When my life goes astray, my first port of call is always walking through my morning routines and figuring out where to make changes. Inevitably, I can track a minor thing that’s throwing my whole day off, which usually sees a flurry of experimentation as I find a work-around. Back in January, mornings were a struggle, and I slowly worked through the stuff that’s changed to find solutions. At first, I blamed the issues on new medication that left me groggy and prone to dozing off in the mornings (aided, in part, by the addition of a daily Wordle). Going to bed earlier and shifting the Wordle check-in until after 8 AM has helped, but it didn’t quite get me back into a writing frame of mind. So I started tracking where else my day was going astray and quickly realized a common point: sitting down to work on my desktop right after I drink my coffee. The desktop in

I recently waxed nostalgic about the heady days of 2008 to 2009, when it felt like my fiction writing career tracked along with far more promise than it does today. I was focused on my writing career to the exclusion of everything else, a host of stories were published and opportunities offered, and things felt possible in a way they don’t right now. But a quick survey of the context in which I did all that work is pretty illuminating: I was younger, newly single, and looking for distraction. I was newly involved in the spec fic scene, and therefore a novelty. Social media was relatively new, and work gained attention because it was easier to reach one’s friends and communities with news. My father’s Parkinson’s disease was newly diagnosed, and hadn’t yet hit the point of physical and cognitive where I was increasingly conscious of both spending time with him and providing relief for my mum as his primary

There’s nothing like teaching a workshop on something to both clarify your thinking and beliefs, then inspire new insights on a topic. Here’s a little something I puzzled through while writing my workshop for RWA last year. In indie publishing circles (and a lot of other marketing), you’ll often find people talking about sales funnels. The core idea here is moving COLD readers (who don’t know anything about you) through a funnel of information that WARMS them up (gets them excited about your work) and eventually gets them HOT enough to buy. It’s the kind of thing that you’ll find in 90% of indie seminars focused on making a living selling books, so it’s not particularly awe-inspiring or original. But I was revising the slides for this portion of the workshop right before I sat down to write up my case study for a good reader funnel, then tackling the inevitable question of “do I put my books into Kindle Unlimited’s

Lead generation is basically marketing speak for “how will you initiate interest in your product or service.” It’s not something many writers are encouraged to think about — there is a mindset, more prevalent in other genres than here in the romance community — that once the book is done, it generates interest simply because it exists, and there’s a sense of frustration when the newly released book (or books) aren’t generating the kind of visibitiliy and sales they’d like. Truth is, all writers need to generate leads. We call it different things — running a newsletter, building a platform on social media, blogging, generating adds on Facebook or Amazon, newsletters swaps, and putting calls to action in the back of a book — but they’re all predicated on the same idea: get someone interested in you and your writing so you can further that relationship and build a sale. It may be horrible marketing speak, but I actually like

One of the most useful parts of Thompson’s Merchants of Culture is the breakdown of the five modes of capital used in the publishing industry and its adjacent fields. I’ve used these to build a publishing company, guide my writing career, and solve all manner of problems. But I also see a gap, born of Thompson’s focus. He specifically calls out Financial Capital as a key form of leverage, encapsulating all the cash-on-hand resources as well as the ability to generate credit, financing, and investment. It’s a key part of any artistic organisation, as very little happens without it.  The missing element — based on my experience — is probably time, which doesn’t appear anywhere else on his list. Traditional publishers default to the velocity models, focusing on a short, hot burn with sales — they generate interest, release the bulk of their stock into the world, and expect to sell the most copies in the first month. Failure to

The yellow smiley face was first designed in 1963. State Mutual Life Insurance hired the designer, Harvey Ball, to create the logo attached to a company-wide “make friends” campaign after a merger decimated morale. They paid him $45 for the creation of two eyes, a smile, and a yellow circle. Nobody trademarked the smiley face, although plenty of found ways to copyright specific expressions of it. In 1970 the Spain brothers, Murray and Bernard, appended the words “Have a Happy Day” underneath and made a killing selling merchandise with the ubiquitous symbol. Contemporary operating systems all agree that the smiley face is a useful icon or emoji, now represented by the ascii digits of a colon and a closing bracket — 🙂 — but each system has its own expression of those emojis when the OS interprets the characters and translates them into graphics. As you might expect, the smiley face is a copyright nightmare once you dig into its