall by the numbers. Since our inception, there have been 273,000 projects funded, eight and a half billion — with a “b” — billion dollars pledged, from more than 24 million backers. In publishing specifically, we've had 69,000 projects launched, 3.2 million unique backers, and over $380 million pledged to campaigns. I have lots of other stats, but a few things I'll share. The publishing category keeps growing The publishing category has grown year over year, every year since 2017, in terms of number of projects launched, number of projects successful, and the overall success rate. There has never been a dip since 2017. Another stat I really love about the publishing category: if you look at campaigns that have at least 25 backers, the overall success rate is 84%. I think that's really telling, because 25 backers is a little bit more than your mum, your best friend, the folks who are essentially obligated to support anything you do. So if you can get a little bit beyond that inner circle, your chances of succeeding on the platform are tremendously high. Backers are paying more — and waiting longer Another thing I wanted to call out — I just got some new numbers around this. The average backing amount per backer across ...
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    1 hr and 34 mins