The Pulp Writer Show: Recent Episodes
Jonathan Moeller
Hosted by Jonathan Moeller (author of the FROSTBORN and SEVENFOLD SWORD fantasy series and the SILENT ORDER scifi series), the Pulp Writer Show discusses how to write, format, publish, and sell your novel.
Sometimes there are jokes.
In this week's episode, I share a few tips for writing effectively and politely in a public space like a coffee shop, library, waiting room, or similar location.
This coupon code will get you 25% off the ebooks in the Ghost Exile series at my Payhip store:
SUMMEREXILE
The coupon code is valid through August 24, 2026. So if you need a new ebook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 315 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 7th, 2026 and today I am sharing tips for writing while in public in places such as a coffee shop, a waiting room, or a library. We will also have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
First off, let's start with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Ghost Exile series at my Payhip store. That coupon code is SUMMEREXILE and this coupon code will be valid through August the 24th, 2026, so if you need a new ebook to read this summer, we have got you covered. And as always, the coupon code and the link to my Payhip store will be available in the show notes for this episode.
Now for an update on my current writing, publishing, and audiobook projects. I am very nearly done with Cloak of Frost. In fact, I'm so close to being done with Cloak of Frost, I am hoping (if all goes well and the creek doesn't rise), to finish it this afternoon after I finish recording this episode. So after you finish listening to this episode when it goes live, go check out your nearest ebook store for Cloak of Frost because hopefully it should be working its way through the platforms and be available then.
Once Cloak of Frost is finished and published, my next main project will be Blade of Visions, the sixth book in the Blades of Ruin epic fantasy series. I am currently 17,000 words into that. If all goes well, I am hoping to have that book out sometime in September. I'll need a new secondary project since Blade of Visions is getting promoted from secondary project. So my new secondary project will be Elven-Warlock, the seventh book in the Half-Elven Thief series. That hopefully will be out sometime in October, again, if all goes well.
In audiobook news, we have a couple different audiobook things to discuss. Dragon-Mage, the sixth book in the Half-Elven Thief series (as narrated by Leanne Woodward) should now be available at all audiobook stores. Stealth & Spells Online: Final Quest (as narrated by C.J. McAllister) should be at my Payhip store, Google Play, and Kobo as of right now, and it should be working its way through the other audiobook platforms before too much longer. Cloak Mage: Omnibus Four, which is a three-book bundle containing Cloak of Illusion, Cloak of Dragonfire, and Cloak of Embers (as narrated by Hollis McCarthy) is now available in audio as well. It's 38 hours [long] and you can get that at Audible, Apple, and Amazon.
As for upcoming books, Brad Wills is working on Blade of Thieves and as of this recording, he's about halfway through it. Hollis McCarthy is working on Cloak of Worlds and I believe she's done with main recording and doing edits right now. So before too much longer, if all goes well, we'll have a bunch of new audiobooks for you. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:57 Tips for Writing in Public Spaces Now let's move on to our main topic this week, writing or working in a coffee shop, waiting room, library, or other public space. People often romanticize the process of writing and imagine that writers spend all day in a cozy cafe with a leather notebook and a fountain pen, sipping espresso with [chuckles] acoustic guitar music playing faintly in the background. In reality, most full-time writers don't regularly work that way. For myself, I don't generally like working in public, and I prefer either to work in my office at home or with my laptop on my couch (also at home).
I only work in public spaces like coffee shops, libraries, and waiting rooms when I'm waiting for someone or don't have any other option. Because of course, real life has its demands, I do that a fair bit. I've written large chunks of most of my books in various waiting rooms while waiting on various appointments. But again, it's not my first choice. If I had total freedom to pick where I was going to work today, I would not pick a coffee shop. I would not pick the library. I would probably pick either my office or my couch with my laptop, depending on how hot the day happened to be. However, just because I don't like working in a public space doesn't mean that other people do not, and many people do love to work in public spaces like coffee shops or find it a necessity for a variety of reasons.
So today we're going to go over what you should consider when working in these kinds of spaces. For many people, the benefits of working in a space like a coffee shop or a library are significant. Let's go over a few of the reasons that people might benefit from this working arrangement.
Some people don't have much control over the noise or activity levels in their home environment or are experiencing a temporary issue like a power outage or home renovations. For example, this morning at about seven o'clock, a tree trimming truck pulled up directly in front of my house, so I was worried that I would not be able to record this podcast today due to chainsaw noise, but for whatever reason, they haven't started yet, so I'm hoping I can actually finish recording this episode before any chainsaw noise begins.
Many people also like having a change of scenery or like getting out of the house if they primarily work from home. Some people find this helps them to feel more creative or interested in their work or feels like a reward for doing the work. Another reason is that some people also miss the social aspect of working in person and enjoying making small talk or working alongside a friend in these types of spaces. Some people, especially those who've been diagnosed with ADHD, benefit from being in a space where others are also working, even if they're not interacting with those people. It actually helps them to focus and be more productive when they can see others working. If you're interested in learning more about that, you can read about the concept of body doubling, which describes this in more detail. So with those reasons in mind, let's go over some of the appropriate etiquette for working in a public place.
You might think these etiquette tips about working in an American public space are obvious, but after you spend a fair amount of time in a coffee shop, you'll see that many people never get this advice or blatantly ignore it. So let's spend some time stating what feels like the obvious, especially for people who might not be familiar with American customs and behaviors.
First, if you're spending time in a business, you need to order, and if you're in America, you should at least leave a small tip. If you're staying more than an hour or so, you should probably order more than once. For example, if you're spending an afternoon working in a coffee shop, you can start with a plain coffee and then after a couple of hours order another cup or a snack. You're essentially renting their space at their expense, so you shouldn't be there all day after buying only a $2 cup of coffee (or worse yet, nothing at all).
Another important factor is to have realistic expectations. Coffee shops are primarily places for people to eat and gather, so you can't be upset when people do just that. These spaces are not designed to be workspaces and you have to adjust your expectations about the noise and activity level. It might be tempting to ask that table of high school girls to be quieter or the toddler across the room to stop running about, but that's not your job and it's not appropriate of you to ask that of strangers in a place where people come for conversation.
If you truly need quiet space, many libraries have designated quiet areas and larger cities usually have rentable coworking spaces designated for just working. And if you are going to the library, remember that the library doesn't cost you anything as opposed to a coffee shop or a coworking space.
Also, don't hog space. If the establishment is absolutely packed and there are no available tables, it's not good etiquette to take up an entire table for hours on end. Try to choose a lower traffic shop if this is something that you regularly observe happening in your preferred one or come in outside of peak hours.
Likewise, it's generally considered impolite in America to use your belongings to hold the table more than a minute or two. And if, depending on where you are in the country, if you leave your belongings at the table for too long without being there to attend them, there's a fair chance that something's going to get stolen. It's also a good idea to have some situational awareness about cords and not being a tripping hazard. If you're using a charger, make sure the cord isn't going into an employee space like the condiment bar or causing a tripping hazard for others. Likewise, make sure that your bags are also situated on the floor in such a way that others won't easily trip on them or have to step over them.
Another point is no pacing. Many of us like to pace while working or thinking, but that's generally considered annoying or even unsettling and threatening in a public space like a coffee shop or a library or a waiting room. [As for] making noise, how appropriate it is to take a video or a phone call will depend greatly on your environment. Some coffee shops have many people working and it's normal there. In a small town coffee shop where the locals gather to talk about the forecast or local news or the local parade at great length, it's most likely going to be inappropriate or annoy other people. If you're taking calls or on video meetings, be sure to learn what settings on your devices and software minimize background noise and amplify your speaking voice so those on the other side of the line can hear you more clearly and not be bothered by all the noise in the background. This will also minimize how loudly you need to talk in order to be heard clearly, and a good headset can definitely help you with that.
Another seemingly obvious thing that needs to be said is that you should bring headphones if you're going to be listening to music or watching videos. At my last gym (before I left for another, better gym), there was an elderly man who frequently would come to use the elliptical, put his phone on the console, and then watch various Facebook AI slop videos at maximum volume. It was really quite annoying and is part of the reason I no longer go to that gym. So don't be that person and make sure if you're listening to music while you're working in public, bring headphones.
And finally, be nice. If you're spending a significant amount of time in a space like a coffee shop, it's important to be a good customer and to maintain a positive relationship with those people working there. Be polite, but don't take up the workers' time with excessive conversation. Of course, what is excessive is wholly subjective. If you're the only one there and they're totally bored, it's polite to have a little conversation but if there's 15 people in line behind you, it's probably best to move along.
Clean up your messes and leave a few minutes before closing time so they don't have to kick you out. I used to work in retail many years ago, and I'm sure many of you either have worked or continue to work in retail or some form of food service and we all know that one of the most annoying things is a customer who refuses to leave when it's closing time or the guy who comes in five minutes before closing time and orders a huge meal. Don't be that guy.
Now with all those etiquette points out of the way, you're ready to work.
Here are some other considerations for working in this space like a coffee shop. Supplies [like] noise canceling headphones or noise reducing earplugs might be helpful for you, especially if you're sensitive to loud noises like an espresso machine being cleaned or as we mentioned before, loud conversations. A good headset if you are taking video calls might be invaluable.
A privacy screen is a good idea for a laptop if you're working with sensitive information or don't want people reading over your shoulder. The most common ones are fairly inexpensive and are easy to remove when you no longer need to use it. For myself, I've never used that one, but I never look at sensitive information on my laptop in public, which we'll get to later. I suppose the only awkward thing is if someone's reading over my shoulder and I'm writing a scene like where Talembur beheads an orc with a two-handed blow and the head rolls away in a fountain of gore. That might be off-putting to people, but they shouldn't be reading my laptop screen anyway. A portable charger for your laptop and other devices might be a good idea to invest in if you're frequently working in these spaces, especially since outlet availability can be very limited.
We should also talk about Wi-Fi safety. If you connect to the Wi-Fi in a public place like a coffee shop or a library, there are risks associated with that. Here are some basic things you can do to minimize your risks. Turn off auto connect to Wi-Fi and disable network discovery. That way if there are any malicious actors or devices on that network that will make it slightly harder for them to get to your laptop. Consider using a VPN to encrypt data sent from your device.
Finally, more potentially sensitive tasks like shopping and online banking should wait until you're back on a more secure network. If you have a Gmail account with a two-factor authentication set up, checking your Gmail on a public Wi-Fi is probably okay. I would strongly recommend avoiding visiting any banking sites, financial sites, retirement investment sites, or shopping sites while you are on a public Wi-Fi network since there's always at least a chance someone would be able to pick up details about that from the public Wi-Fi.
Another thing to consider might be groups or events where some coffee shops and libraries and other places will have events specifically for working together with a large group. If you're interested in finding like-minded people in your area, keep an eye on local events. One of the local coffee shops in my area has a writer's hour where writers are encouraged to come in and work. It also has a group that meets in the evenings during the winter to talk about writing. I mean, I've never done this myself personally, but I approve of the idea. A large city in my area frequently has occasional free silent working time meetups in a community center to accommodate people who need a quiet space to work that has free snacks and social time afterwards.
So what specifically do I personally do when I need to work in public? When I work in public, I usually bring my cheapest laptop or my oldest laptop. Since I used to be an IT guy and I've been a full-time writer for a while now, I have a fair collection of older computer hardware that I really need to get rid of. One of the ones I keep around is my oldest laptop that I take out with me when I need to write in a public space. So that way, if for some reason the laptop is stolen or somehow it's damaged, like say a toddler is throwing a football in the waiting room and hits my screen dead center and shatters it. Well, annoying, but that will not be such a serious loss because it's my oldest laptop. And that way if it's stolen also, it would not be that great of a loss because it's my oldest laptop.
For my concerns I mentioned earlier about Wi-Fi, I never actually connect to public Wi-Fi unless there's some sort of a pressing need like my phone isn't working, I need to look up directions for where I need to go next, that kind of thing. That's partly for security reasons like I mentioned above, and partly because having no Wi-Fi to distract me also turns out to be an excellent way to dial in and get work done.
I never listen to music when I'm in public. I always listen to music or something while I'm working at home or in my home office, but I never listen to music in public just because I dislike the lack of situational awareness this brings. I mean, I don't want to be paranoid. The fact is for the most part, the United States is a very safe country. During the World Cup, you saw all these news stories about European tourists who were coming to the US for the World Cup and were worried about getting shot or getting robbed or getting blown up and then that they found that the experience was very pleasantly different from what they expected because for the most part, Americans are generally a very generous and very welcoming people. What you see on the news with the shootings and the violence and the mayhem and so forth tends to be the extreme outlier that gets exaggerated for effect for news views and news clicks. So for the most part, the United States is a very safe country. That said, mostly safe is not the same as perfectly safe, and there is still crime.
The best way to avoid trouble is to make sure you're not involved or anywhere near trouble by maintaining situational awareness. So that's one reason I don't like to listen to music when I'm in a waiting room or in a coffee shop or something is because even though I'm focused on my work, I can still maintain a degree of situational awareness. So if I see something going south, I can react to it and clear the area or pay attention to a potential situation that's going on. Not that that's happened more than a few times in the decades I've been doing this, but it's still a good idea in my opinion to have a good deal of situational awareness whenever possible.
Depending on the length of the wait, I usually bring my smallest laptop case I can fit my oldest laptop into, a couple of Clif bars (which are a brand of energy bar in the US, so if I'm waiting a long time and I know I'm not getting to lunch, then I can have a quick snack), and then if I need to use the restroom, I won't leave my stuff out. What I usually do is close the laptop, put it in the bag, and then take it with me to the restroom and then come back out and either take my old seat if it hasn't been taken or find a new one. That way it just minimizes the risk of theft of leaving a laptop unattended.
Despite all that, I have written a fair chunk of many of my books in waiting rooms. I remember once I had to take my car in for a fairly serious repair, and I wrote something like 9,000 words of Ghost in the Winds while I was waiting for that repair. So that was a major productivity leap, and I got my car repaired and then [laughs] publishing Ghost in the Winds helped pay for that very serious car repair.
So although you might not be elegantly writing poetry in a beautiful notebook like you imagined, writing in a coffee shop or a similar space can be pleasant and help you to feel a greater enjoyment or even productivity in your work. If you keep all these tips in mind, hopefully you have an enjoyable and productive experience. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's episode, I share the audio version of my short story SOULBLADES, as narrated by Brad Wills. I also provide updates on my current writing and publishing projects.
If you want to listen to the complete short story collection, it is available here:
https://www.audible.com/pd/Tales-of-the-Shield-Knight-Audiobook/B0D68C3S22
This coupon code will get you 50% off the audiobook of Ghost in the Flames, Book #2 in The Ghosts series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
FLAMES50
The coupon code is valid through August 17, 2026. So if you need a new audiobook this summer, we've got you covered!
In this week's episode, I answer worldbuilding questions about my setting of Andomhaim, and discuss the future of THE GHOSTS series.
This coupon code will get you 25% off the ebooks in The Ghosts series at my Payhip store:
JULYGHOSTS
The coupon code is valid through August 10, 2026. So if you need a new ebook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 313 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July the 24th, 2026 and today we're answering world-building questions about Andomhaim, which is the setting of my Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, Shield War, and Blades of Ruin series. We also have one bonus world-building question about the Caina series. Before we get into all that, we will have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
Let's start with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in The Ghosts series at my Payhip store. That code is JULYGHOSTS. As always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through August the 10th, 2026, so if you need a new ebook for this summer, we have got you covered.
Now let's have an update on my current writing, publishing, and audiobook projects. I'm pleased to report I am done with the rough draft of Cloak of Frost. It was just slightly over 100,000 words. Now I am writing a bonus short story called Metal Soldiers, and [newsletter] subscribers will get a free ebook copy of Metal Soldiers when Cloak of Frost comes out, which if all goes well, should be sometime in August. So I think this is an excellent time, therefore, to subscribe to my new release newsletter.
My secondary project is Blade of Visions, and I am 11,000 words into that.
There's also a good deal of news about audiobooks. Dragon-Mage, as narrated by Leanne Woodward, is finished and is rolling out to the various stores right now. As of this recording, you can get it at my own Payhip store, Google Play, and Kobo (with more stores soon to follow). Recording on Stealth and Spells Online: Final Quest is very nearly done, and I hope to have more news on that soon. Brad Wills is currently working on Blade of Thieves and Hollis McCarthy is recording Cloak of Worlds. So we should have a wide variety of audiobooks coming for you soon.
00:02:00 Questions about Caina
Before we get to our main topic, we have a bonus question about Caina. When I said my next project was going to be Cloak of Frost, I got a couple of questions like this: Just wondering when/if there will be another Caina novel to look forward to?
The answer is not right now, but maybe later. I am glad and appreciative that people want more Caina books. That said, I don't want more than three unfinished series at any one time, and I've got three right now with Blades of Ruin, Cloak Mage, and Half-Elven Thief. So I'm not starting anything new until one of the three is done. If you reach the end of Ghost in the Siege, which is the latest current Caina book, you know that the series was at a pretty significant stopping point. If I want to keep going, I need to think long and hard about how to do it right. I do have a couple of ideas, but I need to think about them some more. It's almost like we'd have to shift to a slightly different genre of fantasy than the Caina books have been previously.
The tricky part is Caina has changed a great deal since Child of the Ghosts. The tricky part in that is that sequels in a long-running series need to be more of the same, but also something different. There have been 35 Caina novels. So I've done that quite a bit. But Caina has had some experiences that have very much changed her life. To use a rough comparison, it's like she became a justice on the US Supreme Court or the governor of one of the five largest US states in the sense that once you've had change in your life that significant, your life will never be the same afterwards. And without spoilers, Caina had a shift that big at the end of Ghost in the Siege.
So more Caina is definitely a possibility, but I need to think about it some more and it definitely won't be before 2027 until I finish one of my three currently unfinished series.
00:03:35 Main Topic of the Week: Andomhaim Worldbuilding Questions
Now onto our main topic, which is I had some world-building questions about Andomhaim from Frostborn come in lately. So I thought I would answer them here.
Question #1: Why hasn't the Heptarchy invaded Andomhaim again?
The answer is money, basically. Remember that the ultimate purpose of the Heptarchy is to provide an endless supply of sacrificial victims for the Seven Temples' altars so the seven urdmordar who rule the Heptarchy can endlessly feed. These seven urdmordar don't have much interest in the day-to-day governance, so their spiderling priestesses essentially run the Heptarchy as an exceptionally malignant theological bureaucracy. However, while the priestesses are evil, they're efficient and very good at their jobs. In practice, the Heptarchy tends to operate more like an imperial confederation or a very loose federal government than an actual empire. Kingdoms, tribes, and city states have a great deal of autonomy so long as one, taxes are paid in time and two, sacrificial victims are taken to the temples on time.
To help encourage this, all the various local rulers in the Heptarchy tend to have priestess advisors who make sure that the rulers make the "correct" decisions. So when things go awry, the Seven Temples have a wide array of tools to deal with difficulties, from assassinating and replacing truculent rulers with more tractable successors all the way up to exterminating entire populations and settling new colonists upon the depopulated lands. The difficulty of the Heptarchy is that the seven urdmordars are gluttons and gluttony is impossible to satiate. So when the Heptarchy learned of Andomhaim and the possibility of an entirely new land to conquer and feed upon, of course they had to conquer it. The priestesses built an enormous fleet and gathered a vast army and sent it three and a half thousand miles across the ocean to Andomhaim.
Of course, if you've read the Dragontiarna series, you know that this didn't go well. The Heptarchy seized the Isle of Kordain and had early successes in Andomhaim, but Agravhask, the commander of the invasion force, was secretly a disciple of the Warden of Urd Morlemoch, and he seized control of the Heptarchy force and used it to further the Warden's goals. The Visionary foresaw this happening, but didn't care because it gave her an opportunity to try and capture her old enemy, Tarmyntir.
So the Heptarchy didn't conquer Andomhaim, and then 10 years later they lost control of the Isle of Kordain, their only stronghold near Andomhaim. To put this situation in contemporary terms, this is a significant geopolitical setback or to put it in popular vernacular, it's "taking a massive L."
The Seven Temples spent a colossal fortune on the invasion force and in return got back exactly nothing. Even evil sorcerous empires are bound to the laws of economics. In The Ghosts books, the Umbarian Order failed to figure this out. And it would take a while for the Heptarchy to pay for and assemble another invasion force of that size. And since the first invasion force had failed, there wasn't much appetite for pulling together a second one.
So now the official policy of the Heptarchy towards Andomhaim is quiet CIA-style subversion. The Spider Cult was founded to secretly bring nobles and wealthy merchants to the worship of the Seven Temples. It might take a century or so, but the plan is to eventually place a spider cultist on the throne of Andomhaim and then send a sympathetic ruler an army to back him or her up. Of course, the Brotherhood of the Ravens is aware of this and has been fighting the Spider Cult in the shadows.
So that is why the Heptarchy hasn't tried to invade Andomhaim again- it costs too much, the outcome is uncertain, and the priestesses have decided a careful subversion (which costs much less than an invasion) will work out better in the long run.
Question #2: Is Blades of Ruin really inspired by the English Civil War of 1138 to 1153 AD?
Yes. Why? Because alcohol and boats are a very bad combination.
In the 12th century, the Kings of England were also the Dukes of Normandy and were more interested in Normandy than in England, so they spent a great deal of time on both sides of the English Channel. In November of 1120, King Henry I wanted to return to England, but allowed much of his retinue to travel on another ship. That included his heir and only legitimate son William, several of his bastard children, and numerous high ranking members of his court.
Everyone on William's ship was quite drunk, including the crew, and decided it would be a good idea to try and overtake King Henry's ship on the English Channel at night in November. Remember how I said alcohol and boats were a bad combination? William decided that he wanted to overtake his father's ship, and since a significant portion of everyone on his ship was drunk, they ended up crashing into some rocks, the ship sank, and most of the passengers and crew drowned, including William.
For Henry, this was an absolute disaster since he had put a lot of work into setting up William as his heir. Henry then settled on his daughter Matilda as his heir and forced his vassals to take oaths so they would support her as his successor. When Henry died in 1135, Matilda assumed the throne, but her cousin Stephen of Blois seized the crown instead. Many of the lords of England were leery at the idea of a female monarch and Stephen was amiable and well-liked. Matilda was also imperious and had a knack for offending people at the worst possible time.
The resultant civil war became known as the Anarchy and it ebbed and flowed until 1153. Both Stephen and Matilda held the upper hand at various times, but could never manage to achieve a total victory. Many of the nobles went local warlord, raising their own forces and building their own castles to protect themselves from their neighbors, which led to widespread chaos and violence. Finally, by the end of the 1140s, most of the nobles were sick of the war and put increasing pressure on Stephen and Matilda to find some sort of negotiated solution. Matilda's vigorous son Henry began to insert himself and he convinced Stephen to name him as his heir.
When Stephen died, Henry became the undisputed king in 1154 and the war was over. Henry II would prove to be a vigorous king, but his inability to share power with his sons would cause him a lot of trouble in the final years of his reign.
So you can see how Zelos Pendragon and Rhamnousia Pendragon from Blades of Ruin are very loosely based on Stephen and Matilda, though with some differences. Stephen and Matilda were cousins while Zelos and Rhamnousia are half siblings. For that matter, Henry I died of natural causes and was not assassinated by a sinister cult of sorcerers who wanted to engineer a civil war for nefarious purposes.
Question #3: Were the Free Companies in Blades of Ruin inspired by Glenn Cook's The Black Company?
First of all, The Black Company is a fantasy classic and everyone should read it. I think it's even in Kindle Unlimited at the moment. But the Free Companies and Blades of Ruin weren't inspired by The Black Company. They were inspired by the Hundred Years' War between England and France from 1337 AD to 1453 AD.
Medieval warfare relied heavily on knights and vessels, but it always employed mercenaries. One of the problems in the Anarchy were the large number of Flemish mercenaries infesting in the country, who frequently turned full brigand. But feudalism was based on holding land and as the Middle Ages progressed, money and the cash economy became more and more important while knighthood became increasingly performative and ceremonial. Professional soldiers were generally more useful and more reliable than arrogant and headstrong knights. These trends played a big part in the Hundred Years' War and every time the kings of England campaigned in France, they frequently hired mercenaries and they generally let the mercenaries rampage through the French countryside and plunder whatever they wanted since that was cheaper than actually feeding them.
The Free Companies really got going after the Battle of Poitiers in 1356. The French were decisively defeated, King John II of France went back to England as a prisoner, and the national government in France essentially collapsed. The English discharged many of their mercenaries, who formed into companies and began systematically looting the French countryside. When official hostilities broke out between the English and the French again, the English hired the companies back. As the fortunes of France and England waxed and waned during the war, some of the companies wandered into Italy and made good money playing the Italian city states against each other.
One of the most famous of the companies was The White Company, commanded by Sir John Hawkwood. Sir Arthur Conan Doyle famously killed off Sherlock Holmes so he could turn his attention to writing historical fiction about the White Company. This was somewhat less than financially successful, so Doyle went back to writing Holmes after a few years, though he always regarded his historical novels as better than his Holmes stories.
Rannister and the Grand Company in Blades of Ruin were loosely based off of Werner von Urslingen and the Great Company. Von Urslingen's personal model was "The enemy of God, the enemy of piety, and the enemy of mercy." He apparently had those actual words inscribed on his breastplate. The Great Company spent a lot of time fighting in Italy and extorting money from the city-states until the White Company defeated them at the Battle of Canturino in 1363.
In real life, of course, the Free Companies did not have orcs in the ranks or sorcerous advisors. However, the real life Free Companies were just as brutal and rapacious as those in the Blades of Ruin series, sometimes often more so, since they were essentially organized bands of brigands.
Eventually in the wake of the Hundred Years' War, stronger national governments arose in England and France, and the concept of the Free Companies gradually became obsolete. Kings found their own professional armies to be much more reliable than the Free Companies, though of course the idea of mercenaries never went away and remains to this day. Those standing armies would cause their own problems throughout history.
Question #4: How did the warlocks of Vhalorast conquer Urd Maelwyn if the dark elves are so much more powerful than orcs?
Two reasons. First, the Warlocks of Vhalorast were a lot more powerful than anyone suspected. The Sovereign and the high Maledicti priests were strong enough to keep the Vhalorasti warlocks in check and compel them to obedience since saying no to someone like Khurazalin from Sevenfold Sword was a spectacularly bad idea. But after the final defeat of the Sovereign, the Vhalorasti orcs were free to do as they liked.
Second, the dark elves are chronically unable to work together without betraying each other constantly. The dark elven love of cruelty often manifests as a love of treachery, which frequently leads them to making very stupid decisions. In real life, you often see people who are addicted to various lusts, vices, and addictions making bad decisions, and the dark elves often took that up to 11.
By contrast, while the warlocks of Vhalorast are very bad people, they are orderly and organized and they don't often betray each other. Indeed, "brother and sister warlocks" are supposed to extend respect to each other and the Council of Masters harshly punishes anyone who violates certain rules of conduct. So the warlocks of Vhalorast can cooperate a lot more effectively than the dark elves. To put it in Dungeons & Dragons terms, the dark elves are chaotic evil (sometimes urging on stupid evil), but the Vhalorasti warlocks are firmly lawful evil.
When the Visage seized control of Urd Maelwyn, she thought to rebuild the Sovereign's Empire and forced a confrontation with Vhalorast. That ended with the Vhalorasti orcs and Warlocks destroying the Vistage's army, seizing Urd Maelwyn and taking the Visage herself back to Vhalorast in chains. Of course, the warlocks had help from the Disciples of Vhalzarok, but more on that will be revealed in later books of Blades of Ruin.
Question #5: Why aren't there any dwarves in Owyllain?
That is because none of them settled in Owyllain. The dwarves first came to the Frostborn world slightly before the urdmordar. About 15,000 years ago, the dark elves were frantically summoning new kindreds to throw in battle against the high elves. The dwarves came to Andomhaim somewhere near the Torn Hills close to Urd Morlemoch. The dwarfs who sided with the dark elves became the dvargir and probably began cheating the dark elves at every turn because they were better organized.
The dvargir became to the dark elves the sort of military subcontractor who overcharges, over promises, and then drastically under-delivers while keeping to the letter of the contract. The dwarves founded nine different underground kingdoms and most of them are relatively close to Andomhaim. Only three of them still survive to the modern period.
Question #6: Why aren't there any orcish Swordbearers or Soulbearers?
For two reasons. First, Ardrhythain would be reluctant to make soulblades for orcs because orcs already have battle fury and the soulblades inspire a hatred of dark magic in their bearers. There's a chance an orc with a soulblade would go absolutely berserk when fighting an urvaalg or a dark wizard.
Second, and this is the more important reason, the orcs didn't actually ask. Due to their threefold law, the high elves are very limited in how they can interact with other kindreds.
Ardrhythain created the soulblades and found the Magistri among the humans of Andomhaim because the Keeper of Andomhaim of the time specifically asked. Ridmark was only able to command the high elves of Cathair Ereniel in The Shield War because he was the Shield Knight. The high elves can only help if asked and then only provide the specific help requested if it is in accord with the threefold law. The temptation within them to simply rule over weaker kindreds for their own good is very strong, but if they do that, they turn into dark elves.
To get around that problem is one of the reasons Ardrhythain created the Swordbearers. Andomhaim definitely would've been destroyed centuries ago if not for the Order of the Soulblade. That's also the reason Ardrhythain created the Guardians, to help protect both nations and places of power that the high elves otherwise could not protect directly.
Question #7: Is Andomhaim very different in Talembur's time than it was in Ridmark's?
Andomhaim is at a slightly more advanced technological level as of the Blades of Ruin series, but it is a good deal richer and more prosperous than it was in Ridmark's time. Part of that is that Accolon Pendragon' successors ruled wisely and well, and Andomhaim avoided the sort of destructive civil war that is currently afflicting Owyllain. Andomhaim also hasn't had to face an external war on the scale of the Frostborn or the Heptarchy in that time. Granted, there have been wars with outside adversaries like the Mhorites, but nothing like the Heptarchy War. Additionally, adding the Isle of Kordain to the realm and the discovery of the sea compass let Andomhaim's mariners travel a lot farther and more reliably than they could before. Ships of Andomhaim have made their way to various island kingdoms south of the Isle of Kordain and begun a lively trade with them. This has brought new prosperity to Andomhaim.
Granted, this might cause long-term problems. The coast of Andomhaim and the cities of Cintarra and Tarlion are getting a good deal richer and more powerful than the rest of the realm. A clever adversary like the Spider-Cult might find a way to use that to their advantage.
And finally, Question #8: Did Calliande actually create the fountain in Blade of Thieves?
No. It's just a legend that grew up around her. Neither Ridmark nor Calliande ever came near Stonegate during the War of the Seven Swords. That was why Ridmark didn't like bards very much, since they always embellished and made things up.
So those are some recent Andomhaim questions I've received and I hope I answered those questions. So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com.
If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, I share a bonus audiobook short story: GHOST ARIA, as narrated by Hollis McCarthy. I also provide an update on my current writing, publishing, and audiobook projects.
This coupon code will get you 50% off the audiobook of Child of the Ghosts, Book #1 in The Ghosts series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
CAINAJULY
The coupon code is valid through August 3, 2026. So if you need a new audiobook this summer, we've got you covered!
In this week's episode, we share nine tips and tricks to help indie authors manage their files. Since I now have 174 novels, file management has become important!
This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store:
JULYSKULL
The coupon code is valid through July 27, 2026. So if you need a new ebook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 311 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July 10th, 2026. Today we are discussing file management tips for indie authors. Before we get into that, we'll have Coupon of the Week and an update on my current writing, publishing, and audiobook projects.
First up, let's do Coupon of the Week. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store. That coupon code is JULYSKULL. As always, the coupon code and the links to the appropriate pages in my Payhip store will be available in the show notes for this episode. This coupon code is valid through July the 27th, 2026. So if you need a new ebook for this summer, we have got you covered.
Now let's have an update on my current writing, publishing, and audiobook projects. As I mentioned last week, Blade of Thieves is now out. You can get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, Bookshop.org, and my own Payhip store. It is selling well and people seem to be enjoying it, so thank you all for that.
Now that Blade of Thieves is out, my next main project is Cloak of Frost, which will be the 15th book in the Cloak Mage urban fantasy series. As of this recording, I am 52,000 words into it. I'm thinking the rough draft will be about 100,000 words. So if all goes well, I hope to have the book out in August. My secondary project is Blade of Visions, the sequel to Blade of Thieves, and I am 4,000 words into that. Once Cloak of Frost is finished, Blade of Visions will become my new main project.
In audiobook news, recording is done for Dragon-Mage, the sixth book in the Rivah series, and that will be excellently narrated by Leanne Woodward. I just have to proof/listen to that and then we can submit it to QA and then it should be showing up on the audiobook stories in a few weeks.
Recording has started on Cloak of Worlds, which will be [recorded by] Hollis McCarthy, and Blade of Thieves, which will be [recorded by] Brad Wills. So look for more news and updates about that in the coming weeks. So that is where I'm at with current writing, publishing, and audiobook projects.
00:02:16 Main Topic of the Week: File Organization for Writers
So let's move on to our main topic this week, file organization tips for writers. One of the inspirations for this episode was an episode of the sitcom Community, which is quite funny. In the episode, the college is making a movie based on a legal loophole because they have some archival footage of a suddenly popular actor. One of the characters, Jeff, becomes concerned that people aren't treating the movie as seriously as they would deserve.
So he steals the laptop with the movie and sets out to edit it himself. However, Jeff doesn't know anything about editing a movie, so he watches a YouTube tutorial about how to edit videos. The first lesson is "Step 1: How to properly organize your files." Jeff rages that no, he just wants to learn how to edit movies.
While realizing that proper file organization is vital in the age of digital video editing, maintaining a good file structure isn't quite as rigid for authors and writers as it would be for video editors. However, even though many people consider file structure to be old-fashioned or pointless in the age of Google Docs and AI, in my years working in IT, I found that people wasted many hours trying to find files unnecessarily. For example, I always flinch a little bit when I see someone whose desktop is just a wall of misplaced icons and thousands of documents stacked upon each other.
I used to do tech support for someone who had the most amazing gift for the most unhelpful and un-useful file names, often with misspelled words. He would get very frustrated and angry that he couldn't find anything because he hadn't labeled files properly with good file names. Better file structures and file naming conventions would have saved them all that stress and time. It's not wise to have all your files stacked up on your desktop and hope for the best.
As you grow as a writer, files suddenly become much more complicated than one single draft in a word processing file. There needs to be organization for audiobook files, cover art, marketing materials, research, and much more. Blade of Thieves was my 174th book. So if you think about it, that means I have 174 separate book files on my computer. Many of them have audiobooks. They all have cover art. The audiobooks have cover art, to say nothing of the hundreds of short stories I've written and all of that needs to be organized properly so I can find it when I need it to. So today we're going to talk about setting up and organizing file structures for your writing work.
First of all, what do I mean by file structures? In traditional computing, files like Word documents and Excel spreadsheets are organized in folders. How you navigate through the folder structure on your computer or server to find the files is called a path. Much like with a real path on a hiking trail, you want the path to find a file in a folder to be as clear from junk and confusion as possible. Good file and folder naming is like setting up signs on that hiking trail to help you find the way. Setting up your folders and files correctly makes them easier to use, find, and share with others.
So let's go through some tips on how to properly organize your writing files and save yourself much stress and hassle of trying to find things.
#1: Make a plan before you begin.
Instead of borrowing someone else's file structure, take some time to think about how you use your writing files every day. Do you have a lot of project files for each book like book research, cover ideas, mood boards, and so on? Do you do most of your writing collaboratively? Think about your working style, the amount of files you have, and what kind of files you have that need organizing.
It helps to plan for flexibility and growth in the future as the amount of files you have grows. For example, if someone currently runs only ads on Amazon but wants to add other companies like Facebook or BookBub, it'd be messier to add files from those projects if everything in their advertising folder was all Amazon documents with no sub-folder for Amazon. Making an Amazon sub-folder right away in your advertising folder prevents confusion as you start to add other companies into your advertising strategy.
What you design should be realistic and as simple to use as possible. Are you someone who makes grand and complicated plans, but then sees them fall by the wayside after a couple of weeks? Many people are. Good organization is something where it's easy to let the perfect be the enemy of the possible. If you design overly complicated file and folder structures and naming conventions that you can't remember without a 20-page guide, you're not very likely to keep up with it. It's better to make something simple that it's easy to remember. Carve out the time to do this with your full attention instead of trying to do it in bits and pieces on the fly. It may take anywhere from an hour to days, depending on how many writing files you have. At the very least, set up the initial folders in one chunk of time so the organization is in place before you start moving files around.
#2: Clean up before you start organizing.
Get rid of duplicate and obsolete files before starting to organize other files. It will save time and make the process easier.
#3: File structure is supported by good naming.
Versions and drafts should be numbered to find the most recent one. Be specific. "Second draft" or "Volume one" without a book title isn't helpful if there are multiple books with that name across multiple folders. If you are using dates, be sure to include day, month, and year because in 10 years, "March ads" is not going to make much sense without the context of a year. Be consistent in how you order month, date, and year in a file because being inconsistent with it could make for mixed up dates.
#4: Version control.
"Rough draft THIS ONE" is not a good name to indicate that this is the latest draft and never use "final" as part of a draft or project name until it's well and truly done. On both Windows, Mac, and Linux, you get 256 characters for file names and it's a good idea to use them to be as descriptive as possible in your file names. #5: Be consistent.
Don't make a folder called "Fix These File Names Later" because guess what? That date won't come. In the meantime, you'll probably get annoyed trying to find one of those files that don't have a correct name. If you're struggling with remembering to use your folder and file names, either make yourself a one-page reminder guide or take it as a sign that you might have made your structure and naming conventions too complicated. Remember that simpler is always better.
#6: Document it.
As with so many areas of life, proper documentation will help you remember something in the future. Write out how your folders are going to be structured, what style and formatting you will use to name the folders and files, and give yourselves some examples to jog your memory. If you're sharing the files and folders with others, make sure to share documentation with them and go over the system with them. That will save much time later since you won't have to spend so much time explaining to people where to find things in your file structure.
#7: Decluttering isn't just for your college t-shirts.
Schedule a regular time monthly or quarterly to declutter and fix anything in your file structure that isn't working or isn't consistent or correct. Much like organizing a drawer of shirts, things will only stay in order if you keep up with putting in and taking things out using your system.
#8: It should fix, not create problems.
Your first attempt at file organization may not work once you've added more files or tried it out for a while. Reflect on what is causing problems, what you would like your system to be able to do, and what you dislike about your current system. Train others who will use it. For example, differences in month/[day]/year naming conventions between countries can lead to incorrect dates if it isn't clear what date style is being used.
Abbreviations should be standard to prevent confusion. For example, United States state abbreviations could follow the US Postal Service Conventions instead of writing your own abbreviations. MN would be Minnesota instead of M-I-N-N or M-I-N-N-E-S. (Though this can cause a confusion if you're not accustomed to them since, for example, in the postal codes, people often get Missouri and Minnesota mixed up.)
Tip #9: Sharing isn't always caring.
You can set up password protection on folders and files you don't want to share with others, especially if you're in a shared storage space. Read-only access is a way to share documents with others without worrying about them changing the files. For example, I have read-only access set for my book files so that someone working on my series bibles can download them without editing or changing the files themselves. So instead of having to make extra folders and files that are safe for someone to use without changing, I just set read-only access to those files [for that user].
Now let's take a look at some pros and cons of some typical structures. I'm going to provide examples of three possible folder structures you could use for writing and give you some of the pros and cons for each.
#1: Organizing by date.
In this system, the year is the first file and more specific files like quarters and months are sub-folders.
This system might work best if you write based on challenges or projects such as National Novel Writing Month where each year is its own project. If you're taking writing courses, organizing by date and then by semester or course also would make sense for many people. For many writers, however, this could be a difficult way to organize because then you have to remember what year each book was written and many books are written across several years or months.
If you're sharing the files with others, then you have to give them information on the history of each book project so they know which folder dates to look at, which creates extra work and most likely confusion. Like for example, off the top of my head, I could tell you that Ghost in the Forge is the sixth book in the Ghost series. However, I couldn't remember what year or month it was written in. I think it would be 2012, maybe February of 2012, but I would not be able to confirm that without looking it up, which would mean trying to find the file for Ghost in the Forge if I needed it would be a bit of a challenge.
#2: Organizing by book.
In this system, each book has its own folder and then other aspects like drafts, marketing materials, research, and covers are subfolders. If you don't have a large volume of books and don't have many writing adjacent activity files like research and advertising and don't share files with others, often this is a pretty straightforward way to organize your writing files.
#3: Organizing by project type.
In this system, the type of project is the main subfolder and sub-folders such as the books, marketing materials, covers, and series bibles would be in folders instead of being organized by individual books.
For example, there would be a folder for marketing images. Instagram would be a sub-folder, and then there would be sub-folders in that folder for specific images and ads or individual books. If you have a lot of marketing images, that can be easier than trying to remember what image was for a certain book.
This file organization system is more complex than just organizing by book and could be hard to keep up without some dedication. It might be unnecessarily complex for someone who only has a handful of books and only a small amount of files. As your writing adjacent activities like marketing and social media grow, it can be easier to organize this way than just by individual books.
It's also much easier to share folders in a granular way using this method. For example, if you hire an assistant to help with social media posts, you can give them access to the social media marketing folders without having to give them access to the folders that have the book files and drafts in them.
Now, what do I do for my own file organization system? Now, my system has partly been thought out and partly developed organically over the 15 years I've been doing this. And I found for me, since I've written so many books and series, that the best organizational principle is to run by series. My rough drafts are not super organized because once I am done with the book, I tend not to look back at the rough draft files. So usually my rough drafts are sitting in individual folders for the series like Frostborn, Dragontiarna, Blades of Ruin, and so forth. I am much more organized in the final drafts. Each individual series has its own folder and within the series, each individual book has its own folder as well. To help with keeping things in order, I usually number the folders. So for example, in Blades of Ruin, the first folder within it would be 01 Blade of Flames, then 02 Blade of Shadows, 03 Blade of Storms, and so forth.
Within the individual book folders, I have the final files in ePub and PDF form for the books along with the cover images for both ebook, audiobook, and paperback. However, as I mentioned earlier in the podcast, I don't have just the book files. I also have audiobook files, advertising files, and a very large photo library from a combination of stock photos, 3D renders, and photographs I have specifically taken over the years for the purpose of using for ebook covers and advertising materials.
For advertising images and materials, like I said, I found the best organizing principle for me is by series. So I generally tend to just organize them by series. So Frostborn, Sevenfold Sword, Dragontiarna, and the Andomhaim books generally have just one folder of advertising images since I can use the advertising image for both Frostborn: the Gray Knight and Sevenfold Sword: Champion.
For my audiobooks, I keep those on a separate drive because they eat up a lot of space. But then I just have them organized out by book and series, which is pretty easy when I need to find something. For my stock photos, I do have those pretty well organized and again, in a separate drive, which I back up separately. I divide out the images by type. So I have a folder for castles, a folder for medieval or ancient cities, a folder for modern cities, a folder for fireballs and so forth. And so if I'm making a book cover image and I think, hmm, I want a sword, I can go into the swords folder and look at appropriate pictures of swords until I find one that would work for the project.
How this [has] changed over time is I've had to become a bit more organized with the files because I started using Vellum, which generates a separate file of its own. So then I had to make sure that those were organized into proper files. I used to keep all my stock photos in just one big folder that quickly became unmanageable. So I once took two days to properly organize these stock photos. Just keeping all the rough drafts in one big folder for the series has worked pretty well for me because once I am done with the rough draft and have turned into the final draft, I just ignore the rough draft file and any changes that need to be made are obviously made to the final draft file. I also used to keep all the cover images in one folder for some reason and that was a bad idea. So then I started keeping the specific cover image in the folder with the specific book and that has worked out well.
Would this be something I would recommend to someone just starting out? I think so. You can obviously get more complicated with this and my file structure is pretty simple overall, but it works for me. I can find anything I need to pretty quickly. In fact, my folder structure is deep enough I find sometimes that I get halfway down the folder structure and forget what I am looking for before I find it, which is a separate problem from folder organization. But I've stuck to this pretty consistently over the last 15 years and it's worked well for me. So I think I could recommend this to someone starting out. I'd have a folder for your rough drafts and then a folder with separate folders within it for your final drafts.
Conclusion
File organization is not glamorous, but as any records manager at a US government agency can tell you, it is extremely important for finding, organizing, and preserving what you create. Searching for files is not a writing adjacent activity that you want to take up your time and you definitely don't want the stress of losing something that you worked on for a long time by naming and storing it incorrectly.
Finally, I want to close out with a reminder that however you set up your writing files and organizing them, they absolutely need to be backed up on a regular basis. I would recommend using a combination of cloud and local backups since they reinforce each other. If heaven forbid your house explodes and you lose your local backups, you still have your cloud backups. And if your cloud provider goes down or gets hacked or something, you still have your local backups. So no matter how you organize your files or how well organized they are, you definitely want to back them up on a very regular basis.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all of the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice.
Stay safe and stay healthy and we'll see you all next week.
In this week's episode, we take a look at 5 lessons indie authors can learn from tradpub.
This coupon code will get you 50% off the audiobook of Dragonskull: Crown of the Gods, Book #9 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
JULYCROWN
The coupon code is valid through July 20, 2026. So if you need a new audiobook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 310 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July 2nd, 2026 and today we are discussing five lessons indie authors can learn from traditional publishing. Given how negative I've been about traditional publishing over the years, that may be a bit of a surprise, but we will find out more later. We will also have a Coupon of the Week and a progress update at my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Crown of the Gods, Book #9 of my Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That coupon code is JULYCROWN. As always, you can get the coupon code and the links to my Payhip store in the show notes for this episode. This coupon code will be valid through July 20th, 2026, so if you need a new audiobook for your summer travels, we have got you covered.
And now for an update on my current writing, publishing, and audiobook projects. I'm pleased to report that Blade of Thieves is now done and published. Once this episode goes out, you should be able to get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, bookshop.org, and my own Payhip store. It's starting off strong, so thank you to everyone who is reading and enjoying it. Thank you for everyone being patient while I got to it.
Now that Blade of Thieves is finished, my next main project will be Cloak of Frost, the 15th book in the Cloak Mage urban fantasy novel series. I'm currently 24,000 words into that. I think the rough draft will be about 100,000 words. If all goes well, I hope to have that out in August. My new secondary project is now Blade of Visions, which of course will be the direct sequel to Blade of Thieves. As of this recording, I am 1,000 words into it.
In audiobook news, Leanne Woodward has started recording Dragon-Mage and Hollis McCarthy is currently recording Cloak of Worlds, which was the 13th book in the Cloak Mage series. In a few days after this, Brad Wills is going to start recording on Blade of Thieves. So we should have a bunch of new audiobooks coming up for you to listen to before too much longer, if all goes well. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:23 Main Topic of the Week: 5 Things Indie Authors Can Learn From TradPub
Now onto our main topic this week, five lessons indie authors can learn from TradPub. Given how critical I have been and continue to be of traditional publishing on this blog and my podcast, this might come as a bit of a surprise and this should be in no way an endorsement for anyone to pursue traditional publishing.
My blunt opinion is that if you are a new author starting out, you are much, much, much, much, much, much, much, much, much, much better served going indie instead of traditionally publishing. You will retain ownership over your IP. You will potentially be able to make more money and you won't have to deal with the various problems endemic in traditional publishing. Occasionally I see on social media a newish author trying to get an agent or being excited that an agent responded to their query letter or whatever. I don't do this because arguing with strangers on the internet is a waste of time, but I want to tell them, "Don't do this. Go indie. You'll be much happier in the long run and you won't have to worry about your agents stealing all your money," of which there have been documented cases that have happened.
Now with all those caveats aside, traditional publishing has lasted for a long time. There is a reason that traditional publishing has survived so many changes and continues in many different forms to this day. And while I wouldn't recommend that you pursue traditional publishing, there are things you can learn from it to enhance your career as an indie author. So today I'm going to talk about five things you can learn from TradPub as an indie author.
#1: Your book doesn't exist in a vacuum.
Many authors are resistant to their book being put into categories or being paired with similar books. I've frequently noticed that aspiring and first time authors are particularly resistant to the either idea of their book best fitting into a single category or being similar to another authors. It doesn't mean that your book isn't creative or unique, it's accepting the reality of bookselling. Even in the modern indie era, books are still very much classified by a limited number of categories on book sites and ads are built on comparing your books to other authors.
Focus on the category that best represents your book if it spans genres and focus extra effort on finding similar authors to help potential readers understand what type of book you are offering. For example, I had this problem with Cloak Games and Cloak Mage for a couple of years because the series is primarily an urban fantasy, but it's also set 300 years in the future. There are increasing science fiction elements in the series. The protagonist has visited several different planets and so forth, so trying to cram that all into an ad description or an ad targeting is a difficult proposition.
I had better success when I started describing the series as the Dresden Files crossed with the Shadowrun RPG, which readers of it will say probably captures it quite well and then in the marketing, I always focus on the urban fantasy elements. I don't even mention the sci-fi elements because I think that's a fair representation of the book is that it's 80% urban fantasy with some sci-fi stuff in the background. So that is an example from my own books that I've done where I have emphasized the urban fantasy and contemporary fantasy aspect of Cloak Mage in the advertising and then just didn't mention the rest of the stuff in the other advertising.
Traditional publishers even create the feeling of similarity with their own books by using the same artists and styles for their book covers. There was a post going around last year showing all the romance books with blue covers, cartoon figures facing each other while outside, and swooping white font. Book genres have conventions and trends in their covers. Instead of fighting that, you might want to take a time to look at the best sellers in your category to take note of what's working for other authors in your category. A book cover doesn't have to match everything about your book. It just has to give people a quick impression of what the book is about so it makes sense and doesn't confuse people and gives them something that is least in line with genre expectations.
My rule of thumb for book covers is always that it should, in a space of two seconds of looking at a book cover, it should tell you the title of the book, the author of the book, and the genre of the book and it should do this all in an aesthetically pleasing and attractive matter. Those are essentially the four rules for a successful book cover, that you look at it and you can within two seconds know the title, the author, the genre, and it's presented in aesthetically pleasing and attractive manner. So to get a good book cover for your category, it would be a good idea to look at the other books in your category and see if you can find a design that while it doesn't copy the other designs, nonetheless follows some of the same design rules.
#2: Timing matters.
Traditional publishing is largely based on three seasons: spring, summer, and fall. By building the release schedule this way, it offers reliability for booksellers and libraries and each season has a general theme that makes it easier to market new releases. For example, fall has a lot of prestige literary fiction titles while summer might focus more on beach reads and SATs study guides.
Indie publishing isn't beholden to this type of thinking about scheduling book releases, but it's smart to learn from what has worked for traditional publishing over the last couple centuries. Book sales in the US are generally a little softer in January and the summer and peak around the winter gift giving season. Thrillers often get published in September and October so they can get the "spooky season" boost from people looking for Halloween adjacent reads. It makes sense to look at the rhythm of what has been working for bookselling in your genre and see if there's a time that is especially advantageous for you to put out your book where you're just starting out and don't have very much in the way of your own sales data yet.
For myself, I found what indie authors really need to watch out for is holidays. Publishing a book the day before Christmas or the day after Christmas is not a good idea. One of the reasons I didn't rush to get Blade of Thieves out the last week of June is because a lot of people will be taking the last week of June off because it leads right into the 4th of July holiday, which is why Blade of Thieves came out after 4th of July. I'd say the weakest times in my experience for indie authors are generally on November, December (because of the late Christmas), and then August and September also tend to be fairly weak because that is back to school time, which is very often very expensive and a financial strain for many people, in addition to their time and energy being focused on things other than recreational reading.
Also, I've been doing this long enough to say this with some authority is that presidential election years, especially in the run up to the election are always pretty weak times in 2012, 2016, 2020, and 2024, especially 2024. I did notice a dip in sales as we approached the election and the general intensity of the campaigning and the ads and everything picked up. I've come to realize that a significant portion of the reading public, especially in the United States, also overlaps with the very politically involved public. I mean, it's not a perfect Venn Diagram, but there is significant overlap. So as the election season heats up, you can expect to see a drop in sales. I honestly wonder if traditional publishing has that as well. I would look into that at some point. So I'd say for an indie author, be mindful of holidays and don't be alarmed if you see a sales dip before and during the holidays and it might be a good idea if you have a big release to wait until after the holiday to push it.
Tip #3: If it's a product, make it a good one.
Another thing that many authors reject is the notion that their book is a product to be sold and not just a piece of art. Publishing isn't shy about thinking of their books as products with units just like a can of beans on a shelf and when you're shipping hundreds of thousands of books across the world, the general process isn't all that different (with the possible exception that books are generally quite heavy). When you remove some of that emotional attachment to a book and think of it as a product, it becomes a little easier to work with.
And what do I mean by that? It's much easier to tear a book apart in editing, change the cover, fix the blurb, and make ads by thinking of the book as a product that exists next to similar products instead of a special and unique masterpiece. If your book is a product, then make it a good one. Take the time to improve it and look at it from an outsider's perspective. Seek feedback, just like TradPub does through the use of advanced reader copies.
Tip #4: Deadlines work.
One thing traditionally published authors usually have that indie authors do not is a deadline. The TradPub book is set to be released on a specific date and missing the deadline is a pretty efficient way to get your publisher upset with you as a TradPub writer since that release date has likely been publicized and changing release dates could impact how your book sells against other books. The problem with not having a set deadline for finishing a book is that many indie authors fall prey to waiting for inspiration or letting themselves get into the habit of undisciplined work time. They let, as I often say, the perfect to be the enemy of the possible, or just as importantly, the finished.
Some people need an external deadline and pressure from other people in order to work for any meaningful amount of time. It's best to know yourself and if you're the kind of person who needs some structure to work well, to find a way to put that structure and those deadlines into your work as a writer. You can try making deadlines and sharing them with someone else in a form of accountability buddy or making a set of rewards based on making your own deadlines. Plotting out your release schedule at the beginning of another year is a way of doing this.
Tip #5: Paper books still matter.
A surprising area of opportunity for TradPub has been print books. For some categories like children's books or cookbooks, ebooks have never been the driving force and the demand for physical copies over ebooks has remained fairly consistent. Some of the trend of readers wanting more print books started in the COVID era when people were spending entire days on Zoom meetings and staring at computer screens for work or school and needed a break from their screens in their leisure time.
Bookstagram and BookTok have also driven this print trend. These influencers typically use physical books in their photos and videos and they are often arranged in various athletically pleasing ways. Publishers responded with a slew of special and exclusive print editions for this market and existing fans of the series. They often have sprayed edges or color illustrations and are so prized by collectors that some have the [sprayed edges] on the books facing out in their bookshelves or books on stands to display certain interior illustrations.
Traditional publishing did not give up on print and neither should you as an indie author. Most of your income as an indie author is probably going to come from some form of ebooks, but print should not be overlooked. Some categories do better than others in the print format, but many readers will want the print version of a favorite book they have already read as an ebook or just prefer print as their preferred reading format.
Fortunately, the days of having to buy a large amount of print books and keep them in your garage has passed for indie authors. Many companies, including Amazon, Ingram Spark, and Draft2Digital offer print on demand services for indie authors so you don't have to spend a large sum of money printing your own books. It's worth investigating how the print on demand format might work for you as an indie author.
One thing I should also mention is that if you write nonfiction, it's also a very good idea to have a print edition because for certain kinds of nonfiction books, the reader will keep the nonfiction book and reference it again and again and keep it for years as opposed to a fiction book where the reader might read it once and be done with it and if it's not their favorite book, they might not need a print edition.
My Linux Command Line Beginner's Guide is also available in print and is my overall bestselling print book because it's essentially a tutorial for learning the basics of the Linux command line and it makes sense therefore that people would want the physical copy as a quick reference when doing things in the Linux command line.
In conclusion, there's no point in throwing out the centuries of experience that traditional publishers have in selling books. Although the publishing industry continues to change (and although I still think you're better off self-publishing than pursuing a TradPub deal), it's wise to look at things that are working there and adapt them to suit your needs (although once again, I still think you're better off self-publishing).
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your view on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's episode, we offer 7 tips indie authors can use to help their audiobooks turn a profit on production costs.
This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store:
JUNENIGHT
The coupon code is valid through July 13, 2026. So if you need a new ebook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 309 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 26th, 2026 and today we are sharing seven tips for audiobook profitability for indie authors. Before we get to that, we will have Coupon of the Week and an update on my current writing, publishing, and audiobook projects.
First up is Coupon of the Week and this week's coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store. That code is JUNENIGHT. And as always, the coupon code and the links to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through July the 13th, 2026. So if you need a new ebook series to read this summer, we have got you covered.
Now let's have an update on my current writing, publishing, and audiobook projects. I am pleased to report I am on the second editing pass of Blade of Thieves. I am about 13% of the way through that. And so if all goes well, I think the book will be out after the 4th of July weekend/second week in July, if all goes well. I have a few real life things to do that might slow that down, but I am very, very keen to finally have this book out after the 4th of July weekend.
After Blade of Thieves is published, my next project will be Cloak of Frost, the 15th book in the Cloak Mage series. I am 17,000 words into that and I am hoping that will be out in August, if all goes well.
I have no audiobooks currently in production, but that will change next month because Brad Wills will be recording Blade of Thieves once it's done. Hollis McCarthy will be recording Cloak of Worlds and Leanne Woodward will be recording Dragon-Mage. So we'll go from having no audiobooks being worked on to a bunch being worked on all at once. Funny how things tend to bunch up like that. So that is where I'm at with my current writing and publishing and audiobook projects.
00:01:59 The Economics of Audiobook Production for Indie Authors [All money amounts mentioned are in USD.]
Now today I want to talk about a very advanced level indie author topic, namely audiobook production and the economics of it. Recently there's been some controversy because ACX (which is Amazon's audiobook production platform) has been changing its royalty model and rolling out what they call synthetic voice, which is basically an AI generated voice. Some writers have been using it because it's a lot cheaper than a good human narrator, but the flip side is that not many people like listening to it and won't pay money for it.
Admittedly, synthetic voice is not fundamentally a new technology. Text to speech has been around forever. Macs have had it since I believe 1984, back when 120 kilobytes of RAM was a lot. As a brief digression, I wish the term AI hadn't been bandied about so liberally. Before the public backlash began against generative AI and data centers, the term AI was trendy, so it got slapped on a lot of things that are actually wildly different than generative AI. I saw a post where someone was complaining about the locations in Starfield being AI generated, when in fact they're procedurally generated, which is something totally different. Anyway, synthetic voice is just a more advanced version of the text to speech technology that's been around since the early 1980s. The fear is that AI generated audiobooks will swamp the market and dominate most of ACX's payment model.
Now, while that is a valid fear, I strongly suspect that it is not going to work out that way, given the hostility I have observed towards synthetic voices, especially in fiction. I think what'll happen is authors who use synthetic voice will save a lot of money by not paying a narrator, but then they won't actually make any money because no one will want to buy these machine voiced audiobooks.
I have some basis for that because in the early 2020s, I experimented with making synthetic voice versions of my Silent Order science fiction series and putting them on YouTube. The overwhelming response was that people liked the story but hated the computer generated voice. It might be different for nonfiction. A romance novel with a synthetic voice would obviously be quite flat, but that wouldn't matter as much for a primer on tax law or agriculture or something similar. So there's a lot of uncertainty on whether or not audiobooks can still be profitable for indie authors. However, I suggest this is nothing new.
Audiobooks have always been indie publishing on hard mode, partly because they're expensive to produce and partly because they're harder to sell than ebooks and sometimes even paperbacks. That said, I'm on my eighth year of self-publishing audiobooks and some of them have made back their production costs and turned a profit. So I thought it would share seven tips on how to have profitable self-published audiobooks.
#1: Think long term.
If you want your audiobooks to be profitable, you need to think in the long term. ACX has this program called Royalty Share where rather than pay a narrator, you and the narrator split the royalties on the audiobook for the next seven years and after those seven years are passed, you get all these subsequent royalties. I've never taken this option, but I cite it here because I think seven years is not an unreasonable amount of time for an audiobook to earn back its production cost. People always blanch a bit when I say that, but I've been doing self-published audiobooks for eight years now, so let's see how some of them have done.
The Frostborn audiobooks, 100% of them have earned back their production cost. Of the 24 Ghosts books in audio, about the first 10 have earned back their production cost. For Cloak Mage, of the 12 Cloak Mage books currently in audio, about the first three and a half have earned back their production cost. For Dragonskull, of the nine Dragonskull books, the first three and a half have earned back their production cost. For Malison, of the four Malison books, they have 100% earned back their production cost. It helps that they're short. For The Shield War, of the six Shield War books, the first one has earned back its production costs, but I only started the series in 2023. The Linux Command Line Beginner's Guide (my one nonfiction
book) has totally earned back its production cost. So I don't think seven years is an unreasonable length of time to earn back the production cost for an audiobook.
That means you have to think long term, almost like a small business owner buying a new piece of equipment. Depending on the business, the owner might budget for the equipment making back what he paid for it in four or five years, or if he has to take out a loan to buy the equipment, he'll calculate how long it'll take to pay back that loan. Like for example, I just had to pay a lot of money to have these struts in my car fixed and I expect the garage owner carefully considered how much he would spend on his vehicle hoist since I believe a new vehicle hoist and installation typically costs between $7,000 and $12,000 and how long it would take him to make back that money.
All successful small business owners have to think like this. Now this mindset is a bit tricky for indie authors because we often have a strong tendency to think in the short term, especially new indie authors who want their books to make a ton of money right now. But as I said above, audiobooks are self-publishing on hard mode, so you need to decide whether it is worth the investment and if you're comfortable waiting a few years to earn back the production cost over time. The reality is that if you are paying a professional narrator to create an audiobook, you're paying $200 per finished hour or above, which is a small business expense. So for that kind of money, you need to think about the audiobook like a small business owner.
#2: Deductions
First off, I am not a lawyer and this is not legal advice and I am not an accountant and this is not investment/financial advice. If you want financial/investment advice, you should talk to an accountant or financial planner properly certified with the tax laws of your state, province, and nation. If you want legal advice, you should talk to a lawyer licensed to practice in your jurisdiction.
The way my writing business is set up, I can take the production cost of audiobooks as a deduction against my taxes. This initially was one of the reasons I got into self-published audiobooks in the first place way back in 2018. I realized that if I was going to have to pay the money in taxes anyway, I might as well spend some of it on audio production instead, since that way I'll at least get a revenue generating asset out of it.
Other small businesses will sometimes do this when they approach the end of their fiscal year and realize they have more tax liability than expected, so it's probably time to invest in some new equipment or upgrades that they would need anyway. Like maybe the garage owner we mentioned earlier has a really good year so he decides it's a good time to spend that $12,000 on a new vehicle hoist so he doesn't have quite so high a tax bill at the end of the year.
I once had someone tell me rather self-righteously that this was a tax dodge and therefore immoral, but that's ridiculous. [Transcriptionist's side note: I wish I had that person's level of unearned confidence. I'd use it for cliff diving or starting a library just for puppies and the weirdest, clumsiest orange cats. Literally anything else.] No less of an authority than Jesus Christ himself said that to render under Caesar what is Caesar. If Caesar says that audiobook book production is a deductible business expense, it is a deductible business expense. Business deductions are the government's way of saying, "spend this income on something that benefits the national economy or will take it as taxes." To a more immediate point, the IRS itself says you have the legal obligation to pay exactly the amount of taxes you owe, but there are also legal ways such as business deductions to reduce the amount of taxes you owe.
Besides, no matter what you do, the government gets its cut anyway. At the end of the year, I have to file 1099s for the narrators because their payments are taxable income and every time one of the audiobooks sells, the government gets sales tax, the stores owe taxes on that income, and I owe taxes on the payment from the store. Uncle Sam has a lot of practice at getting his cut and he's very good at it. So depending on your business structure and the local tax laws where you live, audiobook production might be a deductible expense, which is very helpful on the financial side of it.
#3: Promote the ebook.
The easiest way I found to sell an audiobook is to have the audiobook of an ebook that sells well. Admittedly, this is a bit of a chicken and egg problem, isn't it? However, that can help you choose which titles to make into audiobooks. Like I mentioned above that Frostborn has paid back 100% of its production costs, and that's because it's my most popular series. It was easy for the audiobooks to sell well because the ebooks were selling well. By contrast, an ebook that sells more slowly will have a harder time selling audiobooks.
One of the reasons I experimented with using synthetic voice on YouTube with the Silent Order series earlier in the 2020s was because I knew I would never make Silent Order into actual audiobooks because the series didn't sell well enough to merit it. So if you want your audiobook to sell, the easiest way to do it is to promote the ebook. If the ebook sells well enough, it will likely generate some audiobook sales as well. This can also help you determine whether or not you should even produce an audiobook of a particular ebook. If the ebook does not have strong sales, it is probably not a good idea to make an audiobook out of it.
#4: Diversify
We started out by talking about ACX, but ACX is not the only game in town. The other big audiobook distribution platform is INaudio, which is owned by Spotify.
It was previously known as Findaway Voices, but then Spotify bought it and changed the name to INaudio. ACX will get your audiobook into Audible, Amazon, and Apple. INaudio will get your audiobook into every other platform: Google Play, Kobo, Storytel, Chirp, the library distributors, and a bunch of others. So if your audiobook is not exclusive to ACX, it's a good idea to use INaudio as well.
That said, Google Play and Kobo now have direct upload for audiobooks and if your audiobook is not exclusive to ACX, it's a good idea to use the direct upload for Google Play and Kobo instead of relying on INaudio. There are a few significant advantages to this. First, you make a little bit more money since INaudio is not taking its distribution fee and the cumulative effect of that over time can be significant. Second, your audiobook will be eligible for Kobo Plus, which can generate extra revenue. I've had some of my best months on Kobo in 2026 thanks to Kobo Plus.
Third and perhaps most importantly, you won't be completely dependent on INaudio because INaudio is frequently quite glitchy and in my frank and unbiased opinion, has gone downhill noticeably in quality since Spotify took over. Every single problem I've ever had with INaudio has come after Spotify bought Findaway and turned it into INaudio. I'm afraid that Spotify, like many other publicly traded corporations in the US, has the chronic problem of an upper management class who are buzzword prone MBA drones with an unhealthy enthusiasm for generative AI and indulging in self-destructive cost cutting and layoffs right before it's time to file quarterly reports. Very frequently, the QA process on INaudio will go berserk and declare that a book is AI generated and ineligible for distribution even when it's not. So direct upload to Google Play and Kobo avoids that problem.
Because of these problems, another distributor called Author's Republic has been growing, but I haven't tried that out yet. Despite these problems, INaudio also gets you access to Chirp, which is our next bullet point.
#5: Chirp Deals
I said earlier that the best way to promote your audiobook is ebook promotion, but the one exception to that is Chirp. Chirp is run by BookBub, which is an email newsletter service that offers discounted ebooks to its subscribers. BookBub wanted to expand to audiobooks, but Audible very famously does not let indie authors control their prices and definitely doesn't let them do discounts. So to get around that slight problem, BookBub started its own audiobook store in the form of Chirp, which does let indie authors control their prices and therefore offer discounts.
I've had some excellent results with Chirp deals over the years, usually with Child of the Ghost and Cloak of Dragons. In May, I had a Chirp deal with Dragonskull: Sword of the Squire, but since the dashboard on INaudio only updates every 30 days for Chirp, I'm not sure how it did yet. If you get a Chirp deal and you want to take a big swing with it, you can also set temporary discounts on the subsequent books in the series. For my earlier Chirp deals for Cloak of Dragons and Child of the Ghosts, the price for Cloak of Dragons was at $0.99 and I set the price of the subsequent two audiobooks at $2.99 each. I got good results from that and some of my best months on INaudio. For the recent Dragonskull deal, Sword of the Squire was at $0.99 and I temporarily set every other audiobook in the series at $2.99 on Chirp. It was the biggest swing I've taken with a Chip deal, so I'm curious to see how it plays out.
#6: Direct sales
It's a good idea to have a direct sales platform of some kind, whether it's Shopify or Payhip or Gumroad or a similar platform and offer direct sales of your audiobooks. There are numerous advantages to this. You can set your own price, which as we mentioned above, ACX does not let you do. You can very easily run sales and discounts. If you're a regular reader at the site, you know I do a different Coupon of the Week for my Payhip store every week and it's often for audiobooks. As I mentioned with the problems with INaudio, it provides a platform to get your audiobook to listeners even if the other stores are having technical problems. Sometimes ACX processing can take weeks and the site's past troubles sometimes stretched [it] into months.
The difficulty is getting people to actually use the store. The term vendor lock-in means that the more a customer uses the platform, the less likely they are to switch. If someone has been building up their Kindle library or Audible library since 2009, they're unlikely to switch to a competitor. Most of my direct sales come from a combination of Coupon of the Week and new releases to people who don't like DRM. So having a direct sales platform is a long haul, but still worth doing. Besides, everything in audiobooks is a long haul.
#7: Direct reader relationship via Patreon or a similar site.
I've never done this myself so I don't have any specific tips, but I have seen some writers do it quite successfully. That said, you should only have a Patreon or a similar site if you're willing to put in the work.
Readers are very unforgiving of a writer who does not live up to his or her Patreon obligations. However, if you include audiobooks as one of your patron tiers that can go a long way towards audiobook profitability. A regular Patreon type income can help fund regular audiobook production.
Conclusion
Audiobooks are indeed indie publishing on hard mode, but hopefully these tips will help increase the chances that your audiobooks will be profitable. Lastly, thanks to everyone who has listened to one of my audiobooks.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In episode 306, we looked at the advantages of taking your book wide to all retailers. In this week's episode, we'll look at the other side of the coin and examine eight advantages to placing your book in Kindle Unlimited.
This coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress, Book #8 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
JUNEDOOM
The coupon code is valid through July 7, 2026. So if you need a new audiobook this summer, we've got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 308 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 19th, 2026 and today we are looking at the advantages of using Kindle Unlimited for your books. Two weeks ago, we had an episode about the advantages of going wide and distributing it away from Amazon, but there is another side of the coin and today we're going to look at it in the advantages of Kindle Unlimited. We also have an update on my current writing, publishing, and audiobook projects and Coupon of the Week.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress, Book #8 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. That code is JUNEDOOM. As always, the coupon code and the links to my Payhip store will be available in these show notes for this episode. This coupon code will be valid through July 7th, 2026. So if you need a new audiobook for your travels this summer, we have got you covered.
So now let's take a look at where I'm at with my current writing, publishing, and audiobook projects. I'm pleased to report that the rough draft of Blade of Thieves is done. It turned out to be just about as long as Blade of Wraiths. I'm also finished with Orcish Fury, which will be the bonus short story that newsletter subscribers will get a free ebook copy of when Blade of Thieves comes out. I am now editing Blade of Thieves. The first two chapters are edited. I am not sure how many chapters I'll end up with because I've gotten into the habit of splitting up longer chapters into shorter chapters lately since readers seem to prefer that. I do think the book will probably be out after 4th of July weekend if all goes well, because it is a big book and I'm going to have to do a fair bit of editing and I do have a few more things to do in real life that might slow the process down. But if all goes well, the book should be out shortly after the 4th of July weekend.
I am also 13,000 words into Cloak of Frost, which will be my next main project once Blade of Thieves is finally done. That will probably be available in August, if all goes well.
In audiobook news, at the moment I have no audiobooks in active production, but that will change next month because Leanne Woodward will be recording Dragon-Mage. Hollis McCarthy will be recording Cloak of Worlds and Brad Wills will be recording Blade of Thieves once I finally get it done. So it's funny how things always seem to do a bunch up like that rather than having a more conveniently distributed fashion, but I suppose that's just the nature of life.
In other audiobook news, I mentioned earlier that Cloak of Dragons is now available in Audible Plus for those of you who are Audible listeners who have a plan that includes that. Before too much longer, I'm going to start working on the audiobook version of Cloak Mage Omnibus Four, which will combine I believe Cloak of Embers, Cloak of Titans, and Cloak of Illusion into one audiobook bundle. I've done that before [in] the past [with] Cloak Mage books and it's worked pretty well, so we're going to do it with this one as well. I'm going to start working on that next week because I've got to make the cover and then it takes forever to upload all the audiobook files. Hopefully that will be out sometime in July, if all goes well. So that is where I'm at with my current writing, publishing and audiobook projects.
00:03:23 Main Topic of the Week: When and Why to Put Your Books in Kindle Unlimited (KU)
Now let's move on to our main topic this week, when and why to put your books in Kindle Unlimited. You might remember that two weeks ago (with Episode 306, I believe) we discussed the advantages and benefits of taking your books wide and not exclusive to Amazon. However, there are reasons it might actually be a good decision to put your books in Kindle Unlimited. In this week's episode, we'll talk about why you might want to consider putting your book in Kindle Unlimited.
First, we should discuss how Kindle Unlimited actually works, defining our terms, so to speak. Kindle Unlimited is Amazon's merchandising program for ebooks, essentially. To use the program, you agree that your ebook will be exclusive to Amazon for the next three months (and by default, it auto renews, but you can turn that off in the dashboard).
The advantages to you for using Kindle Unlimited are that in addition to buying your book outright, people can also check it out in the Kindle Unlimited program and then you get paid based on how many pages they read. The payout typically varies, but it's usually 45% of one cent [USD] per page read. For example, Half-Elven Thief, you can buy it for $4.99, but in terms of Kindle Unlimited, it comes to about 300 Kindle Unlimited pages, which means that if a reader reads the entire book, I typically get about $1.35 for a complete read. Obviously, this advantages longer books, whereas with the sale of the book, I would get like $3.49, which is significantly more, but it is possible to make up in volume of page reads lost sales on other platforms if the circumstances are right. So that is how Kindle Unlimited works. And now we will look at eight reasons why it is a good idea or why it might be a good idea and why it might be advantageous for you to put your books into Kindle Unlimited.
#1: Certain genres are KU dominant.
This is not true across all genres, but certain genres tend to be heavily dominated by Kindle Unlimited readers. For example, LitRPG is a unique case because the most popular LitRPG tends to be in serialized form on sites like Royal Road and similar sites, but when it does come to ebook form, it's usually on Kindle Unlimited. So if you're looking to read LitRPG, you will find most of it on Kindle Unlimited and not on the other sites. Other genres tend to be not totally dominant to that effect the way that LitRPG is, but do still have a great deal of strength in Kindle Unlimited, such as military sci-fi, certain kind of thrillers, and certain romance genres as well tend to be very heavily dominated by Kindle Unlimited. So if you are writing in one of those genres, it may be worth your while to consider that it may be advantageous to you to put your book in Kindle Unlimited and see how it performs.
#2: The Kindle Unlimited Boost
It's no secret that Amazon definitely puts its thumb on the scales for Kindle Unlimited books as opposed to regular ebooks. I've noticed that Kindle Unlimited books tend to go higher in the Amazon rankings. They tend to stay up there for longer than non-Kindle Unlimited books and that reviews generally show up faster for Kindle Unlimited books than they do for non-Kindle Unlimited books. That last part might vary, but the ranking thing is true. It's also true that the higher a book stays in the Amazon rankings and for longer, the more likely it is Amazon is to generate "we think you might like this" emails and send them out to readers in hopes of drawing them to your books. So it is true that Amazon definitely gives a lot of advantages to Kindle Unlimited books that other books don't get. And depending on your sales strategy and your genre, as we mentioned before, it might be worthwhile for your book to be in Kindle Unlimited.
#3: Your sales data supports it.
If you publish a book wide and after you look at a couple of months of sales data and you notice something like 95% of the sales are coming from Amazon, it might be worthwhile to consider taking the book exclusive and putting it in Kindle Unlimited since in that instance, the boost of page reads and page reads revenue would make up for the sales you clearly aren't getting on the other platforms.
Now the threshold for this obviously varies a good deal. I've had months in the past where only like 45% of my revenue came from Amazon and in some of my older series in particular, the Amazon revenue tends to only be around like 40 to 45% and the rest comes from all the other retailers. So in that case, obviously it would be a very poor decision to take the book exclusive to Amazon and take it off all the other retailers. So this is a case where it is once again a good idea to monitor your sales data closely so you can make informed decision rather than working off of gut hunches and guesswork.
#4: It permits you to reach readers who aren't buying individual books and value conscious readers.
When I've talked about Kindle Unlimited on Facebook and my website in the past, I usually get comments from people who point out that they are on fixed incomes, whether from retirement or disability or taking care of other relatives and so forth and that Kindle Unlimited for them is a great deal because in exchange for $12 a month, they can read as many KU books as they have time to read. That is true.
Kindle Unlimited is a much better deal for readers than it is for the majority of writers. And having your book in Kindle Unlimited is a way to reach those value conscious readers who will not buy individual ebooks for whatever reason, whether budgetary constraints or other reasons but do have a Kindle Unlimited subscription. Kindle Unlimited offers you a way to reach those readers that you otherwise would not and that is a potentially useful advantage.
#5: It helps you to find new readers and binge readers.
Kindle Unlimited kind of works a little bit like the permafree strategy, which I've discussed before, where that if you make the first book in your series free, people are more likely to take a chance on it than they would otherwise. The same thing is true of Kindle Unlimited because if someone's already paid the Kindle Unlimited subscription for a month, it's a sunk cost and therefore there is no disadvantage or additional cost to them for trying out your book and that can potentially lead to a strong sales boost for you if someone discovers your books and likes it.
Additionally, if you have a series, every time you release a new book in the series, there is a strong chance your previous books will get a boost. This has been my strategy with the Half-Elven Thief series for the last two and a half years. Now, every time I release a new book in the series, I am fortunate enough that it does well enough that it goes high in the ranks for a while and that causes a sort of halo effect as people discover the previous books in the series for the first time and read through them with their Kindle Unlimited subscriptions, which generates a lot of page reads and therefore revenue.
As I said before, a complete read through of Half-Elven Thief, the first book in a series by itself tends to get me around $1.30 to $1.50, depending on what the KU payout rate is that month. By contrast, if a Kindle Unlimited reader reads through all six books in the series, that tends to be around $8 to $8.50, which is a good chunk of revenue. These are often people who, as I mentioned in the previous point, would not have bought the individual ebooks. So that is potentially a big advantage, especially if you write in series and you regularly release in that series because then you get the halo effect to it.
#6: It simplifies your ads and marketing strategy.
I've often recommended to people who are just starting out self-publishing that it's a good idea to start on Amazon and KU and then see if they want to expand later because it's very simple to just manage one dashboard as opposed to like seven or eight different retailers. As self-publishers get more advanced experience, they tend to prefer to go wide. This also means that your ads are simplified because then you just have to worry about Amazon ads. You can do BookBub ads for KU books. I have not found that to be very advantageous because it's so expensive, but Amazon ads for KU books tend to be very effective and fairly cost effective so long as you monitor the costs and keep your cost per click and ad budget down closely.
#7: KU has kind of what I call an immediacy bias.
It definitely favors new material over older material. I would not say it's a good idea to take an old series out and put it in KU, especially if it's been on Amazon for several years because the Amazon algorithm definitely tends to reward newness. Self-publishers will talk about the 30, 60, and 90 day cliff where sales tend to drop off, partly from just the organic effect of the book having reached most of its target audience and partly because the Amazon algorithms stop pushing it so much once they reach those points.
Kindle Unlimited really, really likes new stuff and I think they change the algorithms on a regular basis, but I think it gives a strong advantage to new stuff. So that ties in if you write a long series and publish new books in it on a regular basis, then you will probably see a strong advantage from that because each new additional book you published in the series will get that new book Halo Effect, which will then boost the other books in the series and that's happening with Half-Elven Thief right now with Dragon-Mage boosting the previous books in the series.
#8: Don't plan on keeping your books in Kindle Unlimited forever.
As I mentioned in previous episodes of this podcast, my strategy going forward is to only write three series at a time, two of which will be wide and one of which will be in Kindle Unlimited. Once Half-Elven Thief is finished, and I've written the ninth book in the series and it's all wrapped up, I will take it out of Kindle Unlimited and take it to the other platforms because of KU's newness bias. As I mentioned before, since I will no longer be writing new books in the Half-Elven Thief series, they will no longer get that halo boost of page reads from a new book and therefore it makes sense to take it out of Kindle Unlimited and then take it wide to other retailers.
I know of other indie authors who do this. [They] will start out their series in Kindle Unlimited and then when it's complete, take it wide to other retailers and that is something I think is worth thinking about if you are publishing your book in Kindle Unlimited is that once the series is done and once you're no longer publishing new books that receive advantages from KU's preference for new material, it is definitely time to start thinking about taking the series out of Kindle Unlimited and putting it on other platforms. Indeed, this is advice I'm going to follow myself once Half-Elven Thief is finished.
So there are eight potential reasons putting your book in Kindle Unlimited might be advantageous to you and now the question always tends to be a bit of a binary one is like, should my book be wide? Should my book be in Kindle Unlimited? The secret is there is no right answer. There is just the answer that is right for you and your individual circumstances at this point in time.
Like I mentioned earlier, myself, I'm doing a hybrid strategy where most of my books remain wide and most of my new books are wide, but I do have one series in Kindle Unlimited that I am continuing and that might work for you if you write fast enough or it might work better for you to be wide. It might work what better for you to be in Kindle Unlimited. It is just important to reflect and soberly and honestly analyze the data and then make the best decision that is right for you and your self-publishing business.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's special episode, I provide a writing update, and share audiobook samples from the fifth book in four of my different series.
This coupon code will get you 25% off the ebooks in the Silent Order series at my Payhip store:
SILENTJUNE
The coupon code is valid through June 29, 2026. So if you need a new ebook this summer, we've got you covered!
In this week's episode, we take a look at eight reasons to diversify your ebooks sales beyond just Amazon and Kindle Unlimited.
This coupon code will get you 50% off the audiobook of Dragonskull: Wrath of the Warlock, Book #7 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
WARLOCKJUNE
The coupon code is valid through June 22, 2026. So if you need a new audiobook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 306 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 5th, 2026 and today we'll discuss eight reasons you should diversify your book sales beyond Amazon. We'll also talk about Coupon of the Week and give a progress update on my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Wrath of the Warlock, Book #7 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. That coupon code is WARLOCKJUNE. As always, the coupon code and the links to my Payhip store will be available in the show notes for this episode. This coupon code is valid through June 22nd, 2026, So if you need a new audiobook for the summer as you go on a summer road trip, we have got you covered.
Now let's talk about my current writing, publishing, and audiobook projects. As of this recording, I am 80,000 words into Blade of Thieves, which puts me in Chapter 17 of 25 of my outline. So we're closing in on the end. I think we're going to be about 110-115,000 words or thereabouts in the rough draft. So hopefully a couple more solid pushes and we'll get there to the end. I hope to be at 90,000 words by this point, but there is quite a lot to do in real life so we didn't quite get there, but 80,000 words is still better than nothing. For Cloak of Frost, as of this recording, I am now 9,000 words into it and that will be my main project once Blade of Thieves is done. I was hoping to have Blade of Thieves come out in June, but July is looking more likely at this point. Hopefully Cloak of Frost will come out the month after Blade Thieves comes out, whenever that is.
In audiobook news, I'm pleased to report that Blade of Wraiths (as excellently narrated by Brad Wills) is now out at all audiobook platforms. Get it at Audible, Amazon, Apple, Google Play, Kobo Books, Chirp, my own Payhip store and all the usual audiobook stores. At the moment, I have no other audiobooks in active production, but once Blade of Thieves is done, Brad will also be recording that. Later this month, Hollis McCarthy is scheduled to start on Cloak of Worlds and in July, Leanne Woodward is going to record Dragon-Mage, the most recent Rivah book. So we don't have any audiobooks being produced right now, but we will in the future. So that is where I am at with my current writing, audiobook, and publishing projects.
00:02:32 Main Topic of the Week: Beyond Amazon: Reasons to Diversify Your Sales Platform
Now onto our main topic this week, Beyond Amazon: Reasons to Diversify Your Sales Platform, which is something you know I do quite often given how often I talk about my links to my Payhip store on this very podcast.
For a long time, the conventional wisdom has been that Amazon has 80% of the US book market and putting your ebooks into Kindle Unlimited was the best route of success because of that monopoly and some of the algorithmic benefits Amazon gives to KU authors. While it's true that certain genres (especially LitRPG and romance) are almost exclusively focused on Amazon and KU in the US, going exclusive with Amazon is not necessarily the best course of action for everyone, especially if you're interested in growing your international sales.
Today we'll talk about reasons why putting your books in KU is limiting and in the interest of fairness, in two weeks, we will also be doing an episode later [about] when putting your book in KU is a good idea and some of the benefits of that. But today we're going to start with the benefits of diversification. Here are eight reasons you might want to consider moving beyond just Amazon, which is often called going wide in the Indie Publishing world.
#1: Increasing your global reach.
It may surprise you to know that the Kindle store is not available in every country and that other countries have a strong competitor to the Kindle store. For example, in Canada, Kobo is Amazon's main competitor and has traditionally a strong market share there, quite a bit larger than Amazon Canada based on my own sales data. Kobo is also very strong in many European markets. Additionally, because there are many more Android users internationally than there are in the US, Google Play Books is important in non-US countries. It's also an easy platform for users and integrates into the Google ecosystem as well. Data usually finds that while the iPhone [iOS] is dominant in the United States, Android tends to be the majority mobile operating system in the rest of the world. So if you want to access Android users in the Google Play Book Store, then you want to be on Google Play Books.
#2: Some people are boycotting Amazon.
There are many readers who boycott Amazon or American-led companies for a number of reasons. It is possible to overstate the strength of these. I've seen many people be alarmed about Amazon boycotts impacting their sales, but it never really seems to materialize. I suspect a lot of the boycotting thing is much louder online than it is in real life. That said, it is undeniable. There are people who will not buy ebooks or anything from Amazon for a variety of reasons. So if you sell your books only through Amazon, you're missing out on that group of readers. Some categories of romance have also been affected by Amazon boycotts, so it's worth investigating other options if you're an author in these categories.
#3: Kobo Plus.
Kobo offers a subscription program called Kobo Plus that unlike KU, does not require exclusivity to participate in it. Over three million ebooks and 100,000 audiobooks (quite a few of which are mine) are available to subscribers for less than the cost of a KU subscription. Kobo has been gaining popularity in the US in part due to their subscription program. I have to admit my own personal experience with Kobo Plus as an indie author has been almost entirely positive. When it first came out, I was a little leery of it, but then I decided to test it out by putting Frostborn into it and that did quite well and I was pleased enough with the results that now I just put everything in Kobo on Kobo Plus and that has paid off because the majority of my month to month Kobo revenue and the majority of my yearly Kobo revenue comes from Kobo Plus now. In March and April, I had two of my best months ever on Kobo in the 14 years I've been publishing with Kobo entirely off the strength of Kobo Plus.
So my experience with it has been if you write a really long series like that that generates a strong read through (like Frostborn is 15 books, Sevenfold Sword was 12 books, Cloak Mage as of this point is up to 14 books), then it would be definitely advantageous to you to investigate Kobo Plus.
#4: It gives you the chance to support independent booksellers through bookshop.org.
This past year, bookshop.org made a deal with Draft2Digital that made it possible for indie authors to put their books on the bookshop.org platform. In the past, has not been particularly easy or straightforward for small indie bookstores to sell ebooks, so this is an opportunity for physical indie bookstores based in the US. For American readers who want to shop local but still read ebooks, it's nice to be able to offer them an option that benefits their local communities.
It also gives these bookstores a way of supporting local authors without having to find physical space for them within the store itself. Bookshop.org is still in the early stages of accepting indie ebooks and there are some things that need to be worked out with features on their app, especially about user complaints about a lack of flexibility with DRM-free e-books. Still, romance and what the site calls "serious nonfiction" are growing rapidly on the platform, so it's definitely worth exploring, especially for authors in those categories. If they do succeed in their plans to put out their own ereader, that would make the platform even more attractive to many book buyers.
#5: Direct sales equals greater profit, extras, price fixability, et cetera.
Having your own sales platform (typically hosted on sites like Payhip and Shopify) gives you far more control over your sales platform. It also gives you a far greater cut of the profits.
To give an example, if I do a coupon code for one of my audiobooks on my Payhip site to make it 50% off like I did earlier in this episode with the Dragonskull: Wrath of the Warlock coupon, I still earn a similar amount as if someone had bought it for full price on Audible.
A direct sales platform also allows you to create discounts for sales far more easily than on other platforms. Additionally, you don't have to wait for ebooks or audiobooks to get through processing on a direct sales site like you do with ACX and the other sites, which makes when a book or audiobook is ready for sale far more predictable. You can also bundle things with ebooks like such as the book file in multiple formats or bonus items like maps, worksheets, or charts. On the other ebook sites, this isn't typically possible.
Direct sales gives you a greater flexibility in terms of selling. You can include bonus items and it's also a good fallback position if one of the main sites isn't working. I first got into direct sales in 2021 because Barnes & Noble had its big ransomware hack then and for a while it was impossible to publish new things to the platform and I believe that was when Ghost in the Vault came out and since I couldn't publish that on Barnes & Noble until the ransomware problem was fixed, I directed people to the Payhip site instead.
#6: Library sales and Kindle Unlimited.
The popularity of the Dungeon Crawler Carl series and the Project Hail Mary audiobook made a lot of people aware of the fact that exclusivity agreements with Amazon and Audible have often been structured to leave out options for library ebook platforms or require maneuvering or additional deals in order to make it possible.
The popularity of Libby in particular is growing here in the United States, especially as people are having to shift their leisure spending from things like books and entertainment to covering basic necessities like housing, transportation, fuel, and food costs due to the poor state of the economy. If library sales and library readers are important to you, then going wide is your best option for reaching the library market.
Myself, I haven't particularly pursued the library market. I haven't refused it either. I usually, when the option is available, click on the toggle switch to publish it to a library service, but then don't think about it very much after that, but there are many indie authors who are very interested in getting in libraries and have pursued that quite a bit through these programs.
#7: Vendor lock-in/user preference.
There is a concept called vendor lock-in, meaning that ebook buyers have a particular platform that they default to when buying ebooks because that is where the ebook collection is based and they want to keep their books together instead of spread across several different apps.
Many Barnes & Noble and Kobo users are not interested in ebooks from Amazon or KU for this reason and won't even follow a favorite author to another platform. It's important to have an option available for these readers.
#8: DRM free. [Digital Rights Management]
Having a DRM free copy of an ebook is extremely important to many readers and that is what makes an ebook purchase a true purchase instead of a highly conditional license. Sites like Kobo allow ebook buyers to limit their searches to only DRM free titles and many will not buy a book that is not available without DRM. My Payhip store, all the files you get from that when you buy an ebook or an audiobook are DRM free as well.
For myself, a large portion of my sales come from outside Amazon, so that's why I've never been fully exclusive with Kindle Unlimited and instead rotate a small selection of my series in and out of KU.
Over the years, I've experimented with having various books in KU and starting in 2023, what I settled on doing was that I would write three series ongoing. Two of those series would be available on all ebook platforms and one of those series would be available in Kindle Unlimited, which allowed me to pursue both markets at once. As of right now, the wide series are Blades of Ruin and Cloak Mage and the Kindle Unlimited series is Half-Elven Thief. Once Half-Elven Thief is completed, I will take it out of Kindle Unlimited and take it wide and start a new series for Kindle Unlimited.
Overall, I found it's worthwhile to be wide even when pursuing Kindle Unlimited with some of my books because typically in an average month about 45 to 55% of my revenue comes from Amazon and the rest comes from all the other platforms put together.
So while Amazon is typically half, that's not nothing, it's only half and the rest of the revenue comes from all these ebook platforms I've been cultivating over the years. So the conclusion is that the beauty of KU's current agreement is that you only have to commit to being exclusive for a short amount of time, specifically three months, and then can always return to it if you want to try going wide for a while.
It's also important to note that growth on other platforms may be slow and if you're going to try them out, it's important to be patient and have realistic expectations. It's the benefit of being an indie author that we can experiment and make decisions quickly based on data and reader preferences. Going wide may not be the best decision for everyone, but the results may surprise you, especially over time.
The cumulative effect of things is often easy to overlook, but it does add up over time. Part of the reason I think my books do so well with Kobo Plus is because they've been on the Kobo website for the last 14 years, which gives them time to accumulate reviews and additional word of mouth. So when someone is browsing Kobo Plus for something to read and they see this long book series with a bunch of good reviews, it becomes easy for them to try it through Kobo Plus.
So that is it for this week. This week we talked about going wide. Next week I don't have time to record a full-time episode, so we're going to do another audiobook sampler roundup, which will be fun. The week after that, in two weeks from today, we are going to talk about the benefits of going to Kindle Unlimited as a contrast to this episode and I will talk about some of my Kindle Unlimited experiences (both good and bad).
So thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backups at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting and platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's episode, I take a look at the movies and streaming shows I watched in Spring 2026, and rate them from least to most favorite.
This coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store:
DRAGONJUNE
The coupon code is valid through June 15, 2026. So if you need a new ebook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 305 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 29th, 2026 and today we'll be discussing my Spring Movie Review Roundup for 2026, where I discuss the movies and streaming shows I watched over the last few months. We will also have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store. That coupon code is DRAGONJUNE. And as always, you get the coupon code and the links in the show notes for this episode. This coupon code will be valid through June the 15th, 2026. So if you need a new ebook for this summer, we have got you covered.
Now let's move on to my current writing, publishing, and audiobook projects. As I mentioned last week, Dragon-Mage is out and you can get it at Amazon and Kindle Unlimited and it's doing well, so thank you for that. My next main project is Blade of Thieves and as of this recording, I am on chapter 11 of 25, though that'll probably expand in the final draft, which puts me at 56,000 words in. So I'm almost halfway through. I think probably it's going to be the length of Blade of Wraiths or a little longer, but we'll see. I'm hoping to have it out towards the end of June, but depending on how June goes, that might slip till July. Hopefully we can avoid that. I'm also 5,000 words into Cloak of Frost and that will be my main project once Blade of Thieves is done. I'm hoping to have Cloak of Frost out towards the end of July, but depending on how June goes, it might slip to August.
For audiobook projects, Blade of Wraiths is still processing at ACX, though I believe as of right now, you can get it at Google Play, Kobo, Spotify, and my own Payhip store. The other stores should be available within a few weeks. As of right now, I don't actually have any current audiobooks in production, though we have some scheduled for the future. Once Blade of Thieves is finally done, Brad Wills will record that for us. Hollis McCarthy is scheduled to record Cloak of Worlds in June, if all goes well. Leanne Woodward will be recording Dragon-Mage sometime in July, if all goes well. So that is where I'm at with my current writing, publishing, and audiobook projects. Hopefully we'll have new things for you to read and listen to before much longer.
00:02:32 Main Topic: Spring 2026 Movie Review Roundup
Now without any further ado, let's move on to our main topic, my Spring 2026 Movie Review Roundup. It's time for the Spring 2026 Movie Review Roundup, where I review the movies and streaming shows I watched over the last few months. As always, they're listed from least favorite to most favorite. The grades are wholly subjective and based on nothing more than my own opinions and thoughts. With that disclaimer out of the way, let's go to the movies. First up is Kicking and Screaming, which came out in 2005. This is a family comedy with Will Ferrell and Robert Duvall. Pharrell plays Phil Weston, a mild mannered vitamin store owner and Duvall plays his father, Buck Weston, owner of a successful chain of sports equipment stores. Buck is one of those hyper competitive guys who has to win at everything and Phil has always rolled with it. But when Phil's son is a benchwarmer on the youth soccer team that Buck coaches, Phil's had enough and starts coaching a rival team to get his son into the game and to defeat his father.
Along the way, of course, he descends into Will Ferrell style comedic lunacy, but the PG version since this is a PG movie. Mike Ditka was also hilarious as Phil's sidekick and assistant coach. It seemed like an '80s family movie. It was a sort of movie where you could have taken the entire family to the theater in 2005 and everyone would have been at least moderately entertained.
Overall Grade: C
Next up is the animated Lord of the Rings, which came out in 1978. As I mentioned, this was the animated version of Lord of the Rings from 1978. Extremely ambitious, but I think it's fair to say this landed in ambitious failure territory, but they tried the best they could given the constraints of the technology at the time and the actual available budget.
They tried to pack the entirety of the Fellowship of the Ring and the first half of The Two Towers into about two hours and 20 minutes. I'm sorry to say it just didn't work. Like Dune, the Lord of the Rings is one of those books that requires like 10 hours of very expensive filmmaking to pull off properly. That said, I think it is fair to say that this stumbled so that the Peter Jackson live action trilogy could run.
Adapting a book (especially a big book) into a movie is a challenge and I don't think this quite got there. Too much was cut out and if you hadn't read the book, you would probably have no idea what was happening or just been confused the entire time. Additionally, the movie relied heavily on rotoscoping and it didn't always quite work. Like the rotoscope Nazgul looked creepy and unsettling, so that worked for them. However, the rotoscoped orcs just looked bad. You know how in live theater stagehands will dress all in black? The orcs kind of looked like that, albeit they're wearing yellow ponchos over their black stagehand outfits, almost like the stagehands were expecting inclement weather backstage.
That said, the vocal performances and the music were very good. So an ambitious and admirable failure. As I said, I think the filmmaker's vision exceeded the grasp of their budget and the available technology of the 1970s.
Overall Grade: C
Next up is Airplane!, which came out in 1980. It was interesting to watch this as a cultural artifact. It had the leisurely pace of an '80s movie, with far more absurdist humor. It was a parody of various airplane disaster movies from the 1970s. It's also interesting that this is remembered as a Leslie Nielsen movie nowadays, though Leslie Nielsen 's character is only a supporting character. For all that he's known for his absurdist humor these days from later movies, Nielsen plays his character stone cold dead straight, which makes him all the funnier, amazingly enough.
Some of the jokes in this movie have aged very badly, but it's still worth watching as an interesting and amusing cultural artifact, given how it influenced the entire genre of comedy movies afterwards. There's also the obligatory three seconds of nudity that can get cut on cable TV broadcast.
Overall Grade: B-
Next up is the Thomas Crown Affair, which came out in 1999. This is an interesting remake of a movie from the 1960s. Pierce Brosnan plays Thomas Crown, a billionaire who has grown bored with his life, so he orchestrates the theft of a priceless Monet painting from the Metropolitan Museum of Art in New York. The heist goes off flawlessly and the museum's insurance company sends out investigator Catherine Banning (played by Renee Russo) to retrieve the painting and avoid a hundred million dollar insurance payout. Banning immediately intuits that Crown is the thief and sets about to find the painting.
This investigation is complicated by the fact that Crown and Banning immediately develop a strong attraction and start an affair. It was interesting to watch since neither Crown nor Banning are particularly sympathetic characters. In 2026, the phrase "bored New York billionaire" has much more sinister connotations than it did in 1999 and Banning breaks all kinds of laws and sleeping with her target is not a particularly bright idea. That said, the opening heist was interesting and Crown's final gambit to return the painting was extremely clever and enjoyable to watch. So overall, I like the movie, but there's still way too much nudity. Cable broadcasts are probably like 10 minutes shorter than the actual runtime from cutting it all out.
Overall Grade: B-
Next up is Whiskey Galore, which came out in 2017 and this is a remake of the original Whiskey Galore from 1949. Honestly, this is exactly the same movie from 1949 that I watched in the Movie Review Roundup for Summer 2025, just updated with modern filmmaking techniques. If the movie makers in the '40s could have done it this way, they would have. Though I would recommend watching the 1949 one first and then the one from 2017.
Overall Grade: B Next up is Super Mario Galaxy, which came out in 2026. And I have to admit, it felt a little strange to be the oldest person at the theater watching Super Mario Galaxy, but I've been playing Mario games since before any of these kids were born, so I think I had a right to be there. Anyway, I would say this movie is about 75% as good as the first one. It was a little overpacked and the plot wasn't quite as tight, but it's still fun to watch. The animation was excellent and I enjoyed all the callbacks to the various Mario games and since I haven't actually played all the Mario games (as a reminder, I played no console games of any kind between 1998 and 2019), I'm sure there were quite a few I missed.
The plot is that Bowser Jr is coming to rescue his father, Bowser, who's been held captive since the end of the last movie. To power his doomsday weapon, Junior kidnaps Princess Rosalina and Princess Peach goes to rescue her while Mario, Luigi, and Yoshi stay to protect the Mushroom Kingdom. Their separate subplots will end up crossing when Bowser Jr. invades the Mushroom Kingdom to get Bowser. Glen Powell was an excellent choice to voice Fox McCloud.
I'd say if you could imagine a movie that the audience would enjoy and the critics would hate, you'd end up with Super Mario Galaxy. Since that appears to be what happened to the tune of $970 million, it appears that metaphor was accurate. Also, to be less glib, "movies you can take your kids to" do serve a valuable social function (in my opinion).
Overall Grade: B
Next up is the Rise and Fall of Reggie Dinkins, which came out in 2026. This was a comedy with a fun premise. Reggie Dinkins (played by Tracy Morgan) was an elite NFL player who got bounced out of the league for placing bets on himself. Years later, he teams up with an indie filmmaker named Arthur Tobin (played by Daniel Radcliffe), to make a documentary to rehabilitate his image. However, Tobin has his own issues. He has an Oscar, but after the Oscar, he got hired to direct a Marvel movie and cracked under the pressure. He and Reggie have to go on a journey to recover their reputations. I thought this was a pretty funny sitcom. Tracy Morgan is a comedic natural, but Daniel Radcliffe turned out to be an excellent comedic actor as well. He was great in that Weird Al biopic a few years ago and he's very funny in this. Craig Robinson was also great as Jerry Basmati, Reggie's sleazy nemesis.
Overall Grade: B+
Next up is The Mandalorian and Grogu, which came out in 2026. I enjoyed this. It was like three pretty good episodes of The Mandalorian show put together. The end result was an adventure movie that kind of reminded me of the best of 1980s fantasy and sci-fi movies with a lot of creature work and a lot of action scenes.
For an extended stretch of the movie, Grogu takes over as the primary protagonist, and given that Grogu is a very expensive puppet, that's an impressive feat.
The plot picks up from the end of The Mandalorian show. The Mandalorian and his adopted son Grogu are now working for the New Republic, helping to hunt down Imperial warlords. Mando gets assigned to hunt down in a mysterious Imperial warlord named Commander Coin, but the only people who have information on Coin's location are the Twins, a pair of Hutt crime lords and relatives of Jabba the Hutt from Return of the Jedi. The Twins are willing to give up Coin's location if Mando does a job for them, but as Han Solo could have warned Mando, working for the Hutts is not a good idea.
I was surprised that the reviews for this movie were as mixed as they were, but I suspect that's a combination of three social factors: Number one, cumulative ill will towards Disney as a corporation, which has done numerous sketchy things in the 2020s. I think something similar happened with Microsoft and Starfield. Number two, the lingering bad aftertaste of the sequel trilogy and number three, the tendency of the hardcore Star Wars fandom to chronically overthink things.
Overall Grade: B+
Next up is the animated Hobbit, which came out in 1977. Peter Jackson's Hobbit Trilogy from the 2010 famously stretched The Hobbit across three movies, which really didn't work and added a bunch of epic battle scenes, which was totally off for what was essentially a children's book.
The animated 1977 version of The Hobbit, by contrast, went in a different direction, neatly adapting it down to 70 minutes or so, presumably because animation is very expensive. At the time, this got mixed reviews, but looking back nearly 50 years later, I think we can appreciate it more because of the sheer amount of work that goes into hand-drawn animation. Like computer-based animation is unquestionably a lot of work as well, but hand-drawn animation is on something of a higher level in terms of difficulty, in my opinion.
That said, I think this adaptation did a better job of compressing the story down than the animated Lord of the Rings movie I mentioned earlier in this episode. There's also a lot of 1970s style folk singing-like a LOT. I suspect J.R.R. Tolkien would have hated every single adaptation ever made of any of his works (with perhaps the exception of the audiobooks), but he would have approved of the number of songs and poetry in this.
Though it was amusing that the high elves in this movie sing in a '70s folk music style. It would be humorous if in the Silmarillion, Earnedil the Mariner had finally crossed the Sundering Seas to reach Valinor and appeal the aid of the Valar against Morgoth and his hordes, only to hear '70 style folk music echoing across the shining hills of the Undying Lands. Anyway, it's definitely worth watching this if you like The Hobbit or old style animation.
Overall Grade: A-
Next up is House of David Season 2, which came out in 2026. I wrestled with what grade to give this because it used a lot of AI for the big battle scene in episode one and as long time readers and listeners know, I do not generally approve of LLM generated slop. Ironically, I think episode one, the big battle sequence with all the AI, was definitely the weakest point of the entire second season. Everything else was better. That said, all the character drama and interactions and acting were really good, which amusingly shows that while LLM stuff can generate blurry scenes of mounted soldiers charging at night, the real human emotion comes from, well, real human emotion.
Anyway, this picks right up from the end of Season 1, right after David kills Goliath, which means it takes place during most of the events with the third quarter of the book of 1 Samuel from the Bible. David becomes one of the chief commanders of King Saul, but David is secretly the anointed king of Israel. Saul's deteriorating mental state becomes threatening to David while Saul's children scheme for position (with the exception of Jonathan, who has accepted that God has chosen David as the next king of Israel) and the Philistines prepare for war against Israel.
It is interesting how the show alternates between leaning into the Grimdark aspects of life in the late Bronze Age and early Iron Age and avoiding them. Like, constant warfare was a fact of life for a Mesopotamian king around 1000 BC. But the show also shows David as having passionate romantic love for Saul's daughter Michal and in the Bible, David ended up with at least eight wives that we know about (there were likely others) and an unnamed number of concubines. So late Bronze Age/early Iron Age monarchs were not likely to have been in the grips of fervent romantic love. Though based on the Psalms he wrote, David seems to have been a man who definitely was in touch with his emotions and quite possibly he would have passionately loved multiple women at the same time.
Anyway, I enjoyed the show. While I am not an expert, I probably have a higher than average level of Old Testament knowledge. So when the show expanded on something from 1 Samuel (such as the role of Doeg, the murderous Edomite shepherd), I could see where they were coming from. Or the subplot where Jonathan falls in love with an Israelite woman since in the Bible, David took care of Jonathan's son, Mephibosheth, logically, Jonathan had a wife at some point. Related to that as Saul continues his descent, in a moment of rage in 1 Samuel, he calls Jonathan "the son of a perverse and rebellious woman" and the show has a subplot explaining how Saul came to see Queen Ahinoam as a "perverse and rebellious woman".
So I enjoyed this and will definitely watch Season 3 when it comes along. That said, the opening battle with the AI generated battle scenes is still definitely the weakest part of the series, though.
Overall Grade: A-
Next up is Maul: Shadow Lord, which came out in 2026. And in my opinion, this was pretty good. I think he could call the plot Sith Noir. Maul, desiring vengeance against the Emperor for all the pain he has endured, has decided to rebuild his criminal syndicate (previously destroyed in the Clone Wars) and use it to bring down the Empire.
Meanwhile, Captain Lawson, a detective on a minor world, is trying to rebuild his relationship with his teenage son and keep his career afloat. This becomes tricky when a pair of fugitive Jedi fleeing from the Inquisitors turn up on their world. But in the younger of the two Jedi, Maul sees a potential apprentice for himself, one he could corrupt to the dark side.
The animation has improved by quantum leaps and bounds since the days of the Clone War show. The lighting and the shadows are excellent. Maul looks spooky and a little uncanny. The lightsaber fights are quick and fluid. No spoilers, but the final episode is absolutely excellent. I also think one of the best things about the Star Wars animation shows is how Maul's character has evolved from simply the cool swordsmen at the end of The Phantom Menace to a sympathetic yet still evil warrior-philosopher, a tragic figure whose every effort always contains the seeds of its own downfall.
Overall Grade: A
Next up is Emma, which came out in 2020. This is an excellent adaptation of the Jane Austen's novel. Good performances, good cinematography, and it captures the essence of the novel quite well and it's probably a must for Austen fans to see. I don't really have anything negative to say about it, say that it has the three seconds of unnecessary nudity that can be cut in cable broadcasts. Ironically, and quite amusingly, that three seconds of nudity is quite literally the only thing this movie has in common with Airplane!.
Overall Grade: A
Next up is No Packers, No Life, which came out in 2025. This was a fun documentary about a group of Japanese Green Bay Packers fans. Obviously, there are fairly large cultural and linguistic divides between the United States and Japan, so American football is not hugely popular in Japan. However, the Green Bay Packers are the only community owned team in the NFL to this day and so they're quite a bit more sympathetic than one that's owned by a faceless billionaire.
Anyway, an American businessman goes to Japan and stumbles across a Japanese man wearing a Packers jersey at a bar. From there, he learns of a small club called the Japanese Packers Cheering Team that gathered to watch Packers games. This businessman in question happened to be from Wisconsin, so he befriended the Japanese Packers Cheering Team and invited them to Green Bay for a game. The invitation snowballed and so the entire club and their families arrived to watch the game. Sports fandom really isn't one of my interests, so it's always interesting to look at it from the outside. That said, this was an enjoyable documentary about cross-cultural communication at its best.
Overall Grade: A
Let's close out this episode with my favorite thing I saw in spring 2026, which was Project Hail Mary, which came out in 2026. This is another "science man solves space problem that saves the day with math and science", type science fiction adventure like The Martian, though some new twists on the formula.
Dr. Ryland Grace wakes up alone on a spaceship with all the other crew dead and no memory of how he got there. Gradually, he partially remembers and works out that he is part of Project Hail Mary, a last ditch effort to stop Earth's sun from dimming due to an extremophile organism called the Astrophage. Only one other star in Earth's stellar neighborhood was showing no signs of Astrophage infection, so Grace's ship was sent there on a suicide mission to try and recover some means of defeating the Astrophage. While there, he encounters an alien ship with a sole survivor and he slowly works out how to communicate with the alien, who he dubs Rocky.
It turns out Rocky's people sent him there on a mission to solve the Astrophage problem as well and together Grace and Rocky try to work out how to save their respective home worlds. Quite enjoyable and worth seeing. At the time I typed this in March of 2026, it was the highest-grossing movie of 2026 and I think it deserved that, though it did eventually get overtaken by Super Mario Galaxy.
Overall Grade: A
I suppose that was an eclectic range of movies, wasn't it? Interestingly, I actually saw three of them in theaters: Project Hail Mary, Super Mario Galaxy, and The Mandalorian and Grogu, so I went to the theater three times in three months. I think that's the most I've been to the movie theater in a single year in the entirety of the 2020s.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show interesting. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's episode, we share five tips & tricks for writing believeable ways characters can overlook the obvious.
This coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book #6 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
TALONS2026
The coupon code is valid through June 8, 2026. So if you need a new audiobook this summer, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 304 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 22nd, 2026, and it's our first new episode in two and a half weeks, so that is exciting. Today we'll be talking about how writers can believably write characters who miss the obvious or fail to notice important facts without exasperating the reader. We also have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book #6 in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That is TALONS2026. As always, the links to my Payhip and the coupon code will be available in these show notes for this episode. This coupon code will be valid through June 8th, 2026. So if you need a new audiobook for your summer travels, we have got you covered.
Now let's have an update on my current writing, publishing, and audiobook projects. Since I recorded the last episode on May 6th, I'm pleased to report that Dragon-Mage, the sixth book in the Half-Elven Thief series, is done. You can get it at Amazon and Kindle Unlimited since Half Eleven Thief is my Kindle Unlimited series (until it is finished). It's doing quite well and thank you all for that.
Now that Dragon-Mage is finished, my main project is now Blade of Thieves. And as of this recording, I am 29,000 words into it. I think the rough draft will be 100,000 words or so, give or take. I hope to have this out in June, though it might slip to July (depending on events). My secondary project is Cloak of Frost, which will be the 15th book in the Cloak Mage series. I am 2,000 words into that and I am hoping to have that out towards the end of July, though of course that by slip to August (depending on events). So that is what I am working on right now.
In audiobook news, since I recorded the last episode, we had two audiobooks mostly come out. Cloak of Illusion (as excellently narrated by Hollis McCarthy) is available at Audible, Apple, Google Play, and all the other audiobook stores. Blade of Wraiths (as excellently narrated by Brad Wills) is also finished. I believe as of this recording, you can get it at my Payhip store, Google Play, and Kobo (though Audible and the other audiobook stores should be following along before too much longer). As for Dragon-Mage, Leanne Woodward will be recording that in July (if all goes well). So that's where I'm at with my current writing, publishing, and audiobook projects.
00:02:38 Main Topic: Perception Failure Mode for Writers
Now let's go to our main topic, how to write characters who miss the obvious in a way that's believable and doesn't exasperate the reader. When writing a story, it's sometimes useful to have a character miss the obvious. Of course, if done badly, this can sometimes inspire exasperation in the audience, like the cliche of the woman going alone into the basement with a flickering candle to reset the circuit breaker while a serial killer is on the loose and you get bonus cliche points if she's wearing a bikini. The trick is to have the character miss the obvious in a believable way that matches the circumstances. The obvious might be obvious, but it is often obvious only in hindsight.
For example, here is a story about the time I failed to notice the obvious. In the morning, I typically get up, use the restroom, and then get dressed to go to the gym. I normally sleep with earplugs and don't usually remove them until I get dressed. While using the restroom, I will bring my phone or my tablet, depending on which is closer at hand and play chess puzzles to help my brain wake up. Now this detail is important. My tablet is an iPad, but my phone is an Android. Gradually, I began to notice that whenever I started the day, I could hear a woman talking very loudly outside the window. At first, I thought nothing of it. The house is fairly close to the sidewalk, so I often hear people talking as they walk past. However, as the days passed, I noticed I frequently heard exactly the same woman whenever I went into the bathroom. That started again on my nerves, so I glanced out the window to see who it was, but I never saw anyone nearby. For that matter, it didn't happen every day.
Then a very strange fact occurred to me. This only happened on days when I had my phone, not my iPad, and this led me to discover the truth. The chess app had been updated to have the virtual chess coach talk to you as you played chess. My iPad and my phone were on mute, but on Android, apps can sometimes override the system mute setting to make noise. So my phone was talking to me as I did chess puzzles, and because I still had my earplugs in and hadn't enjoyed my morning coffee yet and my brain wasn't working, I failed to realize that my phone was the source of the voice. I had failed to notice the obvious. So once I had turned off the voice on the chess app, this got me to thinking. My specific example is so implausible and convoluted that it would be impossible to use in a novel since it would seem contrived, but how can you have characters in a novel fail to notice the obvious in a way that doesn't annoy the reader? I think there are five ways you can do it.
#1: The character fails to notice something because of reasonable circumstances.
Human perception is quite fallible and more so when we are stressed. It's common knowledge that if five people witness a crime, there will be five contradictory accounts of what happened based on what the individual in question happened to notice. For example, if you see a car accident in front of you, that will dominate your attention and cause you to miss background details, like the color of a nearby parked car or a nearby house. A character can also miss important details when he or she has no good reason to notice these details. There's a reason that in real life many spies try to be unremarkable as possible. The brain sort of slides over the unremarkable and makes it into part of the background.
This can also work in mundane settings. For example, if a character is an electrician, he won't know what accounting software his clients use because he has no reason to know or care, especially if he gets paid on time. Stress is also a good way to have a character fail to notice something important. Job loss, an illness, a bad day, lack of sleep, and other things might mean the character is not operating at his or her best and may fail to notice important details.
#2: Missing information causes you to miss the obvious.
Insufficient information can cause a character to come to the wrong conclusion. Here's another example from my own life. Earlier this year, I drove a 2,000 mile road trip in a few days and towards the end, my right foot and leg started to hurt. The explanation for that I thought was obviously that I'd driven 2,000 miles in four days and put too much unaccustomed strain on my right foot. Once I got home, I would take a few days to rest and it should be good.
Except when I got home, the pain got worse. I developed a fever and an uncomfortable swelling on the side of my right foot. I didn't have tendonitis or muscle strain. I had actually developed cellulitis for some reason. If you haven't heard of cellulitis, it's a potentially serious infection of these subdermal skin layer. A trip to the doctor and some antibiotics later, it was better. But this is an excellent example of coming to a reasonable, nonetheless wrong conclusion based on the available facts. Considering the amount of driving and walking I had been doing, it was perfectly reasonable to assume that I had strained something in my leg, but that wasn't what was happening at all. All the facts I knew were correct, but I was missing the key fact, the infection, and so had come to the wrong conclusion. This is a technique you can use in fiction quite easily and it's common in detective and mystery novels. It's common for the protagonist to construct a theory about the crime only for it to be proven wrong by a single piece of additional information.
#3: All the information, wrong conclusion.
Sometimes you can have all the correct information, but you draw the wrong conclusion from it. Here's another example from my life. As you may know, I have a lot of audiobooks available on Spotify, so if you're a Spotify listener and want to use your audiobook hours, I have some for you. So this naturally means I get a tax form from Spotify every year. During the run up to the 2026 tax season, I got an email from Spotify saying that my tax information was wrong and needed to be updated, which was baffling because my tax information had not changed.
So I logged into the dashboard, but nothing seemed amiss and I saw no notifications about it there. Then I realized the truth, the email was fake. It had been sent to a different email address than the one I actually used for Spotify. The email was a very clever and very well written phishing attempt. The habit of never clicking on any link in an email (instead going directly to the dashboard in question) had served me well here. I had all the facts before me, but I arrived at the wrong conclusion because it was tax season and so it was reasonable to expect to get an email like that.
Now this can be used in fiction in multiple ways. Probably the most famous example is how Elizabeth Bennett and Mr. Darcy come to the wrong conclusion about each other's motives in Pride and Prejudice. They both have all the facts but draw wrong assumptions from them.
#4: Deliberately deceived.
A character can also come to the wrong conclusion or fail to notice the obvious or if he or she is deliberately deceived. The phishing attempt I mentioned earlier was an example of this. Having a character be believably deceived and indeed deceiving the reader as well is a very useful technique in fiction. Agatha Christie was very good at this in her mystery novels. For example, in The Murder of Roger Ackroyd, The ABC Murders, and Murder on the Orient Express, the characters and the readers are operating under assumptions for most of the book that turn out to be the result of deceptions on the part of some of the characters. Granted, using this method can be kind of a rug pull for the reader.
However, there's nothing wrong with a rug pull if it's done well. As I mentioned earlier, it's a common saying that the obvious is only obvious in hindsight. If you have the characters believing the deception for reasonable reasons only to have them realize the truth later, if you do it well and make the book all the more satisfying if there were subtle clues and foreshadowing about the truth earlier in the story. That kind of rug pull is a bit like garlic in cooking. You don't want to overdo it, but it's highly effective when used in the proper amount.
#5: Something more important is happening.
Sometimes you don't notice something that would otherwise be obvious because something more urgent is demanding all of your attention and focus. I think this is one of the biggest reasons people miss the obvious and it's very relatable. In my earlier bout with cellulitis, I didn't realize the obvious truth that I was getting cellulitis because I was focused on something more important at the time, namely not accidentally driving my car into an overpass embankment for the next thousand miles or so. People have varying attention spans, but every individual person has only so many things they can think about or worry about at any given time. You can use this to cause your characters to miss things they might otherwise have noticed.
For example, imagine a village in a fantasy book. There's an evil wizard living incognito in the village and he's summoning tribes of goblins to destroy the village. The protagonist is busy trying to fight off the goblins, so he overlooks the subtle hints that one of his neighbors is an evil wizard because all his attention is on fighting and he's tired enough that he's missing things he might otherwise catch. In this example, the problems are linked. The goblins are attacking the village because the evil wizard is summoning them. Having linked problems like that can help drive the plot forward and provide narrative tension as the character gradually realizes the truth or stumbles across clues pointing to the truth.
So those are five tips and tricks you can use to have your characters believably overlook the obvious, but there's one bonus reason that has developed in the last 15 years or so and that bonus reason is number six: stop looking at your phone in public. In recent years, I've become amazed at how many people allow themselves to be utterly mesmerized by their phones in public. I suppose I'm old enough that it's a generational thing. I didn't have my first smartphone until I was well into my 30s, but it still surprises me every time I see it. That said, for all that you hear about crime and disorder on the news in the United States, you can tell that the US still is by and large and for the most part a pretty safe country because people are so comfortable focusing on their phones in public and ignoring their surroundings.
Safety experts will tell you that the number one thing you can do to keep yourself safe in a public place is to maintain situational awareness and yet an astonishingly large number of people simply don't do that in favor of looking at their phones. So if you are writing a book set in the modern era, a quick and easy way to make sure a character doesn't notice something is to have him or her looking at [his or] her phone. Granted, you can overuse this, but this makes for a very believable technique for making sure that a character misses a detail or an event.
Conclusion
It's annoying when a character is all-knowing, but it's equally annoying when a character fails to notice the obvious because it's convenient for the writer. Hopefully these five tips and one bonus tip will help to create plausible reasons for characters to overlook things and miss things they would [have] otherwise noticed. Used well, this can help you create a compelling story for your book.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, often with transcript [transcripts are available for episodes beyond Episode 228]. If you enjoyed the podcast, please leave your review on our podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's speical episode, I provide a writing update, and share audiobook samples from the fourth book in four of my series.
This coupon code will get you 25% off the ebooks in the Sevenfold Sword series at my Payhip store:
SEVENFOLD2026
The coupon code is valid through June 1, 2026. So if you need a new ebook this summer, we've got you covered!
In this week's episode, I provide a writing update and share the audio samples from the third book in four of my series.
This coupon code will get you 50% off the audiobook of Dragonskull: Fury of the Barbarians, Book #*5 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
FURY2026
The coupon code is valid through June 1, 2026. So if you need a new audiobook this spring, we've got you covered!
In this week's episode, we take a look at best practices for indie authors' email newsletters.
This coupon code will get you 25% off the ebooks in the Frostborn series at my Payhip store:
CALLIANDE25
The coupon code is valid through May 18, 2026. So if you need a new ebook this spring, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 301 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May the 1st, 2026, and today we are looking at the effective use of email newsletters for indie authors. We'll also have an update on my current writing, publishing and audiobook projects and a Coupon of the Week.
So let's start off with Coupon of the Week. This week's coupon code, we'll get you 25% off the ebooks in the Frostborn series at my Payhip store. That coupon code is CALLIANDE25. And as always, the coupon code and the links to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through May the 18th, 2026. So if you need a new ebook for this spring, we have got you covered.
Now let's have an update on my current writing, publishing, and audiobook projects. My main project right now is Dragon-Mage, the sixth book in the Rivah Half-Elven Thief series. I'm pleased to report the rough draft of that is done at 82,000 words. So I think this will end up being the longest book in the series to date by a slight margin. I believe the previous longest one was Half-Orc Paladin, which came in at 78,000. I've started editing. The first editing pass is 9% through. Hoping to get a little further with that after I record this episode. I'm hoping to have this book out before the end of May, if all goes well. My secondary project is Blade of Thieves, the fifth book in the Blades of Ruin epic fantasy series. I am currently 8,000 words into that.
So once Dragon-Mage is published, Blade of Thieves will be my new main project. My new secondary project then will be Cloak of Frost, the 15th book in the Cloak Mage series. I thought I should mention that in the podcast because I had two questions in my email about that today. So I will be starting on Cloak of Frost sometime in the second half of May, if all goes well. Hopefully it will be published in July, with Blade of Thieves coming out in June (if all goes well).
In audiobook news, recording is underway for Cloak of Illusion, and that will be narrated by Hollis McCarthy and Blade of Wraiths, which will be narrated by Brad Wills. We're making good progress on both. I am looking forward to sharing those audiobooks with you before too much longer. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:28 Main Topic: Email Newsletters for Indie Authors
Now let's move on to our main topic, email newsletters for indie authors. If you are listening to this podcast, there's a pretty good chance you're also subscribed to my newsletter and if you are not subscribed to my newsletter, I recommend you do so because not only do you get three free ebooks when you subscribe to my newsletter, then every time I have a new book announcement, I give away a free short story as well through links in the newsletter. So it really is to your benefit if you want to read my books to be subscribed to my new release newsletter. But there are other reasons for an indie author to have a newsletter and we're going to talk about some of those reasons in this episode and some of the things you should not do with a new release newsletter or an email newsletter (if you have one).
For a while, email newsletters were considered obsolete in the age of social media. Why not just put things on Facebook or Twitter? Well, for one thing, Twitter doesn't exist anymore. For another, as social media algorithms changed and it became harder for people to see content in their feeds consistently, many authors began to look for alternatives to social media and ended up back on email newsletters or Substacks. The main benefit of an email newsletter is that you have control and it's not dependent on a specific platform. You don't have to worry about your account being flagged or closed by some random AI glitch and lose your ability to communicate with your readers. Most importantly, you're targeting people who want to know more about you instead of trying to fight through all the digital noise that is the modern internet. So today, we're going to talk about five things to try with your author email newsletter, and five things that would probably be the best to avoid.
#1: Give people a reason to care.
People need a reason to subscribe to an email newsletter, and it should be substantial enough to be a motivator. For myself, I offer three free full length books to new subscribers, Malison: Dragon Curse, Blade of the Ghosts, and Frostborn: The Skull Quest, and they arrive in a three book bundle from Book Funnel. People also need a reason to open the emails once they subscribe. For myself, I offer newsletter subscribers free short stories, usually timed around the release of a new book.
For example, I just published Blade of Wraiths, and that came with a free short story, Halfling Alchemy, and I gave away a bunch of copies of Halfling Alchemy when Blade of Wraiths came out. For Dragon-Mage, yesterday I finished writing a short story called Paladin and Priest, and that will also be given away for free to newsletter subscribers when I send out the new release newsletter after Dragon-Mage is finally published (hopefully later this month).
Other things you can try are offering exclusive discounts, sneak peeks of new books, and giveaways. When I have a BookBub featured deal, I will usually send out a newsletter like the day before or two days before that to share the upcoming discount with my newsletter subscribers as well. Sometimes when I have special sales like that, I will also use the newsletter to send things out to try and generate interest in the sale.
#2: Get to the point.
It's good to get to the point as quickly as possible in an email newsletter. People are skimming emails at best. We all get lots and lots of emails, and the longer the email is, the less likely it is to be read. Make it easy to scan for the main points and try not to have a long, rambling introduction.
Good formatting also helps people who are skimming to find what they want quickly. Good formatting also helps people who are skimming to find out what they want quickly. Based on my own email data, what gets the most clicks are the images of book covers I put on there. Usually I have an image of the book cover that goes to Amazon and an image of the short story cover that goes to my Payhip store where I'm giving away the short story for free, and those consistently get the most clicks in my email newsletters.
So that is an example of getting to the point and good formatting because the point of the newsletter is to let people know that I have a new book out or that something's on sale and the good formatting in the form of the cover images lets people quickly get to the thing I am offering them.
#3: Use data to figure out what's working.
Once you've done a few newsletters, you will have the data to see if there's certain types of newsletters that are more successful than others. You can go even further and test if there's certain days of the week or times of day that are more likely to be successful. Conventional wisdom is to send things early on the day on a Monday or Tuesday and avoid Friday afternoons when people are already distracted by the weekend. For myself, I've generally gotten the best results with newsletters sent on Monday, Tuesdays, and Wednesdays. Now, obviously many people are at work at that time, but you'd be surprised how many people have signed up for the newsletter with their work email address and seem to welcome the distraction during the workday when a new release announcement arrives. I have sent newsletters on Fridays and weekends. It's never as effective. Usually Monday, Tuesday, and Wednesday are the most effective days to send out a newsletter.
#4: Use a consistent format.
Using a consistent format for your newsletter can make it easier for people to find the information they're looking for and makes reading a newsletter more of a ritual. For example, author James Clear does a weekly newsletter with three quotes from his own books, two quotes from other people, and one reflection question each week.
For myself, my newsletters almost always follow the same format. I'll have one section with the cover image and links to the main thing I'm selling and then below that, two smaller areas, which are for the short story I'm giving away for free, and then another one with another short story I'm giving away for free or some other item I want to promote. Sometimes it's an audiobook. Sometimes it's another author's book who has asked me to include it in a newsletter swap. It's usually something of that nature. I've been using that in the same email format for like the last 10 years or so, and it's been working pretty well.
#5: Be sure to preview and proofread before sending. Be sure to preview how the newsletter will actually work before sending it out. Proofread the text, make sure none of the images are pixelated, and make sure all the links are working correctly. If you include a wrong link in the newsletter (which I have done in the past), people will let you know about it. It might be helpful to have someone else test it before sending it out.
So those are five tips that you want to do with your newsletter. And I'm also going to add a bonus sixth one: follow the law.
There are several regulations related to email newsletters, both in the US and the EU, and I think most of the EU ones still apply to the UK, even though they left a couple of years ago. In the US, if you are sending an email for a commercial purpose, you need to include a physical mailing address with every newsletter you send out. Many authors use PO boxes or UPS box numbers to avoid putting their home address in there, but if you are sending out an email for commercial purposes, you do need to have a physical address somewhere in the email. Usually it's at the bottom. If you look at, for example, emails you get from like Amazon or Microsoft or Apple and you scroll to the bottom, you will note that they are including a physical address for the company in every email they send out because that is the law.
There's also something that is required in the EU, and I believe it's now required in the US called a double opt-in. That's where if you add someone to your newsletter, they have to have given explicit permission for them to have been added to the list. For the subscriber, how that usually works is they fill out a form and then you are required to send them a follow-up email with a link to officially subscribe and that should get them officially subscribed to your email list. It also works that they send you explicit written permission to add them to the list. For example, I've had a couple of tech support questions where someone said, "I want to be on your newsletter, but I can't figure out the form. Could you just add me? " That counts as explicit permission.
You should only add emails to your list if you have this explicit permission for them to do it, and that's with a double opt-in explicit, written permission, or the kind of giveaway that properly follows these rules, where various services offer things where you can put up your books and people sign up to receive free ebook copies of the book and if they do so, they acknowledge that they will be added to your email list. That also qualifies as the permission.
So those will be the things you want to be aware of with your newsletter. You'll need a physical address and to be aware of the rules involving permission and double opt-in. Don't randomly add email addresses to your list. Probably nothing will happen, but if someone complains that they're on their list and they can appeal to the appropriate authorities and you don't have documentation that they were added to your list in that way appropriately, you could get in trouble. So try to follow the law whenever possible with your ... Actually, no, not whenever possible. Always follow the law with your email newsletter.
So let's launch from that into five things not to do with your email newsletter.
#1: This is not a diary.
It's good to be a little bit personal in your newsletter, to have a warm and welcoming tone, and to give people a tiny peek into your life. However, some authors put their entire life on display in their newsletters, which includes epic rants, details about relationship problems, photographs and personal details about minor children, and breathless pages on pages about how writing is so very hard. And this is not (in my opinion) a healthy way to engage with the Internet. Again, it's good to be a little bit personal, but as a writer, your newsletters are still professional communication, and it's good to be mindful that many people have a very, very low tolerance for personal details.
Even innocuous information like a picture of yourself boarding the plane to your minor child's hockey tournament has to be done with caution. Something like that gives people a way to find you at a specific place and time and know exactly when you will be away from home, two things you probably want to avoid. All the usual precautions about posting things about yourself and your children that apply to social media also apply to your newsletter as well.
#2: Don't spam people.
Although it's good to regularly send out a newsletter, sometimes it can cross the line into being too much. It can be tempting to send out a barrage of updates when a new book comes out, but daily emails are overwhelming and will get ignored. The conventional wisdom is to send out things no more than once per week. That's the rule I followed myself and it's worked out pretty well.
#3: Don't treat it as only an ad.
If you only send out links to your books, people will eventually tune out. Beside the incentives we mentioned earlier, it's a good idea to do things like provide writing updates, answer reader questions, and giving behind the scenes peeks like a teaser quote from a work in progress.
#4: Don't put the most important stuff on the bottom.
The most important information in the newsletter needs to be near the top. Not everyone will scroll all the way through each newsletter, so it's important to put any important news, links, or updates within the first couple of paragraphs or lines. That's why whenever I publish a new book and send out the newsletter, the first thing on the ... Well, actually the second thing, we'll talk about the first thing in the next point, but very near the top is the link and the cover image to the new book.
#5: You do not want to force your subscribers to stay.
Don't hide the unsubscribe button. You want people who don't want to be able there to leave or to not to flag it as spam. For myself, I put a link at the very top of each email to give people the chance to unsubscribe without having to hunt around for that information. It's best to do this because many people do not unsubscribe to email newsletters. They simply mark them as spam and move on. If enough people mark your newsletter as spam, then it will get harder and harder for it to show up in people's inboxes, which is the entire point. So you want to make it as smooth and easy and as frictionless as possible for people to unsubscribe from the newsletter because that will be to your advantage in the future.
I have read some horror stories about authors who flip their lids when someone unsubscribes and then manually re-add subscribers to the list after people have unsubscribed. Do not do this. This is illegal. You may get in trouble for it, and even if you don't get in trouble for it, it will irritate your reader/the person who unsubscribed, and they will start leaving bad reviews and spreading bad word of mouth about your books. So for all these reasons, it's definitely to your advantage to make it very easy to unsubscribe from your newsletter.
So to sum things up, email newsletters are a great way to reach people, but it's a delicate balance of providing people information they want and treating it like an ad or diary while also making sure you are complying with relevant laws and regulations. It may take some trial and error to find the right balance that your readers want and one that you can keep up with consistently and most importantly, enjoy doing. Just because something works for one author doesn't mean it's going to work for you or interest your readers. If your newsletter isn't an instant success, don't give up, but keep trying new things and be consistent with it. After all, everyone needs to start with their first subscriber at some point.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I celebrate both the 300th episode and my 15th anniversary of indie publishing, and look back at 15 lessons learned during that time.
You can get the ebook of WRITING LESSONS FROM THE PULP WRITER SHOW at my Payhip store until the end of May 2026.
This coupon code will get you 50% off the audiobook of Dragonskull: Curse of the Orcs, Book #4 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
ORCS2026
The coupon code is valid through May 4, 2026. So if you need a new audiobook this spring, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 300 (yes, that is 300!) of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 24th, 2026 and today we're looking back at 15 lessons I've learned over my last 15 years of indie publishing. We'll also start off with Coupon of the Week and an update on my current writing, publishing, and audiobook projects.
First up, let's have Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Curse of the Orcs, book number four in the Dragonskull series, (as excellent narrated by Brad Wills) at my Payhip store. And that coupon code is ORCS2026. And as always, the coupon code and links to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through May the 4th, 2026. So if you need a new audiobook for this spring, we have got you covered.
Now for an update on my current writing projects. As of this recording, I am about 62,000 words into Dragon-Mage, which will be the sixth book in the Rivah Half-Elven Thief series. If all goes well, I am hoping to have that out in May, though it might slip to June, depending on what I have to do in May. I'm also 4,500 words into Blade of Thieves, which will be the fifth book in the Blades of Ruin epic fantasy series.
In audiobook news, a recording of Cloak of Illusion by Hollis McCarthy is approaching the end, one more proofread listen, and it should be there. And then hopefully the audiobook should be out in May. Brad Wills is also recording Blade of Wraiths right now. So hopefully we should have those audiobooks for you before too much longer. And that's where I'm at with my current writing, publishing, and audiobook projects.
00:01:46 Main Topic: 15 Years of Indie Publishing
Now onto this week's main topic, 15 years of indie publishing because as of April 2026, I have now been indie publishing for 15 years, which is the longest continuous time I've ever actually done anything in my life. I've never had any other job or professional association that has lasted this long. I've done this for so long that when people are angry with me, they no longer preface their remarks on my feelings by saying, "Listen here, young man." I suppose that puts me in the upper tier of indie authors, not in terms of income or market footprint, but in sheer, bloody-minded longevity. There are still indie authors out there who have been doing this for longer and are still publishing regularly, but not all that many. Eventually, indie authors typically burn out and just stop publishing, or stop publishing due to real life reasons, such as illness, family illness, moving, changing jobs, et cetera, or get some kind of tradpub deal and stop indie publishing.
It makes sense that indie authors burn out. Sometimes, or even frequently, both writing and the business side of writing can feel like a slog, but I've been blessed with a mind that loves the grind. I don't say that to gloat, but to instead express my immense and humble gratitude to God (as Abraham Lincoln said long ago, the "beneficent Creator and Ruler of the Universe" & the "Great Disposer of Events") and to all of you, the many people have read (and after 2017 when I started with audiobooks, listened to) one of my books. Thank you all very much. By good fortune, my 15th anniversary of indie publishing and the 300th episode of this podcast coincide. So for the 300th episode of this podcast, I thought it would take a look back at the last decade and a half and reflect on 15 lessons learned in 15 years of indie publishing.
#1: Embrace the slog.
I think if you want to be a writer, you have to actually like writing. There are a surprising number of writers for whom this is not true, like they enjoy having written or the rewards of the writing, but they don't actually enjoy the part Glenn Cook famously called "put your backside in the chair and do it. " I'm fortunate that I do enjoy that part, but a lot of writers don't. Writing is often a grind in the same way that things like diet, exercise, and home maintenance are. Like if you do them for one day, it's not enough. You have to do them consistently day after day to have results. I think writing is kind of the same way. Effort applied over time cannot do all things, but it can do a lot. This applies to writing as well. A little bit every day can really add up over enough time.
#2: Finish the book.
A lot of writers get like one third of the way through their book and then give up or start something else. There's often a good deal of perfectionism involved in this. Here is a rule of thumb: a finished, imperfect book is infinitely better than the perfect version that exists only in your imagination, but will never exist anywhere else because you will never write it. Steve Jobs famously said, "real artist ship." I think the corollary is that if you want to be a writer, you have to finish things and then move on to the next thing. If finishing a novel seems daunting, I would suggest first writing short stories or perhaps novellas and learning to finish those. No one runs a marathon without first learning to run a mile after all.
#3: Back up your data.
This is an important one. I've gone through a lot of computers in the last 15 years, but I've never lost a large chunk of work because I back up regularly. I would suggest a three part system. Use whatever automated local backup your OS provides onto an external hard drive. Do manual local backups onto a flash drive of appropriate capacity and then have some sort of cloud backup you can rely on, which means you'll probably have to pay for it. That way, even if your house or apartment blows up (God forbid!), you will still have a copy of your stuff somewhere.
#4: Be willing to learn new skills as needed.
It occurred to me that most of these software tools and programs I use on a day to day basis nowadays did not exist when I started in April of 2011, or they're things that I've had to learn in the years since. Like 15 years ago, I didn't know anything about online advertising, Photoshop, 3D rendering, graphic design, social media, paperback formatting, ebook formatting, audiobook production, podcasting, small business taxes, and a bunch of other stuff, but I've picked it up in the year since. I wouldn't say I'm an expert at any one of those things, but I've been able to combine them well.
Life, as we know, is change. That means you're going to have to change whether you like it or not, but it's best to make sure you're changing to your advantage. That can mean having to learn new skills. Depending on the skill, it can either be onerous or fun, but it's still worth doing.
#5: When possible, give away stuff for free.
I know some writers get really worried or upset about giving away stuff for free. They'll price their first novel at $9.99 [all prices mentioned are in USD] or higher, and then say things like a latte at Starbucks costs five bucks, why shouldn't my book, which was so much more work, costs more? (Though these days, I think a Starbucks latte probably is more like $8.37.)
Giving things away for free gives readers a chance to try your work in a risk-free environment. If someone picks, for example, Frostborn: The Gray Knight and they don't like it or give up on it by chapter four, they're not out anything but time. But if they enjoy it, they might pick up Frostborn: The Eightfold Knife for $0.99. If they like that, they might go on to the rest of the series where the books are $4.99. That really adds up over time. I've also written and given away via my newsletter a lot of short stories. I have to admit that while I enjoy short stories, I mostly do this to increase the click-through rate of my newsletter.
It's best to think of giving away things for free as like planting seeds. If you're a farmer, you pay a lot of money for your crop seed, but then you have to sacrifice it in hope of getting a crop and potentially losing all the money you spent on the seed if it doesn't grow. Giving away ebooks for free is kind of like that.
#6: Don't expect sales to go up every year or every quarter.
There are pros and cons to the publicly held and traded corporation model, but I think one of the big cons is that the shareholders often demand that revenue goes up every quarter ("Number Go Up", to quote the Internet meme). The trouble is that this isn't sustainable in reality and leads to a lot of economic damage along the way. There's a good chance that when the AI companies tank in the next few years, they're going to take a good chunk of the economy with them because they push this growth at all cost mindset. Even on a smaller scale when a company has mass layoffs to make Number Go Up, it causes all kinds of havoc in people's lives. In writing and publishing, you definitely should not expect sales to go up every quarter or even every year. It just doesn't work that way. Overall, if you have more books, you can generally expect they'll sell more, but it doesn't always or even frequently work like that. Ebook sales, like everything else, tend to ebb and flow. Also, what we will politely call "macroeconomic events" tend to affect sales a good deal. After 15 years, I found that the book reading population tends to overlap a fair bit with the "news doomscrolling" population. So every time there's a significant news event, sales tend to drop. They always drop during a US presidential election year, which inevitably shocks any authors who started publishing after the last election. The 2024 [US Presidential] election had that happen a lot because as you no doubt remember, there were a lot of dramatic news events that summer.
Sales also tend to drop around Christmas because of holiday bills, and again in August and September, since that's when a lot of people have significant back to school expenses. If you have a really good sales month or year, that's great, but definitely do not plan on it lasting forever or going up forever. And if you do have that kind of windfall, it's a good idea to do sensible financial things with it- pay down debt, save it in sensible investment or retirement accounts, that kind of thing. It is a terrible, terrible idea to take on additional debt, hire employees you don't need, or commit to other unsustainable financial commitments. Living well below your means is a principle that can help you avoid much pain. Also, if you do have a windfall month or year, be sure to save for the tax bill you will have the next time you file taxes because Uncle Sam (or your national equivalent of Uncle Sam) will very much want his cut.
#7: Don't start a series unless you plan to finish it.
This is less of a thing for romance or mystery novelists since their books tend to be more episodic. However, if you're writing fantasy or science fiction, it's a really good idea to make sure you finish your series because there's nothing science fiction/fantasy readers hate more than a series that never gets finished. There are a couple of reasons for this, but there have been a few very high profile examples of popular series remaining unfinished and that really soured readers on the idea of unfinished series, which is often detrimental to new writers who are just starting out.
So if you're going to write in series, you need to commit to finishing them even if it's a lot of work. I've done that myself a couple times. For a while, I wasn't really sure if I wanted to finish Silent Order or Stealth & Spells Online, but I got them done. If you are a newer writer and you want to write in series, I would suggest starting with trilogies. They're less of a commitment than say something like Frostborn, which was 15 books.
#8: Don't stress about bad reviews.
Every writer has to learn to let bad reviews go. Obsessing over them isn't healthy and freaking out over them on social media is never good and can have bad consequences. It is a hard lesson to learn, but you just have to learn to ignore bad reviews. People can take reacting to bad reviews to insane extremes. There was a criminal case a while back where writer drove to someone's house and attacked a critic with a wine bottle because of a Goodreads review. Granted, that is an extreme case, but there have been numerous examples of writers going to war with critics over social media or even just complaining about bad reviews on social media only for the Internet to fall on their heads.
You just have to learn to ignore bad reviews. It's not easy, but you can just follow these two rules about bad reviews. First, say nothing. Second, do nothing. "Never complain, never explain," to paraphrase Benjamin Disraeli. If it helps, the longer you do this and the more you write, bad reviews matter less because you can't remember everything. Like after you've written your first book, you can remember every single bit of it and every little decision and bit of thought process that went into the writing. But after 172 books, I honestly can't remember everything I've written unless I look it up. Like if someone complained about the griffin diarrhea joke in Malison: Dragon Fury, I would just kind of stare blankly because it would take me a while to remember it!
#9: Social media is a potentially destructive time sink.
This kind of relates to the previous lesson, but there are a lot of ways that social media can waste enormous amounts of your time. Arguing with strangers is one of them and the most obvious and potentially the most destructive, but passive consumption can be just as insidious. The phenomenon of doomscrolling, of endless scrolling through bad news is well known and is psychologically harmful. There's also "comparisonitis", which can be especially insidious for writers, since people generally put their curated selves on social media.
Interestingly, sometimes people put the curated negative selves on social media. The way some people complain and present themselves in their posts, it's amazing they have the energy to type up posts complaining about their woes. No doubt that is done for engagement. There are also countless people who simply make up outrageous stories about hot button issues for clicks and clout.
You also want to avoid arguing with strangers on social media because it will inevitably turn out that person in question is unemployed and therefore has infinite free time and also has poor reading comprehension and some sort of rage-based mood disorder. Overall, I would say that the best way to engage with social media while keeping your sanity is to remain positive. Share as few personal details as possible. Don't argue with strangers and only say things that are verifiably true. That will let you avoid a lot of potential trouble.
#10: Pay people promptly and on time.
Speaking of avoiding trouble, paying people on time will let you avoid a galaxy of woes. No one person can't possess all skills. So if you write long enough, you're going to need to subcontract out some stuff, whether it's editing, cover design, web design, accounting and taxes, audiobooks, and so forth. So if people do work for you and you are satisfied with this work, then you should pay them on time. This is a concept that a lot of people can't seem to grasp, and I've heard a lot of horror stories over the years about authors who try to weasel out of payment.
So if you hire people to do things for you and they do them to your satisfaction, then pay them the agreed amount on time. This will also have the nice effect that if you pay people on time and build up track record of this, they'll be more willing to accommodate reasonable requests from you.
#11: Don't worry about NFTs, Crypto, the Metaverse, LLMs, or whatever the latest doomsday tech trend is.
The second half of the 2010s and the entirety of the 2020s have been filled with technologies that turned out to be useless, stupid, infested with scammers, and overall destructive, such as cryptocurrency, NFTs, the Metaverse, and of course, generative AI. (Apple CEO Tim Cook announced his retirement right before I started recording this episode. I think one of the chief positives of his legacy will be that he kept Apple mostly away from the generative AI mania.) I remember when cryptocurrency was inevitably going to replace fiat money, or when NFTs would be the future of art, or when all the very smart people said that the Metaverse would be the future of work and online communication. A lot of these technologies' boosters said you had to get on board with it right now, or you'll be left behind in the glorious technological revolution.
You'll note that none of that actually happened. Crypto's main use case is facilitating cybercrime and NFTs are worthless. The Metaverse, like most of Facebook's bright ideas, wasted a lot of money and did nothing useful. Generative AI is on a similar course. None of its glorious promises of a better future have actually happened, and all it's really done is a lot of destruction and waste of money. The money is running out, public opinion is turning against it, and eventually LLM technology will dwindle to a sketchy corner of the internet much like crypto. Or to put it both more optimistically and snarkily, the best quote I heard about LMMs was that with strange people heralded the next generation of industrial automation technology as the beginning of the Singularity. It's like thinking that the computer that controls the fuel/airflow mixing your car is suddenly going to overthrow society and replace all human work.
The one thing these technologies had in common, other than all being massive frauds, is that many writers worried it would be the end of writing, that crypto was going to replace government money or that all art would become NFTs, or that people would prefer AI slop novels over human written ones. However, none of this actually happened and people who predict the future are usually wrong. Various ancient and medieval societies made attempting to predict the future punishable by death. There's an element of religion to this, but I suspect some hard-headed jurists were less worried about offending the gods through false prophecy and had instead realized that many so- called prophets were just grifters attempting to scam money out of the credulous. This principle holds true today.
I'm sure by 2030 there'll be some new technology called "groobelfarts" or whatever. Various grifters will swarm over social media saying "groobelfarts" are the future and if you don't get behind the "groobelfarts" (preferably by buying their course and signing up for their newsletter), then you're going to get left behind by the great and glorious "groobelfarts" revolution. But it will turn out to be 95% of scam and then by 2035, all the grifters will move on to the next tech. So I wouldn't worry about generative AI or whatever the next big technology is, which is probably "groobelfarts".
#12 It's a really good idea to have your own website.
If you're serious about indie publishing, you're essentially running a small business. These days, a small business really needs its own website. I know some writers rely entirely on their Amazon profile pages or social media profiles. This is a really bad idea, in my opinion, because the ebook stores and the social media platforms are changing things all the time and one of those changes might knock your visibility down to nothing.
By contrast, with the website, you control it and you can set the content. It's also very useful to have a central location to direct readers. Ideally, your website will have links to all your books, so you can just send readers there. A lot of writers overthink this, but a standard WordPress or Wix template or something of that nature will work just fine for you. In fact, the fewer bells and whistles on your website, the better. It makes it easier to maintain and is that much harder to hack.
#13: It's a really good idea to have your own email list.
Related to the previous point, it's also an excellent idea to have your own email list to mail your readers. There are some legal requirements around this involving opt-in permission and physical addresses, and obviously it's best to follow them. But an email list, even after 15 years, is still my most powerful tool for reaching readers. As we mentioned above, the various ebook stores and social media platforms forever tinker with their algorithms and visibility. Having your own website is important, but getting people to visit it can be something of a challenge. That's where the email list comes in.
With it, whenever you have a new release, you can email people and let them know. Whenever I publish a new book, the best sales day is always, without fail, the day I send out the newsletter. How do you get people to sign up for the newsletter? I found the best way is to consistently give away things for free. If you sign up for my newsletter (and if you haven't, you should do so right now), you get a bundle of free ebooks. Almost every time I publish a new book, I also give away a free short story. So giving away free stuff via the newsletter is a good way to build it and keep subscribers.
#14: Don't cheat or be unethical.
Like every other business, there are a million ways you can cheat or be unethical in indie publishing- plagiarism, stealing covers, paying for fake reviews, paying for bad reviews for someone you don't like, buying social media followers, manipulating Kindle Unlimited page reads, cranking out LLM slop books, and so forth. Some of it is technically legal, but unethical, and some of it is outright illegal. It can be very frustrating to see people you know are cheating get ahead. That said, it is always best to walk the straight and narrow road as best you can. There are many religious and ethical arguments for doing so, but if those don't appeal to you, the consequences might.
If you cheat and do sketchy stuff, sooner or later it will catch up to you. It might take a long, long time. Bernie Madoff ran his scam for decades before he ended up dying in a prison hospital. Sometimes it catches up to you much more quickly. Sam Bankman-Fried only ran FTX for three years or so during the height of crypto mania before it all blew up in his face. People who work for the devil in the end always end up paying him rather than the other way around. So don't cheat or do unethical stuff. Your life will be happier and easier. And at the very least, you won't have to live with a constant low level fear that the consequences are about to catch up with you.
#15: Tomorrow is another day.
Perhaps today didn't go well. Maybe you're too busy getting your writing done or you got to your writing time and you're just too tired to concentrate. Maybe it was a bad sales day or you got a bad review or you got some bad family news or one of the other myriad ways that Real Life exacts its tolls arrived. Perhaps today was a bad day, but tomorrow is another day. It will be another shot at the ring.
I suppose 15 years of self-publishing means I've been doing this for over 5,400 days. There have been some good days and bad days in the mix, but the thing to remember about bad days is that tomorrow is another day. If you miss your writing goal one day, you can try again tomorrow. And that little bit of daily effort adds up cumulatively over time.
Conclusion.
So those are 15 lessons I've learned in the last 15 years in indie publishing. As always, I would like to thank everyone who read and enjoyed my books and I hope to keep them coming. Meanwhile, we'll close out with a bonus. As I mentioned earlier in the show, by happy coincidence, my 15th anniversary of indie publishing overlaps the 300th episode of this podcast.
So to mark the occasion, I'm giving away a free ebook, Writing Lessons from The Pulp Writers Show, which was written by me, Jonathan Moeller, and A.B. Bachmann (who is the researcher, editor, transcriptionist, and webmaster for this podcast and has been very helpful). You can get this ebook for free at my Payhip store until the end of May.
So that is it for this week. Thank you for listening to The Pulp Writer Show and the past 300 episodes of The Pulp Writer Show. I hope you have found the show useful as we finish up 300 episodes and continue on to hopefully the next 300. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your view on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we discuss the recent changes for new accounts at Draft2Digital, and talk about how there is no magic pill for success for writers.
This coupon code will get you 25% off the ebooks in the Malison series at my Payhip store:
MALISON2026
The coupon code is valid through April 27th, 2026. So if you need a new ebook this spring, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 299 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April the 17th, 2026 and today we are discussing Draft2Digital account changes and how writers need to embrace the writing grind. Before we start on that, we will have Coupon of the Week and an update on my current writing, publishing, and audiobook projects.
First up is Coupon of the Week, and this week's coupon code will get you 25% off the ebooks in the Malison series at my Payhip store. That code is MALISON2026. This coupon code is valid through April the 27th, 2026. So if you need a new ebook for this spring, we have got you covered.
And now an update on my current writing, publishing, and audiobook projects. I'm pleased to report that Blade of Wraiths, the fourth book in the Blades of Ruin epic fantasy series, is finally done. You can get Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, bookshop.org, Smashwords, and my own Payhip store. It has been selling strongly, so thank you all for that and I'm glad I was finally able to get it out into the world despite delays.
Now that Blade of Wraiths is done, my next main project will be Dragon-Mage, which is the sixth book in the Rivah Half-Elven Thief series, and I'm about 29,000 words into it. I think it will be about 80,000 words, give or take. So I'm hoping to have that out in May, if all goes well.
In audiobook news, the fifth book in the Rivah series, Wizard-Assassin, is now out in audiobook. You get it at Audible, Apple, Amazon, Chirp, Google Play, Kobo, and all the other usual audiobook stores. In other audiobook news, Cloak of Illusion is being recorded by Hollis McCarthy right now and Brad Wills will start recording Blade of Wraiths on Monday, if all goes well. So that is where I'm at with my current writing, publishing, and audiobook projects. Good progress all around. So it's nice to have a good progress update there.
00:02:00 Barnes & Noble/ Draft2Digital Changes
Now, before we get to our originally planned main topic, we will pause to address a news item. A few people ask what I thought about recent changes that Barnes & Noble and Draft2Digital made for self-publishers. If you're outside of Indie Author World and haven't heard of any of this, the gist is that Barnes & Noble is putting new restrictions on indie author accounts and Draft2Digital is now charging a one-time $20 fee for anyone opening account and an annual $12 fee on any accounts that make less than $100 a year on the platform and if you make more than $100 a year on the platform, the yearly fee is waived.
Now, as you can expect, there was a good deal of consternation about this online, especially among indies with only one or two books who might not make $100 a year from their books. So what is my opinion on this? My opinion is threefold. First, it's unfortunate they had to do this. In a more optimum world, they would not have had to do this, but I suspect they were forced into it due to circumstances. And because of that, number two, it is inevitable that something like this was coming along because number three, the reason this happened was the overwhelming flood of AI generated slop from scammers. The ultimate source of the problem, as is the ultimate source of many recent problems in the world, is generative AI.
A small number of scammers are generating enormous quantities of AI generated slop books and uploading them to the publishing platforms. We're talking like tens of thousands of books a month or even a week, and the books are absolutely low effort as well: AI generated gibberish text, AI generated cover, and then thrown on the store.
Since I wrote this podcast script, James Blatch of Self Publishing Formula put out a Substack stack article on it, and he mentioned that he was talking to someone from Draft2Digital. He mentioned an example of the kind of low quality slop books they're dealing with. Last year when US political activist Charlie Kirk was murdered, within hours, several nonfiction books on the murder appeared on the stores, and these books were essentially either copy and pasted Wikipedia summaries or AI generated books on the topic that, as you might expect since it was a very recent event, contained no useful information whatsoever. The scammers were just hoping that to take advantage of a contentious current event and make a few bucks along the way. Now imagine this multiplying tens of thousands of times over every single day, and that is the scale of the problem.
Now, this has always been a problem with self-publishing, especially with Kindle Unlimited, but AI takes it to an industrial scale. With some basic LLM knowledge, you can automate the entire thing. The figures I've heard are that something like 70 to 75% of new submissions to Draft2Digital in the last year have been AI generated scam books of that nature. Now, obviously this is not viable in the long term and is an existential threat to the platform, so something had to be done. Amazon already took some steps in that direction by limiting accounts to only three uploads a day, so it was inevitable that the other platforms would have to follow suit.
Now, the best way to reduce scams is to increase friction. That's why it's sensible to lock your front door and your car. If someone really, really wants to break into your house or car, that's not going to stop them, but a locked door will deter lots of casual thieves or junkies who are strolling around looking for low risk things to steal. In the same way, these changes won't stop the problem of AI generated slop books, but it will help [make] the problem more manageable by increasing friction. So it's unfortunate that these changes have to happen, but I suspect something like this was inevitable, and I also strongly suspect that more of this will be coming.
I think eventually we're going to end up with a per book publishing fee, like $10 per title, [which] while unfortunate, would severely reduce the financial viability of these scams, but perhaps we'll be fortunate enough that the era of free and low cost generative AI is going to collapse before that happens. The economic signs are increasingly pointing in that direction with the various AI providers hiking prices in the last few months, and scamming with AI becomes a lot less attractive when you're spending thousands of dollars a week on tokens.
Ultimately, in my opinion, the villain here is not Draft2Digital and it's not Barnes & Noble, but the villain is the AI companies who have very recklessly and irresponsibly pushed this highly destructive and often useless technology out of a combination of messianic hubris and old-fashioned greed disguised as self-righteous altruism, much like the crypto and NFT advocates before them.
I've said before that I think the primary problem with LLM based AI is that it comes with a whole lot of negative results and virtually no positive ones. The changes of Draft2Digital and Barnes & Noble are yet another example of AI creating negative outcomes and no corresponding benefits. But thankfully, it is not all gloom and doom. It's heartening to see how increasingly unpopular AI is becoming with the general public, with shutting down data center construction projects becoming a hot issue in local US politics. I think the best outcome for the entire mess created by AI technology would be for using it to become as socially unacceptable as, for example, smoking in front of small children or placing bets on a dog fighting ring.
00:07:15 Main Topic of the Week: There is No Magic Pill For Writers
Now our other main topic of this week, how there is no magic pill for writers and writers should embrace the writing grind. A while back, I was watching a sports documentary and one of the athletes said that when she was asked for advice from those just starting the sport, she would happily share her routines with these competitors because she knew that most people lacked the work ethic necessary to complete them for any length of time. She lamented that all people wanted was a magic pill and that there was no magic pill for success in her sport.
And I think the same thing is true of writing and publishing. People want a magic pill to land on top of the bestseller list right away and make lots of money instantly. The truth is for any kind of lasting success, there isn't that magic pill. Most writers make money by persistence instead of trickery. In this episode, I will give you five of the most important things you need as a writer in order to succeed in publishing your work.
I can't give you a magic pill, but like that athlete, I can give you my routine. I've mentioned these tactics before in this podcast, but I wanted to collect them all in one place as a starting point of advice for working hard for that magic secret to success.
#1: Work hard.
You might hear stories of writers only working an hour or two a day, but the reality is that prolific authors are working far more than that. Only a handful of writers can make a full-time living publishing one book every few years. The rest of us are writing as much as possible and getting out books at least a couple of times a year, if not more. Times have changed. In a saturated entertainment industry, people are quick to forget and move on to the next thing. Website algorithms reward authors who put out new content frequently.
So to be able to be a full-time writer, I do work typical workday hours, but I also do some work in the morning before I actually start, and then some in the evening as well, though of course that can be modified based on the needs of the day. I also do some work on weekends. I don't work all day on the weekend, but I do try to get at least a thousand words in and any administrative stuff wrapped up on the weekends. And I try to avoid long vacations, partly because I don't want to miss that much work and partly because I don't really enjoy long vacations. I'm not much of a traveler, I have to admit. This is generally more work than in a typical office setting. Especially around tax time, there's also its own share of a boring administrative paperwork that needs to be done.
#2: Don't mistake what working hard is or where you should focus your effort.
I've talked a lot about the perils of writing adjacent activities on this podcast, meaning things that feel like productive work but aren't. For example, some authors spend hours a day on social media and feel like they're marketing, but really they're just posting an echo chamber of other authors or getting themselves upset by doom scrolling and calling it keeping up with the news or research. They are as mentally drained as if they did hours of productive work, but unlike productive work, they have nothing to show for it. Writing adjacent activities have to be tightly controlled and managed because the majority of your work time should be spent writing and/or editing. Distractions like these writing adjacent activities can take up an entire day if you let them. I keep to a pretty rigid schedule, planning my breaks throughout the day.
#3: When possible, do the publishing yourself.
Don't rely on sketchy publishing services or vanity presses asking for thousands of dollars to help publish your book. Despite all the outrage over the Draft2Digital's change, $12 a year is still pretty reasonable compared to some of the outrageous fees that these vanity publishers charge. It's worth taking the time to learn how to format and publish books yourself. There's an abundance of free tutorials or low cost ones from reputable sources that can teach you how. It's better to spend time than money and then you have the skill forever. That is one writing adjacent activity that is absolutely worthwhile.
Don't wait for the approval of an agent or spend years chasing one down. You can put your book out yourself. By doing it yourself, you have complete creative control, keep all the profits, and get to decide what you publish next. There's a reason that many authors return to self-publishing after accepting a contract with the Big Five publishers in the US.
#4: Manage your expectations.
The fact is that some genres sell more than others, especially in ebook form. For example, children's picture books are one of the toughest categories for indie publishers, especially as it fills with AI generated slop replacing illustrators. Children's books, technical books, and very specific nonfiction is simply harder to sell than romance, fantasy, or other kinds of fiction.
Most authors don't have a massive success with their first book and find that their sales increase gradually over time. Don't expect to become the next indie success mega success story on your first time out.
#5: Be willing to change.
The beauty of being an indie author is that you have access to a lot of real time data about your books. If you are seeing a lot of clicks on your ads but few purchases, it's best to try changing your book's cover or blurb before giving up on it entirely. If the search results for your book on Amazon don't match your book at all, it's best to tweak the categories and add in some negative targeting to your ads.
There's a saying that the best thing you can do to sell your book is to write the next one in the series, and I have found that to be very true myself. If the book isn't an instant success, it might be better to put out the next one instead of endlessly tweaking the first one.
#6: Keep going.
Most people can work hard for short bursts of time. The real challenge is to work hard over a sustained period of time, especially if there isn't an immediate reward for it. There is something of the same challenge in exercise and eating healthy too in that you don't usually see immediate results. You have to do it consistently for several weeks or months before you start seeing results. The truth is, most writers are not an overnight success or even a success after a year or two of writing.
I wrote for years before my first book got published in 2005. Even after my first book was published and didn't sell well (I think my royalties could have bought me a combo from Burger King). It took years of writing and rejection from publishers before indie publishing became viable, and I was finally able to make money from my unsold novels. If I hadn't kept going, I wouldn't have been able to have those books ready when the opportunity of self-publishing began to lead to actual money.
So keep going. Even if your first draft is not your liking, even if your first book you put out doesn't sell, even if you feel frustrated, the best thing you can do is just keep going. In short, ignore the influencers who have advice for becoming an instant bestseller, usually by throwing lots of AI produced slop onto bookselling sites.
Taking the easy way out is not a long-term strategy. There is no magic pill that leads to selling over two million books over 15 years like I have done (not to toot my own horn about that, so to speak), but I think that shows the results of effort applied consistently over time for a long period of time. So if you want to be a writer, get to work.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. Next week will be our 300th episode. Talk about effort applied over time, right? So be sure to tune in next week for the 300th episode because we're going to have a special giveaway for that. A reminder that you can listen to all the back episodes of this podcast on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I answer questions I receive whenever I mention that STARFIELD is my favorite game of the 2020s.
This coupon code will get you 50% off the audiobook of Half-Orc Paladin, Book #3 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store:
HECTOR50
The coupon code is valid through April 20th, 2026.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 298 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 10th, 2026. Today I'm doing an FAQ about my experiences with Starfield, which is my favorite game of the 2020s. Before that, we will have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's Coupon Code will get you 50% off the audiobook of Half-Orc Paladin, Book #3 in the Half-Elven Thief series (as excellently narrated by Leanne Woodward), at my Payhip store. That coupon code will be HECTOR50. And as always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. And this coupon code will be valid through April 20th, 2026. So if you need a new audiobook for this spring, we have got you covered.
Now for an update on my current writing, publishing, and audiobook projects. As of this recording, I am done with the first pass of editing through Blade of Wraiths and then starting on the second. It's taken a bit longer than I've wanted because I've had a lot of Real Life Stuff to do, but if all goes well, I'm hoping to have the book out in the second half of April, so hopefully not too much longer now. I'm also 19,000 words into Dragon-Mage, which will be the sixth book in the Rivah Half-Elven Thief series. Hopefully that will be out in May, if all goes well. No, that might slip to June, but I'm really hoping to get that one out in May.
In audiobook news, Hollis McCarthy has started work on Cloak of Illusion, so hopefully if all goes well, we'll have that out to you in May sometime. In fact, I'm hoping that will come out concurrently with Dragon-Mage, because it's always nice when I can stack an ebook and an older audiobook in the series like that together. So that is where we're at with my current writing, publishing, and audiobook projects.
00:01:46 Main Topic: Starfield
Now onto our main topic. This is ostensibly a podcast about writing and the business of writing, but I like video games, so we're going to talk about a video game this week. The reason for that is whenever I post about Starfield or share a screenshot from it, I frequently get a number of questions. I think it's because Starfield was an oddly divisive game when it came out. People have strong opinions about it and then have strong opinions about other people's strong opinions and I do not have these strong opinions myself. While I enjoy the game a great deal, if you don't like it, that's fine.
There are lots and lots and lots of legitimate reasons to criticize Microsoft, which is the ultimate owner of Starfield. It's possible for two things to be simultaneously true that Microsoft has done a lot of sketchy things, and that Starfield is a good game that I enjoyed. I suspect it's a bit like enjoying a football game while at the same time knowing that the NFL is an unscrupulous cartel that could benefit from some thorough reforms. Despite that, I have to admit that I don't think it's super healthy to make gaming opinions, whether video games or sports games, a core part of your identity. A game in the end is just a fancy toy for amusement and idle moments. If God descended tomorrow and told me that Starfield would vanish from the face of the earth, I'd be rather disappointed, but my dinner would still taste just as good and my house would be just as warm.
That said, I did enjoy the game quite a bit. Everybody needs a hobby and even I can't work every hour of every day. I wrote like a hundred novels in the last 10 years. Everyone has their own stresses in life, of course, but we seem to live in particularly stressful time these days, so a harmless hobby is a nice break from real life. The game's newest expansion came out a couple days ago on April 7th. And so with that in mind, I thought I would answer the most common questions I get whenever I post or talk about Starfield.
Question: Did Starfield influence your Silent Order Science fiction series at all?
No. But I'm always pleased when I get this question because it's easily answered. The final book of Silent Order came out on September the 4th, 2023, and Starfield came out on September 6th, 2023. I tried Starfield like the day after it came out, but I didn't actually start playing it in earnest until April of 2024, like I didn't actually finish the starter dungeon until April of 2024. So no, Starfield was not an influence on Silent Order. It would be fair to say that Silent Order was more influenced by James Bond, some H.P. Lovecraft, and Wing Commander: Privateer, which is actually our next question.
Question: What initially drew your interest to Starfield?
Part of the game reminded me a lot of Wing Commander: Privateer from the '90s, which was one of my favorite games back in the day. If you're not familiar with it, Wing Commander: Privateer was what's now called a "space trading sim" set in the Wing Commander universe. In all the previous Wing Commander games, you played as a Starfighter pilot fighting in the humans' war against the cat-like Kilrathi invaders. Your missions were assigned to you along with the specific ship you would fly for that mission.
But in Privateer, you played a freelance captain with a rundown freighter. You can carry cargo, go bounty hunting, do mercenary work, trading, and just wander around the map following infinite procedurally generated missions from the Mission Board, the Merchants' Guild, and the Mercenaries' Guild. Eventually, you would have enough cash to upgrade your rundown ship to something better and configure it however you liked. There's a main plot, but you can totally ignore it and do whatever you want. I loved Privateer and I finished both it and the expansion. And of course, spent a lot of time doing the infinite procedurally generated quests.
Starfield does the same thing, but with 30 years' worth of advancement of game design and technology improvements. In grand Bethesda game tradition, you don't even have to do any of the main plot lines.
You can just wander around doing procedurally generated quests. It's like Privateer, but better and with ground-based quests as well. You can get out of your ship and walk around in a way you couldn't in Privateer. In Starfield, you can land at some random science outpost or industrial outpost and the inhabitants will have a quest for you.
I've heard Starfield described as a "cozy game", since quite a few people enjoy just building their outposts and their ships and then decorating them like the science fiction version of Animal Crossing or Stardew Valley. In another sense, I suppose Starfield could be described as "cozy adventure". Granted, that might be a strange thing to say about missions where you machine gun space pirates, blow up their base, and then loot all their stuff, but Starfield is an excellent game for just puttering around. It's fun after a long day to play for an hour, take out some space pirates, upgrade your ship a little, maybe tinker with your outpost. And I do like, I have to admit, the main plot line and the various faction quests.
Question: So the procedural generation stuff doesn't bother you?
No. Procedural generation has been part of gaming forever and long before the civilizational blight that is modern LLM systems. Certainly there are points where the procedural generation of Starfield could be improved and it has been improved with patches, but I enjoy the randomness of it.
Question: If you think Starfield is good, why did it have such mixed reviews?
It did have some rough points at launch, like the lack of surface vehicles, the lack of city maps, and some weird choices for inventory management (among some other issues, though those were later patched or upgraded). I honestly think the game is better than the mixed reviews would indicate, and I also think the mixed reviews were a combination of different converging social factors, specifically, people's expectations of what they imagined the game would be versus what it actually was, its Xbox and PC exclusivity, and the unfortunate addiction to outrage culture in social media.
As I mentioned before, I think it's obvious that we live in stressful times and for a variety of reasons that are beyond the scope of this episode, I think people are overall angrier and eager to lash out when a target presents itself, especially online. Additionally, I suspect a big part of the mixed reviews is that Microsoft has built up a lot of ill will since the launch of Windows 11 and Copilot, and Starfield is a convenient outlet for that. Like Outlook and Teams are widely hated software tools, probably some of the most hated software tools in the world, but your job forces you to use them and you can't do anything about it. It's more effective to criticize a consumer-facing business like video games than it is Outlook and Teams, since those tend to be sold in blocks of thousands of licenses to large institutional customers that don't particularly care what their employees think about Outlook or Teams.
In fact, fun fact, while I was writing this episode, Outlook was causing problems on Artemis II, NASA's first manned mission to the moon in over 50 years. So there is yet another historical milestone for Outlook.
Question: You've said repeatedly that you don't like multiverse stuff, yet Starfield's main plot revolves heavily around the multiverse.
That's true. I don't really like multiverse stuff in fiction because it's hard to execute well without making the story pointless. If there are a billion parallel universes and somebody dies in one of them, so what? Just hop over one universe and find a new version of the dead guy. Multiverse and parallel universe plot lines are a bit like homemade lasagna or homemade spaghetti carbonara. It needs to be done by someone who really, really knows what they're doing, otherwise the end result is sad and unpleasant, indigestible, or outright disgusting. That said, multiverse as a game mechanic is actually the clever idea.
Like we all know that if you really like a game, you're going to play it more than once. How many times have you replayed Skyrim? How many uncounted quintillions of times has the original Super Mario Brothers been replayed? Starfield rather cleverly builds that replaying into the game. You can start over in a new universe and play the game again, but this time your character has in- game foreknowledge of everything that's going to happen and that can affect the gameplay in fun ways.
Question: Did you really lose 40 pounds while playing Starfield?
Yes. Of course, the main factor was some lifestyle changes in terms of exercise and diet, but I did lose 40 pounds since starting to seriously play Starfield in April of 2024. The game was an excellent distraction instead of late night snacking, so I suppose I sublimated the snacking urge into blowing up space pirates.
Question: Aren't you worried Starfield will influence or slow down your writing?
Well, writers and other creatives draw inspiration from all sorts of places, but no, I'm not worried about that because Starfield draws so heavily on multiverse tropes and as I've mentioned a few times before, I don't really like multiverse stuff in fiction.
In terms of productivity, I published a million new words in 2024 and again in 2025. Though in full disclosure, I will be surprised if I hit a million words in 2026 due to the amount of Real Life Stuff I will have to do this year, but admittedly that is Real Life Stuff unconnected to gaming or recreation and it's only April, so who can say how the rest of the year will play out?
Question: Did playing Starfield so much take time away from reading?
Probably not. In 2025, I read 69 books and by the end of March in 2026, I have read 15. Lots of people read more than I do, but 69 books in a year is still significantly higher than the American national average. In all honesty, I both read less and play fewer video games now than I did like 20, 25 years ago when I had way fewer responsibilities.
Question: The expansion pack Shattered Space got mixed reviews, but you really enjoyed it. Why?
I thought the concept was intriguing. "Religious leader builds machine to contact his conception of God and accidentally blows up half his capital city and creates a space time rift" is an interesting concept for both a game and for fiction. I also liked how the expansion pack went in depth into the crazy space cultists' home planet, which was a fun environment to play. Shattered Space is definitely Starfield on hard mode though. The game recommends it for Level 35 characters, but I think 50 might be better, if I'm honest.
Question: If Starfield was a commercial failure, why do you play it?
Well, "commercial success" and "I enjoyed this" don't necessarily overlap on the Venn Diagram, do they? Just because something is popular doesn't mean it is good and just because something is unpopular doesn't mean it is bad. That said, I don't think it's objectively correct to say Starfield is a commercial failure, regardless of one's opinion of the game. Microsoft is a ruthless corporate empire that has absolutely no qualms about cutting things that are liabilities, especially as more and more of its resources go into Copilot and LLM slop (though there are some indications that its AI focus is starting to loosen as reality begins to impose itself on the grand delusion of the AI powered future).
Considering that in the two and a half years since Starfield came out, it's received a lot of patches, a lot of new free content, and two paid expansions, it's clear that the Lidless Eye of Microsoft has not turned towards Starfield in fiery wrath, especially since Microsoft laid off lots of people and shut down a bunch of its game studios during that time. People tend to focus on Steam rankings, but that's only a segment (if a very large segment) of the market. Various Starfield devs in interviews have said that the game is in the top 10 for played hours on Xbox Game Pass. Xbox Game Pass is really important to Microsoft, probably more important than the physical Xbox itself. So I don't think it's objectively true that Starfield is a commercial failure, though it definitely wasn't as successful as Skyrim or Fallout 4.
Question: Baldur's Gate 3 (BG3) came out at about the same time as Starfield. Did you like Starfield better than Baldur's Gate 3?
Yes.
Question: What? Why? Everyone knows Baldur's Gate 3 is the better game.
Baldur's Gate 3 is an excellent game. Well written, well designed, excellent voice acting, the works. That said, I also think Starfield is an excellent game and I just enjoyed it more. It's a matter of taste, I think, which is not quantifiable. BG3 is a big Larian/BioWare-style narrative RPG, which is kind of its own genre in the same way that a Bethesda RPG is also its own genre. I mentioned above that I enjoy the puttering around aspect of Starfield a great deal and BG3 doesn't offer as much space for that kind of puttering, some but not nearly as much. I have enjoyed that style of narrative RPG in the past. Dragon Age: Origins and Knights of the Old Republic were both excellent games I played back to back in 2009 or maybe 2008, back when I had more time for that kind of thing and I think they qualify as direct predecessors to Baldur's Gate 3.
But these days, I like the freedom of puttering more, even if a game like BG3 offers an excellent interactive narrative. Additionally, I admit I got frustrated a lot with BG3 in a way I didn't with Starfield. In BG3, I kept frequently running into Total Party Kill situations, which is exasperating after you've sunk 20 or 30 minutes into a complicated combat encounter. So I think it's objectively and quantifiably true to say that Baldur's Gate 3 is significantly more popular than Starfield, but on the subjective level, I just enjoy Starfield more.
Question: Do you like the soundtrack of Starfield?
Oh yeah. It's some of my favorite writing music. For fun, go search on YouTube and watch the London Symphony Orchestra's concert of the Starfield soundtrack. The composer Inon Zur gets to conduct some of it. I'd say my favorite tracks are Into the Starfield, New Atlantis, The Safety of the Citizens, Freestar, The New Old Frontier (I think that plays in the Trackers' Alliance headquarters), Cydonia, Sublevels, Neon, and In Silent Orbit. The battle of music when you fight the Star Born is pretty great as well. I think it's called "Stars and Sacrifice", but I'm not 100% sure.
I also quite liked the soundtrack for Baldur's Gate 3 as well, to return to an earlier question. Andrew Wincott totally deserved the BAFTA for "Raphael's Final Act."
Question: If a Switch 2 port comes along of Starfield, will you buy it?
I would wait for reviews, but honestly, I would be amazed if there was a Switch 2 port of Starfield. The Switch 2 is more powerful than its predecessor, but there's no denying that Starfield is a chunky, chunky game. Then again, I wouldn't have thought it was possible to get Cyberpunk 2077, Witcher 3, or Fallout 4 on the Switch, and apparently those are good ports, so I guess we'll see.
Question: Favorite Quest in Starfield?
The Mantis, Groundpounder, and the entire thing with the Terrormorphs. Also the whole freaky quest with the Crucible and the clones, that was some great '70s-style science fiction stuff. I enjoy any of the quests with Walter Stroud because he's a fun character, and also voiced by the actor who played Quark in Deep Space Nine in the '90s, back when I was playing Privateer. (Full circle moment!) Also fighting The Hunter for the last time is pretty great since he's such a smug Nietzschean jerk.
One of the greatest moments in the game is how The Hunter is just chilling in a Spaceport bar and willing to have amiable conversations with you at the start of the game since he's killed alternate versions of you thousands of times before and isn't expecting trouble, so no reason not to have a civil chat over a drink.
I also played through the new Trackers' Alliance plotline. If you get the premium edition of Starfield and its bonus 1,000 Creation Credits, I highly recommend you use them on the Trackers' Alliance expansion. It is a lot of fun.
Question: Favorite ship in the game?
The Razor Leaf and the Ecliptic Claymore. Also, this is a new addition, but I really like the Orchid you pick up from the fake Mantis Quest in the Trackers' Alliance Quest line. I think my favorite overall ship is the Shieldbreaker that you can buy on New Atlantis, but if you're going to buy a ship instead of stealing it, I think Walter's company Stroud-Ecklund (see above) has the best ships. Honestly, one of my favorite activities in Starfield is stealing ships from space pirates. It's always so much fun.
Question: Favorite gun?
The Magstorm hands down. Peace through superior firepower. The Magstorm is what I used for the final battle with The Hunter and then again for the final mission of Shattered Space. For stealth, the Hard Target with a suppressor and a scope. I've taken out entire pirate bases with the Hard Target and stealth mode. The one Starborn lady who sells stuff to you in New Universes has a really excellent stealth optimized version of the Hard Target in her inventory. I also really like the Urban Eagle pistol you get early in the Vanguard plotline, since it's usually the best gun in the game I found at that point.
Conclusion
I hope that explains why I enjoy Starfield and answers some of the questions people always seem to have whenever I mention it. I doubt anyone involved with Starfield will ever listen to this, but I would like to thank everyone who has worked on the game in any capacity: devs, artists, writers, composers, Q&A people, everyone. Thank you for all your hard work, which has given me a lot of enjoyment and mental escape during some very stressful times.
So that's it for this week. I promise we will go back to writing related topics next week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your view on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, I share samples from four of my previously published audiobooks, and provide an update on my writing progress.
This coupon code will get you 25% off the ebooks in the Cloak Games series at my Payhip store:
CLOAKBOOK25
The coupon code is valid through April 13, 2026. So if you need a new ebook this spring, we've got you covered!
In this week's episode, we take a look at eight common ebook formatting errors and how to correct them.
This coupon code will get you 25% off the ebook of Ghost Exile: Omnibus One at my Payhip store:
EXILE25
The coupon code is valid through April 6, 2026. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 296 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 27th, 2026 and today we are looking at eight ebook formatting problems that readers hate and how to fix them. Before we get into our main topic, we'll have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the ebook of Ghost Exile: Omnibus One at my Payhip store. That coupon code is EXILE25. And as always, you can get the coupon code and the links to my Payhip store in the show notes. This coupon code will be valid through April 6th, 2026. So if you need a new ebook as we leave winter and head into spring, we have got you covered.
Now for an update on my current writing, publishing, and audiobook projects. As of this recording, I am currently 97,000 words into Blade of Wraiths, and I'm hoping to get to the 100,000 word mark by the end of today. You will note that if you read the first three books in the series, this will make it longer than the first three by good bit, which is part of the reason why it's taking so long. I was hoping to have it published by now, to be honest, but between the length and the variety of things I've had to do in real life before I can get to writing have slowed me down a bit. I have made progress and I am hoping to finish the rough draft before the 31st, if all goes well. Then it will be time to write a tie-in short story that newsletter subscribers will get for free when Blade of Wraiths is published, and then on to editing. So I'm hoping to have the book out in the second half of April, if all goes well and the creek doesn't rise, so to speak.
I'm also 12,000 words into Dragon Mage, which will be the sixth book in the Rivah Half-Elven Thief series. I'm hoping that will be out in May because that will become the main project once Blade of Wraiths is finished.
In audiobook news, as I mentioned before, recording of Blade of Storms (as excellently narrated by Brad Wills) is complete. I think as of right now, you can get it at my Payhip store, Google Play, and Kobo. Audible, Amazon, Apple, and a few of the other major stores should hopefully be coming along before too much longer.
Recording is done on Wizard Assassin, which you may recall is the fifth book in the Rivah series, and that is narrated by Leanne Woodward. We just have to proof that, and then it'll be time to submit it for processing at the stores. So hopefully you'll be able to get your hands on that before too much longer.
I believe next week, Hollis McCarthy will start recording on Cloak of Illusion, the 12th book in the Cloak Mage series. Since a few people have asked about this, I thought I'd mentioned here there will be a Cloak Mage: Omnibus Four in audio that will combine Cloak of Embers, Cloak of Titans, and Cloak of Illusion. I will probably start working on that one month after Cloak of Illusion comes out in audio. So that will probably be along sometime this summer, if all goes well. So that's where I'm at on my current writing, publishing, and audiobook projects. We've got good things coming up for you soon.
00:03:18 Main Topic: ebook Formatting That Readers Hate
Now let's move on to our main topic this week, and it's something I have quite a bit of experience with, I have to say, is ebook formatting that readers hate. Today, we're going to talk about issues with ebook formatting, a topic that people have very strong opinions about. I am going to talk about eight issues in particular and then discuss how we can fix or prevent or best of all, avoid them.
First of all, what do we mean by ebook formatting? Formatting is the term to describe the layout, text, and images of the book. Back in the print book days, this was a complicated but fairly fixed thing. In the very old days, you would have to lay it out the books manually. A few decades ago, they had programs like QuarkXPress and Adobe InDesign where you could use these software applications to prepare finished files for sending to the printer to be printed as books. But nowadays, in an age where books are electronic files read on dozens of possible devices and apps, it's much more difficult to predict every possible thing that can go wrong with formatting.
For example, with a print book in the old days, you would set the layout, and that is the way the layout would look. Every single book (ideally) printed would look the same. But in the modern age, if you have an ebook, it could be read on a Kindle, a Kindle Color, the Kindle app on the phone, a Barnes and Noble Nook, a Google tablet, on Apple iBooks on an iPod, on Apple iBooks on an iPhone, on the Kindle app on an iPhone. There are literally dozens of different potential combinations where an ebook file could be read and therefore dozens of different potential complications that can arise for ebook formatting. If there are formatting problems, readers will not be able to understand or even physically be able to read the text at worst, and more likely will be deeply annoyed by the issues that feel like road bumps such as extra line breaks and will express their displeasure in reviews.
There are also an abundance of ebooks out there that are hastily converted from PDF or Word docs that make for an extremely difficult reading experience. Many of the problems we're going to talk about today arise from when that happens, including the first several. So with that in mind, here are eight ebook formatting errors to avoid and how to deal with them.
#1: Illustrations, charts, and maps. Some of the most common issues are that these aren't legible in grayscale (like an e-ink reader, like the Kindle or the various Kobo devices) or have too small fonts or a poor quality or low resolution. This is a very common problem, and it's kind of a problem across all ebooks. Like for example, think of the map of Middle Earth from J.R.R. Tolkien's The Lord of the Rings. It's a very complicated map with a lot of different names on it.
Now imagine trying to read that map on a six inch black and white Kindle screen. You probably aren't going to be able to do it very well. People using dark mode are most likely going to have problems with seeing images in the same way. So if you have an image heavy book, it's a good idea to test that.
So how to fix this? What I've done myself, because I write a lot of fantasy novels and fantasy novels traditionally need maps, is I will put the full color maps on my website and then in the author's note at the beginning, say a map of Owyllain or a map of Andomhaim is available at the author's website on this link. I had a few people ask if I could put the maps in the books and the nearest thing I've done is including the maps with some of the direct sales of my Payhip store.
I think the system works very well because those map pages are consistently some of the most visited pages on my website. And to be honest, it would be a lot easier to look at the map on, for example, your tablet or your computer instead of on your phone when you're trying to use the e-reader application. And even if you are looking at the map on my website on your phone, you can pinch zoom in the browser in the way you probably can't in the ebook reader. So that is the quick and easy solution for it. For more image intensive books like textbooks, for example, you just have to take great care and make sure they use large, high resolution images that aren't going to get pixelated. It may be a good idea to set up a website that has these images that the readers can refer to. This would be a bit of extra expense and work, obviously, but it would go a long way to making your readers happy, like I have done with the maps on my website.
#2: Paragraphs that aren't indented or unneeded spaces between indented paragraphs. This is one of the biggest pet peeves that people have when reading ebooks. Indented paragraphs are important and if they're properly indented, then space isn't needed between the paragraphs and this will look odd to readers. This was in fact a problem I did have the first couple of years of my ebook publishing career because I used Sigil for my primary ebook formatting and that is the default way Sigil renders ebooks. In time, I started to switch to using Vellum for ebook formatting and that solved the problem. So what I did at that point was I just went through all my entire library, reformatted the ebooks in Vellum, and then re-uploaded them to the various ebook store platforms and that took care of the problem. And that's what I've been doing ever since. I've been using Vellum for ebook formatting since at least 2018 at this point, I think.
So how to fix? The easiest way to fix this is to spend a little money on a tool like a Vellum or Atticus or a similar program that does ebook formatting for you because that will make sure your paragraphs are indented properly and then you can spot check as well to make sure that the table of contents is working and the chapters are working and that the paragraphs are being indented properly.
#3: Our third issue is hard to read fonts. Some people enjoy fonts that are very stylized, but let's be honest, most readers don't. It's also an accessibility issue if the serifs or the flourishes are too elaborate. How to fix? Honestly, the easiest way is to not use custom fonts for your book unless you have a really, really, really and I emphasize really good reason to do so because part of the appeal of ebooks and ereaders is that you can adjust the font size to whatever you want, which is also particularly important as people get older and it becomes harder to read small print. So if you have a font that is inherently difficult to read in your book, that is going to be a serious, serious speed bump to readers enjoying the book. So my advice for custom fonts is avoid if possible, and even if not possible, still try to avoid.
#4: Our fourth issue is basically the same as the third issue, except worse. Font sizes that can't be changed/hard coded text size. A bad font choice is made much worse if the ebook is hard coded to a certain font. This can happen if you use certain exporting tools to export your print book layout into an ebook layout, and sometimes the font size carries over with that.
People have strong feelings about fonts and some are more accessible than others, so it's very important not to do this. So how to fix this problem? Don't do it to begin with. It's bad and people will be mad at you. Do not hard set the font size in your ebook, and if you do it by accident, fix it if at all possible. That is my advice in this situation.
#5: A fifth potential ebook formatting issue is random hyphens in the middle of words that shouldn't be there. Random hyphens in the middle of words can happen if you convert a book from a PDF file to an EPUB file, and this means it's a very preventable formatting issue. The best way to avoid this is not to upload a PDF file or a Word file to Kindle Direct Publishing and the other ebook platforms, because while they do have automated tools for converting a PDF and a Word document to an EPUB, there's often weird formatting glitches that pop up like the random hyphenations.
The best way to avoid this is to use a proper tool to format your ebook like Vellum, Atticus, maybe Scrivener, maybe Kindle Create. So that is the best way to do that by preparing your own EPUB file and uploading that directly.
#6: A sixth issue is footnotes or bibliography or endnotes that don't link back to the original page. This also really annoys people. Footnotes and other links within books either need to be popups or linked back to the original page otherwise, readers will be deeply annoyed trying to return to their place each time and even fewer people will read them. And the best way to fix this is to make sure you have set up the footnotes, bibliography, or endnotes properly in a formatting program so that the links work. If you try to do this using a PDF or Word document you upload to the ebook platforms, it's probably not going to work. So it's best to, again, to create your own EPUB and upload it directly.
#7: A seventh thing that annoys readers is books without chapters or books without numbered chapters. Books without chapters or unnumbered chapters is a very annoying thing for readers, but most formatting software will help to create and number chapters. Now, how to fix? The technical explanation of this is an EPUB file is essentially a zipped version of several XHTML files and each XHTML file in the sort of zipped package should be its own chapter. The way an EPUB generates table of content files is that every chapter heading should have a H1 HTML key, and that it lets the EPUB know which heading should be chapters. Now you can hand code all this in a program like Sigil, but again, it's much easier to use a program like a Vellum, Atticus, or Kindle Create that will automatically create a proper table of contents for you rather than you having to go through with a XHML or EPUB editor like Sigil and then hand code the H1 tag.
It's much easier to automate this and there are applications that will do this for you.
#8: The eighth formatting problem that annoy readers is quotation marks the wrong way. What do we mean by that? Quotation marks come in two styles, straight and curly. Curly ones look like flipped commas, while straight quotation marks look more like two lines. Most word processing programs like Word will default the curly quotation marks and convert straight ones. Although curly quotations can sometimes create garbled formatting, they're considered to be the standard. How to fix? Honestly, the easiest way to fix this is to, if it's a problem for you, is to do a find and replace or a find and search. Just if you find that usually what happens is that if you hold down the shift key for too long while you're thinking and then you hit the quotation marks. Sometimes in certain operating systems, it'll convert it to straight quotation marks instead of curly ones. So if you are worried about a few of the wrong type of quotation marks showing up in your document, the easiest way to fix it is just a quick search through the document for straight quotation marks and then remove any ones that you see.
We've talked a lot about formatting ebooks and tools for formatting ebooks. So I thought I would suggest the three most popular applications for formatting ebooks, and those would be Vellum, Atticus, and Kindle Create. Vellum is most expensive, but I think it has most features, whereas Kindle Create is pretty simple, but it's free.
Vellum is Mac only. As I've mentioned before on the show, I started using it for print layout and then liked it enough that I switched over to using it for all my ebook formatting and that's been true for like the last eight years now. It's very easy to learn. It has excellent features and excellent support. I've never had any technical problems with it whatsoever. I'd say the biggest liabilities for it are that it's the most expensive of the options and it's Mac only. So if you don't have access to a Mac, you would need to choose another option.
The next option would be Atticus, which the advantage for Atticus is that it's cross platform. It will work on Windows, Mac, and Linux because it is foundationally a web application. It's also very collaborative in that you can invite other users to use it. The creator of the program, the guy who runs Kindlepreneur named Dave Chesson, has said he wants to create an all- in-one ebook creation, writing, and formatting tool with Atticus, and I think he's taken a pretty good stab at it. I'd say the biggest weakness for Atticus is that it does have a bit of a learning curve because there are so many different functions packed into it.
The free option would be Kindle Create, which is a program put out by Amazon. Kindle Create is pretty basic, but it does have everything you need and you can use it to create both files optimized for the Kindle platform and generic EPUBs that you can use on other platforms. I'd say its biggest weakness is that it's fairly simple and that it's produced by Amazon, which some people have strong feelings about, but it is free, which is hard to beat.
In Episode 251 (about a year ago), I talked about ebook formatting software and offered pros and cons for each. There isn't one perfect option, so it's good to look over the details for each one of them and watch one of the many available reviews or overviews available online to get a feel for how each one works differently.
And now the three strategies for finding formatting issues before your readers do.
#1: Test your ebook in each file format (PDF/EPUB) and on multiple devices. It's impossible and prohibitively expensive to test on every possible device, but try some of the most common devices and apps. It's important to test on a Kindle, an actual Kindle and not just on the app, for example.
#2: Check the page and chapter breaks in particular. These are the spots where odd formatting tends to cluster. Check all of them to make sure there's nothing weird that you need to fix.
#3: Check for legacy things from the print version like page numbers, the table of contents, and so forth. And I find that the easiest way to do all three of these at once is in my final phase of editing a book, I will have my computer read it aloud to me with text to speech and I find that's a good way to find any remaining typos. It's also a very good way of spotting formatting issues since you'll be looking over the entire book one more time and if there's like a weird gap or a line break or something of that nature, you're probably going to have a good chance of spotting it.
So in conclusion, ebooks can be a bit difficult to format, but there is dedicated software and a slew of tutorials and guides to help you do it. Learning a little bit of HTML and CSS can help, but it's not a requirement at this point. If you're self-publishing, having a well formatted book is important because readers either won't enjoy or won't even start a poorly formatted ebook. I hope these tips help you with knowing where to start with improving your ebook formatting.
So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your view on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's episode, I share five tips for getting the most out of Bookbub Ads.
This coupon code will get you 50% off the audiobook of Wizard-Thief, Book #2 in the Half-Elven series, (as excellently narrated by Leanne Woodward) at my Payhip store:
THIEF50
The coupon code is valid through March 30, 2026.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 295 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 19th, 2026, and today we're looking at five tips for setting up BookBub ads for indie authors. We will also take a look at my current writing projects and do Coupon of the Week.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Wizard-Thief, Book Two in the Half-Elven Thief series (as excellently narrated by Leanne Woodward) at my Payhip store. That code is THIEF50. As always, you'll be able to see the coupon code and link to the Payhip store in my show notes. This coupon code will be valid until March 30th, 2026 so if you need a new audiobook this winter, we have got you covered.
Now let's have an update on current writing, publishing, and audiobook projects. Progress has not been as fast on Blade of Wraiths as I would have liked just because I've had so much stuff in real life that has taken priority lately. I'm still at 73,000 words, which puts me on Chapter 12 of 21 in my outline, so I'm over halfway through the rough draft. As has often been the case recently, the final draft will have more chapters than the rough draft because I tend to write longer chapters but the readers prefer shorter chapters, so I will split the longer chapters into shorter chapters. The final draft will probably have around 30, maybe 35 chapters, depending on how I split things up. But based on my outline, I am over the halfway point, so that is a good feeling. I am also 8,000 words into Dragon-Mage, which will be the sixth book of the Half-Elven Thief series with Rivah. I'm hoping I can get, despite delays, I'm hoping I can get Blade of Wraiths out in April and Dragon-Mage out in May, but we will see how the rest of this month goes.
In audiobook news, Blade of Storms has finished recording (by Brad Wills), and it's a great audiobook. I'm looking forward to sharing it with you all. Currently, as of this recording, it is on Payhip, Google Play, and Kobo, but it should be showing up on the other audiobook stores before too much longer. Since Coupon of the Week was for Wizard-Thief, it's a good time to mention that Leanne Woodward is currently recording the fifth book in the series as an audiobook, Wizard-Assassin. We hope to have that out sometime in April, if all goes well. So that's where I'm at with my current writing, publishing, and audiobook projects.
00:02:33 Main Topic of the Week: BookBub Ads For Indie Authors
Now let's move on to our main topic this week, five tips for setting up BookBub ads for indie authors. Lately, I have been doing a lot more with BookBub ads than I have in the past because as I've mentioned before on the show, Facebook ads have declined in effectiveness and quality a great deal because there's so much AI slop on the platform and because Meta insists on putting the AI slop into the targeting of the ads, which makes them much, much less effective. Despite all the testing I've done since I stopped using Facebook ads in October, I have not gotten good results. I stopped using Facebook ads most of the time in October. I still occasionally do boosted posts for things like book announcements and maybe audiobook announcements, but the traditional targeted ad campaigns have become so much less effective with the Advantage Plus targeting that Meta uses.
The idea behind that is that it bases the targeting off the ad off the text you put in the ad as opposed to letting you manually select targets. In theory, this sounds good. In practice, the targeting is just not good and doesn't work. So I've mostly stopped using Facebook ads and have switched more efforts to BookBub ads and Amazon ads, which is why we are talking about this now.
So to start off, what are BookBub ads? BookBub is a book newsletter service that people sign up to receive in their email inbox. They can pick which categories they receive in the newsletter, such as romance, fantasy, science fiction, nonfiction, and so forth. The newsletter itself focuses on book deals or new releases and the bottom of each one has a small ad space that people can make a bid to be featured on.
Unlike Facebook ads, for example, you're directly reaching an audience that wants ads about discounted books and are eager to learn about new releases and good deals, but let's be honest, mostly good deals. BookBub ads are a separate entity from BookBub Featured Deals. Anyone can make regular BookBub ads without being accepted like you have to for a Featured Deal. I'm not going to talk about the process of getting a Featured Deal in this episode, although I have been able to get them several times.
Many people feel like BookBub ads aren't as effective as they once were, but I found that a good creative, the right targeting, and the right price can really make a big difference in how well an ad campaign does. For example, January when I set up this episode was the last month I had complete data for and for January, my four BookBub campaigns averaged a 2.89% click-through rate (with the highest one actually having a 4.2% click-through rate). For reference, BookBub has said that they consider 1.5 to 2% to be a good click-through rates on their platform.
So with that in mind, here are a few things I've learned from my time doing BookBub ads.
#1: Try Amazon ads first. I would recommend getting familiar with Amazon ads first before starting to use BookBub ads. Amazon ads are more forgiving. It's harder to overspend on them, and sometimes it feels like it's hard to get Amazon ads to spend at all. Amazon ads will give you important data on similar books and authors (often called comps) that you can use to build your BookBub ad campaigns when you do start them. It's also easier to get clicks on Amazon ads than BookBub ads. I recommend using both your Amazon ad and "Also Bought" data to make a list of at least 10 authors to use to target your BookBub ads, although you will probably not use all 10 in the same ad campaign.
When you're choosing authors to target in your BookBub ads, you should also limit by genre as well, since many of your comp authors will write in multiple genres. Using myself as an example, I write fantasy, science fiction, and nonfiction books. Limiting by genre alone for your ads is too broad of a target, but the combination of similar authors and the right genre should narrow it down enough. BookBub currently provides a little too broad or too narrow feature on the page to help you find the right balance.
#2: Get your pricing right. It must be a good deal. Your book needs to be on sale. The BookBub audience are first and foremost deal seekers. The most successful campaigns will feature either free or $0.99 books, but anything under $2.99 is the right price range. Do not advertise regular price books through BookBub ads, especially if the price is something like $9.99 or even above, even if the price at $9.99 is actually a good discount, like it's a cookbook or a technical manual, which tend to be more expensive. BookBub readers aren't very likely to be excited about that. This audience may even be annoyed to see books at those higher prices, even if it is a new release or a discount over the normal price.
If your book is regular price but it is available in Kindle Unlimited, it's probably best to leave out the price information in your ad and focus exclusively on putting the Kindle Unlimited logo or language prominently in the creative. Obviously you want to limit your ads for this exclusively to Amazon. Many BookBub subscribers have Kindle Unlimited subscriptions so for those readers, that is even more of a draw to them as a discount would be since they can read the book at no additional cost to them since they already paid for their Kindle Unlimited subscription that month.
#3: Try one ebook site for each campaign. Run your first campaign focusing on just one ebook site instead of running all of them at once in a campaign. For most people, that means picking Amazon or their home country's biggest ebook site. Limiting each campaign to just one ebook site will show you what platforms are the most effective for your ads and let you focus on how the clicks impact actual sales.
#4: Don't go crazy on your bids. It doesn't make sense to make aggressive bids until you feel like you have your comps dialed in. Ignore the suggested amounts that BookBub provides and start small. Again, limiting to just one ebook site for each campaign is also a way to limit how much of the campaign budget gets spent, although it may still spend the full amount, especially if you've chosen Amazon.
#5: Keep your campaigns short. People get tired of seeing the same ads, so it doesn't make sense to run a campaign for months on end. Limit each campaign to a bit less than a week. For myself, it's usually about four days that I'll run a BookBub ad and you'll generally see the best results on the first two days, usually the best results on the second day, and then diminishing returns but still decent on days three and four, and after that, it kind of flatlines. So I've found that generally, at least for my books, four days is about the best.
Now we're going to talk about a slightly different topic, creating the creative for the image, which is the biggest part of the BookBub ad. First up, what do we mean by a creative? BookBub uses the term creative to describe the image that the readers will see as the ad. It's 300 by 250 pixels, so space is at a premium.
Why is this important? In fact, it is very important because the creative is all that people see in the newsletter for your ad. It's a very small ad and it's important to get the images and information optimized so it looks nice and clear and the call to action (what the person should do to buy or read it) is very clear. So with that in mind, we'll give you five pieces of advice for setting up your creative.
#1: The default is boring. BookBub does provide a default template for creating BookBub ads and it's serviceable and it works. It will also keep you from making any big mistakes like pixelated text. However, the default unfortunately is boring. It doesn't catch the eye, especially for longtime BookBub subscribers who have seen dozens, if not hundreds of ads in that style and format. Try using templates on sites like Book Brush or Canva to make your own creative instead.
#2: Get the image right. Be sure to test that everything is legible and the image and the text both look sharp in the actual 300 by 250 pixel size of the creative. You should be using the highest resolution image that you can. The image should immediately signify what the genre is as well. Colors help a lot for this. For example, a gritty thriller can use darker colors or a cozy fantasy romance should use gentler colors like sage or lilac. It's not especially interesting to use just the book cover and the shape of a book cover, especially since that takes up at least half of the available space in the creative, if not more. Also, in a space that small, the text on the cover and any details in the image will probably be hard to see. Try experimenting with using other images besides the cover. As long as the creative conveys the genre and price, you can experiment a bit with the images you use.
#3: The text matters. Don't waste space with reader reviews as the ads text. They take up too much space and they're not especially persuasive in an ad. Less is more. You have, at most, a very short sentence to describe the book's genre and the plot hook. It might be best to try out a few variations to see what works the best.
#4: Clear call to action. As with any other ad, there needs to be a clear call to action. A "Free" or "Read on Kindle Unlimited" button gives people both the price and clear entry point for how to get the book. If the price is a limited time deal, that's a good thing to note in the ad with the word "sale" or "limited time deal". That gives people a reason to click right away instead of telling themselves they'll click on it later, which to be honest, they will probably forget to do.
#5: Change it up. It doesn't make sense to keep running the same creative over and over again. People will get bored of seeing the same thing, just like with any other ad. You can rotate between a set of creatives, but it doesn't work well to run the same one multiple times in a row for a long period of time. Just as a quick rule of thumb, I would say give yourself about three to four months before reusing a creative in an ad since that's usually enough time for people to have forgotten they've seen it before. Just like on YouTube, it might make sense to do A/B testing of images and text on an otherwise identical campaign to figure out if a different approach to the creative makes a difference. For example, you could try the same overall creative with different text or a different call to action.
Likewise, if the campaign isn't doing well or is burning through money faster than you would like, you can always pause the campaign in your BookBub dashboard. It's okay to change your plan and to end your campaign early if it isn't working.
So now let's talk a little bit what I actually do on BookBub. I advertise my Amazon Books on Amazon, and I use BookBub to advertise things on Barnes & Noble, Kobo, Google Play, and Apple Books, because the competition for clicks for the other stores is much less fierce on BookBub than it is for Amazon. The cost of getting Amazon clicks on BookBub can be prohibitively expensive. The specific books I advertise are usually my permafree first in series ones like Frostborn: The Gray Knight, Child of the Ghosts, Sevenfold Sword: Champion, Cloak of Dragons and so forth, because it is very easy to advertise free books on BookBub because as we mentioned earlier, it is a discount ebook newsletter.
What I usually do for the creative is I use Photoshop and Daz Studio to create a genre appropriate image. For example, for the Cloak Mage series, which is urban fantasy, it's usually Nadia wearing a leather jacket and casting a fireball in a dark alley at night. For the Frostborn series, it's usually an armored warrior or wizard casting a spell. Then the text at the bottom says something like "free epic fantasy", "free urban fantasy" or so forth. I typically work on these images in Photoshop at 3,000 by 2,500 pixels, so they're easier to see. Then once the image is done or I want to see how it looks, I dial it down to 300 by 250 to see how it looks in the appropriate size and make sure that it works. That approach works pretty well for me, as we mentioned earlier in the show.
To sum it up, BookBub can still work for you as part of your overall advertising and marketing strategy, and to learn more about what ebook stores you might want to promote more based on their click-through rates of your ads. If you approach it cautiously and use the data from your ads to make changes on the go, you can still do pretty well on BookBub ads.
So that is it for this week, and I hope you know a little bit more about BookBub ads now. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, I look back at the movies and streaming shows I watched over winter 2025/2026
Instead of Coupon of the Week, you can get SILENT ORDER: OMNIBUS ONE for free at my Payhip store at this link until March 31st:
https://payhip.com/b/lhCyU
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 294 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March the 13th, 2026 and today we are looking at my movie and streaming TV show reviews for Winter 2025 and 2026. We'll also have Coupon of the Week and an update on my current writing, publishing, and audiobook projects.
Before we get into all that, let's start off with Coupon of the Week. Actually, we are not going to have Coupon of the Week this week because originally I scheduled a Coupon of the Week for Silent Order: Omnibus One to get you 25% off it. However, I was able to get a BookBub Featured Deal to give away Silent Order: Omnibus One for free on the 17th. So instead, the episode description will just have a link to where you can get Silent Order Omnibus One for free at my Payhip store. Next week, regular Coupon of the Week will return.
Now for an update on my current writing, publishing and audiobook projects. As of this recording, I am about 51,000 words into Blade of Wraiths. I had hoped to be a little further at the end of this week, but there was quite a bit of real life stuff to do this week that took up a lot of time. I didn't make quite as much progress as I had hoped, but I did make some progress, so that's good. I'm still hoping to have the book out in April if all goes well, but we will see. I'm also 5,000 words into Dragon-Mage, which will be the sixth book in the Rivah Half-Elven Thief series (six of nine planned). That hopefully will be out in May if all goes well.
In audiobook news, the main recording on Blade of Storms (as excellently narrated by Brad Wills) is finished. Just have some proofing to do yet and then get through processing. Then hopefully the audiobook should be available on all platforms by next month. Recording is also underway for Wizard-Assassin, the fifth book in the Rivah Half-Elven Thief series. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:00 Main Topic: Movie/TV Show Review Roundup
Now let's move on to our main topic this week, my movie roundup. Spring is near, so it's time for my Winter 2025/ 2026 Movie Review Roundup. I admit this is a bit shorter than my usual movie roundups because for a couple of months I didn't see anything I really felt like writing about. Not in a bad way or depressed sort of way, but I just didn't see anything I felt interested enough to write about, whether good or bad. The new year brought new movies to watch and now we have enough for a Movie Review Roundup. As always, the movies and shows are in order from my least favorite to my most favorite. The reviews are based on nothing objective, but only my own thoughts and opinions.
First up is Operation Fortune, which came out in 2023. This is a Guy Richie action comedy with Jason Statham in the lead, which probably describes all you need to know about it. Like if you say the phrase "Guy Richie Action Comedy with Jason Statham in the Lead", this would be the movie that popped into your head. Statham plays Orson Fortune, an elite special forces operative. When a mysterious device is stolen by terrorists, the UK government sends Fortune to retrieve it. Fortune teams up with a group of specialists and then sets out to punch bad guys and save the day. Some good action sequences, some funny bits, and Hugh Grant was hilarious as the evil arms broker billionaire, but definitely a paint by number action movie. Enjoyable to watch, but nothing deep.
Overall Grade: C
Next up is Legend, which came out in 1985. This is a very weird movie told as sort of an '80s style dark fairy tale. The premise is that the Lord of Darkness wants to destroy all light (as lords of darkness are wont to do). But to do that, he needs to kill a pair of unicorns. He sends his goblin minions to do the deed. Meanwhile, Princess Lili is in love with Jack, a forest child who lives in harmony with various elves and dwarves and other natural creatures. When the goblins kill one of the unicorns and take the other back to Darkness's subterranean fortress, Jack and Lili have to team up to rescue the last unicorn and defeat Darkness. The creature work and all the puppets and suchlike look amazing. Poor Tim Curry delivered an excellent performance under that mountain of prosthetics he had to wear as Darkness. That said, I don't think Tom Cruise had quite learned how to act yet, and I'm afraid he kind of stood around with a blank expression most of the time. So I'd say Legend is an interesting fantasy classic, but definitely very niche.
Overall Grade: B-
Next up is Anaconda, which came out in 2025. This is a very meta, bonkers, and yet nonetheless entertaining comedy movie. It kind of went off the rails while shouting "WHEEEEEE" the entire time. College friends Doug, Griff, Claire, and Kenny are entering middle age and are all dissatisfied with how their lives have turned out. Doug wanted to be a director, but instead makes wedding videos. Griff is a struggling actor. Claire is a divorced lawyer and Kenny is a "Buffalo drunk (he only drinks beer and wine and just some, but not all of the hard liquors). When Griff acquires the rights to make the next movie in the Anaconda series, the four friends jump at the chance to make it as an indie film. Scraping together their savings, they set off for the Amazon to film their snake movie.
However, they find themselves caught in the middle of a fight between illegal gold miners and the Brazilian government and there is an actual giant anaconda that is hunting both the gold miners and idealistic American filmmakers. This was very meta since the characters were making a movie in the Anaconda series…in a movie in the Anaconda series. Despite that, it was very funny and I enjoyed it, though it might be a bit too tongue in cheek for some viewers. Comedy, alas, is ever subjective.
Overall Grade: B-
Next up is Fackham Hall, which came out in 2025. Sometimes a movie is funny but dumb. Sometimes a movie is dumb but still funny, and sometimes a movie is just plain dumb. However, I'm pleased to report that Fackham Hall is the best of the three: funny, but dumb.
It's a goofy but affectionate parody of Downton Abbey and the kind of movie that isn't afraid to make jokes simply for the sake of jokes. Interestingly, halfway through the movie takes the right hand turn and becomes a parody of an Agatha Christie novel. It was pretty funny in the vein of the Naked Gun or Airplane movies, though a few of the jokes might be too raunchy for some viewers.
Overall Grade: B-
Next up is Wrecking Crew, which came out in 2026. I would say this was one part buddy cop comedy, one part noir mystery, and one part John Wick style violence. When private investigator Walter Hale is killed by a hit and run in Hawaii, both his sons (by different mothers) conclude that it was murder. Straight laced James (played by Dave Bautista) is a Navy SEAL with a stable family life, while Maverick cop Johnny (played by Jason Momoa) is frequently drunk and on the outs and on the outs with his girlfriend.
Nevertheless, both half-brothers independently realize that shady corporate interests killed their father and set out to find his killers. They must also deal with their complicated feelings with their father and overcome their deep seated resentment of each other. This was a pretty fun action movie, though the violence level is definitely John Wick level and might put off some viewers. Honestly, it made me wonder if there's a "Hawaiian Noir" mystery genre, the way that "Nordic Noir" novels were popular for a while.
Overall Grade: B
Next up is The Running Man, which came out in 2025. This is both very dark and very funny, and I think it was actually better than the original movie from the 1980s. It explores the same concept. Future America is a dystopia ruled by the Network megacorp and Glen Powell's character needs to get medicine for his daughter, but he can't afford it, so he tries out for the Network's cruel reality shows and lands a spot on the biggest one of all, The Running Man, where contestants have to stay alive and hidden for 30 days while they're hunted by mercenaries and the general public gets rewarded for informing on them.
This definitely had strong Idiocracy vibes as well and the satire of contemporary American culture was very cutting and probably quite accurate. I do think this movie deserved better than to flop at the box office like it did, but perhaps it will have a long life on streaming.
Overall Grade: B
Next up is A Few Good Men, which came out in 1992. This is a high quality legal thriller carried by Tom Cruise's and Jack Nicholson's performances. Today, Tom Cruise is largely famous for extreme stunts like driving a motorcycle cycle off a cliff (it did make for a good movie) and various personal eccentricities, but both he and Nicholson really can act and their scenes together are great. Sometime between this and Legend (which we talked about earlier), Cruise really figured out how to act on screen.
Anyway, when a Marine is killed during a hazing ritual, Lieutenant Kaffee (played by Tom Cruise), is called in to investigate, aided by Lieutenant Commander Galloway (played by Demi Moore). Colonel Jessup (who was played by Nicholson), the commander of the Marines in question, wants to cover up what really happened, and Kaffee and Galloway set out to prove that the Marines charged with murder were in fact following orders when the hazing ritual went wrong.
Of course, the movie hinges around Kaffee's and Jessup's final confrontation in the courtroom. I have a theory that all genres are in fact variants of fantasy. Like romance is the fantasy of true love, thrillers are the fantasy of violence and so forth. This movie would be the fantasy of the legal thriller, where the bad guy cracks on the stand. In real life, of course, when generals screw up, the privates, the NCOs, and the junior officers get thrown under the bus while the generals go on to cushy gigs at the Rand Corporation or Lockheed Martin. The strength of the performances makes the fantasy and therefore the movie work.
Overall Grade: A
Next up is The Paper, which came out in 2025. I ended up with a month of the Peacock streaming service, so I decided to give The Paper a try. It is a spinoff of the classic The Office [US] sitcom from the 2000 to 2010s. The premise is that failing paper company Dunder Mifflin from The Office has been purchased by a large conglomerate called Enervate. Enervate 's core business is toilet paper and other paper bathroom products, but they also own the Toledo Truth Teller (we'll refer to that as TTT) newspaper, and they use paper pulp that isn't good enough for toilet paper to print the paper.
TTT is a regrettably normal local American newspaper in that it's mostly AP Wire articles and ads, with one reporter who covers local sporting events. Things start to change when Ned Sampson takes over as the new editor of TTT. Ned was formally Enervate's best toilet paper salesman, but he has a romantic view of journalism and wants to be a reporter. As a favor to him, the CEO lets him take over TTT. There he meets Mare Pritti, an Army vet in charge of the paper's layout who also wants to be a real journalist, and the two of them hit it off despite their immediate attraction. Ned has to navigate his coworkers (who range from useless to insane and useless to even more insane), corporate politics, rival bloggers, and his growing attraction to Mare. It was a pretty funny first season and I enjoyed it. There's allegedly going to be a second season, so if that happens, I will definitely watch.
Overall Grade: A
Next up is Conan the Barbarian, which came out in 1982. I actually saw this before like 15 years ago, but I saw it again at the end of February, so it's time to write about it. This is a very specific movie that deserves its status as a cult classic, and I do think it is better than Legend. It wasn't particularly faithful to any of the Conan stories, but it somehow did a good job of capturing the essence of the character. This was one of Arnold Schwarzenegger's first movies. It might have even been his first one, though I'm not sure. He didn't quite have the whole acting thing down yet, so he played Conan as strong, stoic, and mostly silent, which worked quite well for the character.
James Earl Jones was excellent as Thulsa Doom, the evil wizard and cult leader who is Conan's nemesis. I guess in the 1980s, if you wanted your fantasy or science fiction film to be successful, you needed your villain to be an armored figure either played by or voiced by James Earl Jones. The Riddle of Steel scene where Conan throws all Doom's atrocities into his face and Doom goes, "ah" in the sense that, "yeah, I get why you want to kill me," was great. The fight scenes and stunts are all the more impressive in hindsight because obviously they're all practical effects and efforts since CGI didn't exist yet, especially given the large number of horses in the movie, since no horses are notoriously very difficult to work with in film. I once heard an experienced rider say managing a horse is like managing a two year old, albeit a two year old that weighs a thousand pounds and is much stronger than you are.
The soundtrack by Basil Poledouris is a classic and deservedly so. Like, modern day oligarchs come across less as dark lords and more like malevolent dorks because they travel by private jets and electric car and yachts and so forth. By contrast, Thulsa Doom thunders across the countryside with his Riders of Doom, accompanied by Basil Poledouris's score with trumpets, drums, and choral parts. If you really want to be an intimidating bad guy, your entourage needs to be armored cavalry riders and you need a Basil Poledouris light motif.
Conan the character sometimes gets stereotyped or dismissed as a masculine power fantasy (erroneously in my opinion), but the female characters in the movie are pretty good. Conan's mother faces off against the Riders of Doom by herself and Thulsa Doom himself has to use his mental magic to kill her. Prince's Yasmina is kind of the McGuffin of the movie, but she has a character arc as well where she turns against Doom and helps Conan to fight him.
Compared to many '70s and '80s film heroines, Valeria was very good. For example, Lois Lane in the 1978 and 1980 Superman movies screams a lot and basically causes Superman to make a lot of bad decisions while being dead weight. By contrast, Valeria kills a bunch of bad guys with her sword, fists fights some evil spirits to save Conan, and then literally comes back from the dead as a Valkyrie to help Conan in the final battle with Thulsa Doom's goons. So this is definitely worth watching as a cult classic of the fantasy genre, though it does have a lot of nudity even by the standards of '80s movies.
Overall Grade: A
Now for my favorite thing I saw in Winter 2025/ 2026, which was Wonder Man, which came out in 2026. I was surprised by how much I liked this. The main character is Simon Williams, who is a struggling actor in LA. He's a good actor, but he's also an enormous theater nerd with an encyclopedic knowledge of both film and theater, which means he tends to overthink his performances, to the exasperation of the director and crew, which gets him fired a lot. One day he meets Trevor Slattery, the highly eccentric British actor who unknowingly was recruited to play the fake Mandarin back in Iron Man 3. Trevor has since kicked drugs and alcohol and returned to his one true love, acting. He ends up taking Simon under his wing and together they set out to get auditions for Wonder Man, a remake of Simon's favorite superhero movie from when he was a kid.
However, both Simon and Trevor have secrets. Simon is concealing actual superpowers since superpowered individuals are not allowed in major film and television productions for safety and legal reasons due to a hilarious side story involving Josh Gad. Trevor was actually recruited under the threat of returning to prison by the Department of Damage Control to spy on Simon since they suspect he has superpowers but can't prove it and they want to find enough evidence to arrest him. The tension of all these plot threads keeps ratcheting up until the final episode.
Anyway, this was an excellent self-contained "ground level" Marvel story without a lot of callbacks or cameos or getting lost in the increasingly complex MCU continuity. The friendship between Simon and Trevor, two extremely eccentric actors, was both touching and hilarious.
Overall Grade: A+
So those are the movies and streaming shows I watched in Winter 2025 and 2026.
So that's it for this week. Thank you for watching The Pulp Writer Show. I hope you found the show enjoyable and interesting. A reminder that you can listen to all the back episodes with transcripts at https://thepulpwritershow.com. Stay safe, stay healthy, and see you all next week.
In this week we look at the advantages and disadvantages of writing interconnected series.
This coupon code will get you 50% off the audiobook of Dragonskull: Blade of the Elves, Book #3 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
ELVES50
The coupon code is valid through March 16, 2026. So if you need a new audiobook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 293 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 6th, 2026. Today we are looking at interconnected series/whether they're a good idea or a bad idea for a writer to pursue. We also have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Blade of the Elves, Book #3 in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That coupon code is ELVES50. And as always, the coupon code and the link to my Payhip store will be available in the show notes. The coupon code is valid through March the 16th, 2026. So if you need a new audiobook as we head into spring, we have got you covered.
Now for an update on my current writing and publishing and audiobook projects. Cloak of Summoning is done and it is out. You can get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Bookshop.org, Smashwords, and my own Payhip store. It has done quite well and actually got to number one in its category on Amazon US as of this recording, which is all the more impressive because on March 5th, the day my newsletter went out, Amazon US was down for a significant chunk of the afternoon. Despite that, that doesn't seem to have slowed down Cloak of Summoning any, and it is still going strong. So thank you all very much for that. And as I said, you can now get the book at all the ebook stores.
Now that Cloak of Summoning is out and published, my main project is Blade of Wraiths, the fourth book in my Blades of Ruin epic fantasy series. I'm currently 28,000 words into it. So I'm hoping if all goes well and nothing comes up, I can have that out sometime in April. My secondary project is Dragon-Mage, which will be the sixth book in the Half-Elven Thief series and I am 1,000 words into that. That will take over as my main project once Blade of Wraiths is done, and hopefully that will be out in May, if all goes well and nothing crazy happens.
In audiobook news, Cloak of Titans, as excellently narrated by Hollis McCarthy, is now available at almost all the audiobook stores, including Audible, Apple, Amazon, Google Play, Kobo, and the other major ones. So you can get that and listen to it at your audiobook store of choice. Brad Wills is currently recording Blade of Storms, which was the third book in the Blades of Ruin epic fantasy series, and he is about halfway through recording that. So hopefully we should have that out in April sometime, if all goes well. So that is where I'm at on my current writing, publishing, and audiobook projects. With that, let's move on to our main topic.
00:02:51 Main Topic of the Week: Interconnected Series
Our main topic is today we're going to talk about whether interconnected series are a good thing or a bad thing. First of all, what are interconnected series? Interconnected series have different standalone stories, but share at least some characters and locations from previous series. Many of the ideas and themes carry over as well, but not always.
Romance writers use interconnected series. A couple or couples featured in previous series make an appearance in a new place or with a new group of people. Author Abby Jimenez has characters in her romances occupy the same social orbit in Minnesota across multiple series (and of course, they all share a love of the author's real life Minnesota bakery, Nadia Cakes).
There's something of a joke among romance writers that your series can be as long as you want it to be, just make sure that the heroine has a large number of single/unattached sisters so that after the heroine has their happily ever after, you can go one by one down through the sisters and make sure they find their love interests and that they too can have their happily ever afters and extend the series for as long as you want.
One example of a non-romance interconnected series from books I've written would be Sevenfold Sword, which is a direct follow up to Frostborn. The new series involves Ridmark, Calliande, and the other characters from the Frostborn series, but they are in a new location with new allies, new adventures, and new adversaries. A reader could (and has) read the Sevenfold series without having read Frostborn, but Frostborn fans get more time with characters they like and there are nods to the previous series.
I fully intended Sevenfold Sword to be a standalone series, but what I found is that people tend to start Sevenfold Sword and then go back and start Frostborn and read all of Frostborn and then proceed on to Sevenfold Sword. So in that sense, the interconnected series was successful because that led to sales of Frostborn that might not have happened otherwise. So with all that in mind and that introduction, here are four reasons interconnected series can help you as a writer.
#1: Readers are already invested. Readers have already spent a substantial amount of time with these characters and places. They have formed a bond with them across the entire previous series and are excited to spend more time with them and find out more about them. Even a brief appearance from returning characters feels exciting to readers.
A very recent example of this from pop culture is how the TV show The Paper used a character from the US version of The Office. Because audiences are familiar with the character of Oscar in Accounting (who is the only returning character thus far), they are interested in seeing what he's doing and why he's in Toledo instead of Scranton. Also, his reaction to seeing a documentary crew at work again is exactly what you expect that it would be and is a great moment of humor that perfectly fits the character's personality. The show does mention some small things from the previous series, like a quote from Michael Scott, but it's certainly not a classic spinoff and is very much its own creation, reflecting how both office culture and humor have changed a great deal in the over 20 years since the US Office first began airing.
#2: You already are invested as the writer, if you are the one writing the interconnected series. Writers as well as readers can get invested in a set of characters in the world building in a certain series and they're excited to continue. This is especially true if you haven't yet concluded the character's external and internal conflict arcs, because I have found after 171 books that it is generally easier to write a character that has an ongoing conflict instead of one that has all of his or her conflicts resolved.
It's also a bit easier to write in a series over the long term because in a certain sense it's less work because you don't have to create everything from scratch. Cloak of Summoning was the 14th Cloak Mage book, but counting Cloak Games, it is the 26th overall book with Nadia as the main protagonist. By now, I'm very familiar with how Nadia thinks and acts and what she would do in any given situation and the rules of her world and setting are very well established.
And so in some sense that makes it easier to write because I don't have to create everything from scratch again in terms of the worldbuilding. It's also in some ways easier to generate the sort of enthusiastic energy to write the book because people are very frequently asking when the next Nadia book is going to come out. So that is heartening for morale, so to speak, as one is writing the book, the knowledge that people are actively waiting to read it once it is finally published.
#3: You can use ideas you weren't able to in the previous series or expand on existing characters. It's often said that there are more ideas than time for a writer. Interconnected series lets you use some of the ideas that didn't make sense to use in a previous series and lets you build on the world you have already created. It's exciting to watch characters grow and see how familiar places evolve as time has passed.
For example, my Blades of Ruin series returns to the world of Sevenfold Sword in the Kingdom of Owyllain, but a century has passed and the humans from the previous series have died of old age. How did the culture of Owyllain evolve and change in that length of time? How did changes in the monarchy create new problems and enable new enemies and how else did the world change? For example, Sevenfold Sword did not have goblins when I wrote it, but in the century since, the goblins that appeared in the Dragontiarna series have migrated to Owyllain and set up their own new kingdom on the borders.
This also is something I explicitly did in Cloak of Summoning. In one of the previous books, I mentioned that $34 million was stolen from one of the organizations aligned with the protagonist, so that is the major plot hook for this book, trying to figure out who stole that money and why. In addition, I'm able to expand on several ideas from the previous books, such as the Forerunner, Grayhold, and some of the other characters and expand on them and use them in the book in a way I wasn't really able to in previous books. So being able to do that as a writer is very enjoyable.
#4: A series is often easier to market. New series are famously much harder to market than a continuation or interconnected series. It's easier to hook people when there is some amount of familiarity involved. After all, after 171 books, I've started a few new series from scratch and it is definitely harder to get those off the ground than it is to do say, book seven in an ongoing series.
Returning to the previous example of the show The Paper, there's a reason that Oscar was featured heavily in the trailers and the promotional materials for the news series, despite being really a secondary character in the show instead of a lead character. Featuring Oscar in the promotions for the new show was a great shorthand for what type and style of show The Paper was going to be, and it made people more interested in the new series than they might have been otherwise. Given that The Paper was apparently renewed for a second season and did well enough to merit a second season, I think that strategy paid off.
However, having an interconnected series may be a disadvantage and it may cause you problems. So here are five potential pitfalls and problems to be managed.
#1: Managing reader expectations. One thing that can make interconnected series difficult is when your new series diverges from the expectations that readers have based on the previous series. They might feel frustrated when a character has changed significantly and acts differently than they might have before, or if there was a conflict that does not meet the way that something might have happened in a previous series. This can be potentially tricky because for the series to work, for the stories to be interesting, the characters have to evolve and change and grow and experience setbacks, but at the same time, you don't want to drift too far from what drew readers to the series in the first place.
I've had a couple of times in my own series when people were not happy about specific plot points in Frostborn or Sevenfold Sword or Silent Order or The Ghosts or Cloak Mage. I think there are two ways to look at that. The first way is what you don't want to do, and this would be an example of what you should avoid. There's a story I read about a Dungeons & Dragons Dungeon Master who had been running a campaign with his players for two years and it all had the same characters and all the characters had leveled up together, but one of the players was moving away to a new part of the country. So at the last session, the player character in question decided to murder all the other players as he left (their characters rather, not real life murder, of course). Just because he could, just because he felt like being a jerk. That would be the very extreme end of what you do not want to do. It's best to never act out of spite.
The better version of that is if you are writing a long series and you have a clear artistic vision about what you want to happen with it, in terms of character development or major plot events or even major characters who get killed, it's best to stick to that and not waffle. Yes, you are going to tick off some people. That is essentially inevitable. If you are going to write something, no matter what you write, it's going to annoy somebody, but it's best to have a clear artistic vision and stick to it. And if you do have dramatic plot developments, it's best to establish them well in advance and then to deal with the consequences as well, because you want to avoid as much "handwavium" as possible.
So I think the key to managing reader expectations is to be as transparent as possible. I've had people asking me for the next Cloak Mage book already, even though the new one's only been out for like two days and I've said repeatedly that I'll probably start working on it in May once Dragon-Mage becomes my main project and to also be as reasonable as possible in the writing in terms of making sure everything makes sense as you write it.
#2: A second disadvantage is that you may need to help the reader in terms of glossaries, summaries, character lists, et cetera. If a series continues characters, plots, and locations from a previous series, it can be helpful to provide glossaries, plot summaries, or character lists to help refresh their memories or to explain something to a reader who has not read the previous series. Although an interconnected series should largely stand on its own as much as possible, people still feel slighted if there's a reference to something they don't remember or know.
In my own books, I have often included a footnote if a reference contains a plot point from a previous book. I've done this in Ghost Armor, Shield War, and Cloak Mage a couple of times, though I haven't done it in Blades of Ruin because it's set a century after the other books. People have responded favorably to those, though I have to admit Cloak of Summoning doesn't have any just because I simply forgot to do them. So I may need to remind myself to do that once we get to Cloak of Frost. But people have responded well to that. I've also done glossaries of characters and glossaries of locations at the end of, let's see, Frostborn, Sevenfold Sword, Dragontiarna, The Shield War, and Ghost Armor and people found those helpful. I may do that for other series if they get long enough to require it.
I have seen some authors include summaries of previous books at the start of their new books. I've even seen some traditionally published books that do that as well. I've never done that. I'm not sure if that's a good idea or not. I'm not saying it's a bad idea. I feel like the book should stand as much on its own as possible. If you need to include the summary at the beginning, there might be something wrong, but on the other hand, some people do like those and do find them helpful. So I think that may come to a "your mileage may vary" experience.
#3: The potential disadvantage number three would be adding new characters and evolving old ones. The danger of an interconnected series with a new cast of characters is that readers may not like the new ones as much or they feel cheated that their favorite characters are not there. Having at least one character return gives the reader an audience and anchor while they meet the new characters.
It's important to evolve returning characters, but it's also a fine balance to make sure they don't change in a way that's forced or artificial. The famously bad examples of this are the legacy characters in the Star Wars sequel trilogy where the filmmakers made Luke and Han into Sad Old Losers just to make the new characters look better by comparison and that did not work out so well in terms of the movie's reception. The personality needs to reflect what is happening in the new series without sacrificing what readers like best about them from the previous series, which seems to be what happened in the Star Wars sequels.
Returning again to The Paper, if Oscar had suddenly become a cheery and high energy middle manager instead of remaining true to his original personality of a slightly prickly and judgmental accountant, it wouldn't have felt true to viewers of The Office who spent nearly a decade with that character. Instead, he remains pretty close to what viewers remember, cautious based on his previous experience with the documentary film crew at work and as the first season goes on, philosophical about the passage of time and his relationship with the documentary crew who have been part of his life for so long, which is a good example of character evolution.
I actually think the recent Ghostbusters movies are also a good example of that where the focus is on the new characters, but the legacy characters from the original Ghostbusters movies return and they act as sort of a mentors and sort of guiding authority figures for the new characters.
#4: A fourth potential difficulty is gaining new readers with an interconnected series. Many readers have been burned by interconnected series that claim to be standalone, but as they are reading it, they feel lost in allusions to prior events or feel like they're missing information. It's important that even interconnected series stands on its own for readers and that references to the past book actively serve the plot of the current one.
Many readers are also completionists and will want to start interconnected series from the first possible starting point. And I've already talked about that with Frostborn and Sevenfold Sword, which makes them less likely to start an interconnected series since they're possibly committing to a huge multiple series at once.
#5: And that leads to the fifth and possibly the most serious disadvantage of a long interconnected series like that, what I've called before Marvel Continuity Lockout Syndrome. I've done a previous podcast episode on what I call Marvel Continuity Lockout Syndrome, which refers to the MCU movies. Essentially, a series of interconnected series can go on for so long and reference so many things that it feels daunting for someone to start. The idea of having to catch up or doing homework on dozens of items in order to watch or read something is unbearable for a lot of busy people and most people's memories can't sustain a few decades of content like the Marvel Cinematic Universe now has.
This is one reason, in fact, it's probably the main reason that I started the Half Elven Thief series because of Marvel Continuity Lockout Syndrome. I had written Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull and The Shield War. This is this long interconnected series, but I was worried that Marvel Continuity Lockout was affecting its ability to draw in new readers. So I started Half-Elven Thief, which is completely separate and new, and it's done quite well, and I think partly because it doesn't have the sheer daunting scale of someone looking at over 50 connected books set in Andomhaim and Owyllain. To mitigate this as much as possible, I think it's best to make absolutely sure that references to the past series are only necessary for driving the plot of the current one, and that they don't make the story unnecessarily complicated. You can avoid this by following the good rules of story structure. Make sure the protagonist of the book has an interesting conflict that they have to struggle to overcome, and that the central point of the conflict isn't references to past books.
So to sum up, interconnected series are a great way to build loyal readers and create more complex characters in worlds. It's becoming more popular in the publishing world in works like Brandon Sanderson's Cosmere, which proves that readers are willing to read long and sometimes only loosely interconnected series to keep experiencing a world they enjoy. Just be aware of the potential pitfalls and guard against them as best you can, which fortunately can be done with a proper story structure and a little foresight.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a historical digression to look at the four major Thomases of the English Reformation - Thomas Wolsey, Thomas More, Thomas Cromwell, and Thomas Cranmer.
This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store:
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The coupon code is valid through March 9 2026. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 292 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 27th, 2026. Today we are taking a digression into history by looking at the four Thomases of the English Reformation (with one bonus Thomas). We'll also have Coupon of the Week and a progress update on my current writing and publishing projects.
First up, let's do Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store. That coupon code is QUEST25 and as always, the links to the store and the coupon code will be available in the show notes of this episode. This coupon code is valid through March 9th, 2026. So if you need a new ebook this winter, we have got you covered.
Now for an update on my current writing, publishing, and audiobook projects. I am very nearly done with Cloak of Summoning. As of this recording, I am 35% of the way through the final editing pass. This episode should be coming out on, let's see, March the 2nd. I'm hoping Cloak of Summoning will be available a few days (hopefully like one or two days) after this episode goes live, but we'll see how things go. In any event, it should be out in very early March, which is not far away at this point. I'm also 14,000 words into Blade of Wraiths, the fourth book in my Blades of Ruin epic fantasy series. Hopefully that will be out in April, if all goes well. That's my secondary project right now, but once it gets promoted to primary project once Cloak of Summoning is available, my new secondary project will be Dragon Mage, which will be the sixth book in the Rivah Half-Elven Thief series. I'm looking forward to that since it is going to bring to an end a lot of ongoing plot threads. So it should be quite a fun book to write and hopefully to read. That should hopefully be out in May or possibly June, depending on how things go.
In audiobook news, Cloak of Titans, the audiobook narrated by Hollis McCarthy, should be available in more audiobook stores than it was this time last week, though it's still not on Amazon, Audible, or Apple. Brad Wills is working on recording Blade of Storms and I think the first six chapters are done. Hopefully we should have those audiobooks available to you before too much longer. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:18 Main Topic: The Four Thomases of the English Reformation
Now without further ado, let's get to our main topic and it's time for another of my favorite topics overall, a digression into obscure points of history.
I've mentioned before that Wolf Hall (both the TV show and the book) is a lot easier to understand if you are at least passingly familiar with the key figures of the English Reformation, which happened during the reign of King Henry VIII. But who were these key figures? I had a history professor who said that to understand the English Reformation, you need to know about the four Thomases of the English Reformation: Thomas Wolsey, Thomas More, Thomas Cromwell, and Thomas Cranmer, since each one of them altered events in a major way.
Fun fact: only one of the four died from natural causes and right before he was about to go on trial for treason, which would have likely ended with his execution. The English Reformation was a tumultuous time and the Tudor court was not a place for the faint of heart or the morally scrupulous. So let's talk about the four Thomases and one bonus Thomas today.
But first to understand them, we should look at three background trends that converged and boiled over during their lifetimes.
#1: Henry VIII needs an heir. King Henry VIII was quite famously married six times and executed two of his wives in his quest for a male heir. To the modern era, this sounds odd and chauvinistic, but one of the errors of studying history is assuming that the residents of the past had any interest in 21st century standards of behavior. By the standards of Henry's time, having a male heir to assume the kingdom after his death was absolutely vital. In fact, an argument could be made that Henry was attempting to act responsibly by going to such lengths to father a male heir, though naturally he went about it in a spectacularly destructive and self-absorbed way. Remember, Henry's father, Henry VII, came to the throne after a 30-year civil war, and there were noble families that thought they had a better claim to the throne than Tudors and would be happy to exercise it.
A good comparison is that the lack of a male heir for Henry VIII was as serious a crisis as a disputed presidential election in 21st century America would be. You can see evidence for this in Henry's famous jousting accident in 1536. For a few hours, people were certain that he was dead or was about to die, and this incident caused a brief constitutional crisis. If Henry died, who would rule? His daughter, Mary, who he had just declared a bastard? His young daughter Elizabeth from Anne Boleyn? His bastard son, Henry FitzRoy? A regent? One of the old families who thought they had a claim to the throne?
Now, these are the sort of questions that tend to get decided by civil wars, which nobody wanted. So Henry needed a male heir and it weighed on him as a personal failure that he had been unable to produce one, which was undoubtedly one of the reasons he concluded that several of his marriages had been cursed by God and needed to be annulled. Though, of course, one of Henry's defining traits was that his self-absorption was such that nothing was ever his fault, but a failing of those around him.
#2: The Reformation is here. At the same time Henry was beginning to have his difficulties, the Protestant Reformation exploded across Europe. The reasons for the Reformation were manifold. There was a growing feeling across all levels of society that the church was corrupt and more concerned about money than tending to Christ's flock, a feeling not helped by the fact that several of the 15th and 16th century popes were essentially Renaissance princelings more interested in luxury, money, and expanding the power of the papal states than in anything spiritual. Many bishops, archbishops, abbots, and other high prelates acted the same way.
The situation the early 16th century church found itself in was similar to American higher education today. Many modern professors and administrators go about their jobs quietly, competently, and diligently, but if you want to find examples of corruption, folly, and egregious waste in American higher education, you don't have to try very hard. Reformers could easily find manifold examples of clerical and papal corruption to reinforce their arguments.
Additionally, nationalism was beginning to develop as a concept, as was the idea of the nation state. People in England, Scotland, Germany, and other countries began to wonder why they were paying tithes to the church that went to build beautiful buildings in Rome and support the lavish lifestyle of the papal court when that money might be better spent at home. For that matter, the anti-clericalism of the Reformation was not new and had time to mature. At the end of the 14th century, Lollardy was a proto-Protestant movement in England that challenged clerical power. In the early 15th century, the Hussite wars in Bohemia following the teachings of Jan Hus were a preview of the greater Reformation to come.
Papal authority had been severely damaged by the Great Schism at the end of the 14th and the start of the 15th century when two competing popes (later expanded to three) all tried to excommunicate each other and claim control of the church. In the aftermath, Renaissance Humanists had begun suggesting that only the Bible was the proper source and guide for Christianity, and that papal authority and many of the church's practices were merely human traditions that had been added later and were not ordained by God. A lot of the arguments of the Reformation had their earliest form from the writers of the 15th century.
Essentially, the central argument of the Reformation was that the believer's personal relationship with God is the important part of Christianity and doesn't need to be mediated through ordained priests in the official sacraments of the church, though such things were still important. Of course, all the various reformers disagreed with each other about just how important and what the nature of that relationship was, how many sacraments there should be, and what the precise relationship between the individual, the church, and the state should be (and that argument got entangled with many other issues like nationalism), but that was a central crux of the Reformation.
So all these competing pressures have been building up, and when Martin Luther posted his statements for debate on church reform in October of 1517, it was the equivalent of lighting a match in a barn that had been stuffed full of sawdust and was suffering from a natural gas leak. #3: The printing press. So why did Luther's action kick off the Reformation as we know it and not the other proto-Protestant movements we mentioned? I think the big part of that is the printing pass, perhaps the biggest part.
The printing press did not exist during the early proto-Protestant movements, which meant it was a lot harder for the ideas of reform to spread quickly. The Lollards in particular wanted to translate the Bible into English instead of Latin, but the Bible is a big book and that is a lot of copying to do by hand. In 1539, after a lot of encouragement from Thomas Cromwell, Henry VIII decreed that an English Bible should be placed at every church in England. In 1339, that would have been an impossible amount of copying by scribes. In 1539, thanks to the printing press, it was essentially on the scale of the government embarking on a mid-sized industrial project, perhaps a bit of a logistical and organizational challenge and you have to deal with contractors, but by no means impossible.
The printing press made it possible for the various arguments and pamphlets of the Reformers to spread quickly throughout Europe. Luther published tracts on a variety of religious and political topics for the rest of his life, and those tracks were copied, printed, and sold throughout Europe. In fact, he had something of a flame war with Thomas More over Henry VIII's "Defense of the Seven Sacraments". Kings and governments frequently tried to suppress printers they didn't like, but the cat was out of the bag and the printing press helped drive the Reformation by spreading its ideas faster than had previously been possible.
AI bros occasionally compare modern large language model AIs to the printing press as an irreversible technological advancement, but one should note that the printing press of the 16th century did not require an entire US state's worth of electricity and an unlimited supply of water. So those were some of the undercurrents and trends leading up to the English Reformation. With that in mind, let's take a look at our four Thomases.
#1: Thomas Wolsey. Cardinal Thomas Wolsey was Henry's right hand man during the first 20 years of his reign and essentially the practical ruler of England during that time. He started his career in Henry's reign as the almoner, essentially in charge of charity, and it ended up becoming the Lord Chancellor of England. Since Henry was not super interested in actually doing the hard work of government, Wolsey ended up essentially running the country while Henry turned his full enthusiasm towards the more ceremonial aspects of kingship.
Wolsey was an example of the kind of early 16th Century church prelate we mentioned above, more of a Renaissance princeling than a priest. However, as Renaissance princelings went, you could do worse than to have been ruled by someone like Wolsey. And if you were a king, you would be blessed to have a lieutenant as diligent in his work as the Cardinal. Granted, Wolsey did amass a large fortune for himself, but he frequently patronized the arts, education and the poor, pursued some governmental reforms, and deftly maintained England's position in the turbulent diplomacy of the time. He was also much more forgiving in questions of religious dissent than someone like Thomas More. Wolsey was the most powerful man in England at his apex, and the nobility hated it for him because his origins were common.
So long as he had Henry's favor, Wolsey was untouchable and the nobility couldn't move against him. But the royal favor came to an end as Henry's marriage to Catherine of Aragon was unable to produce a son. Since Catherine had previously (and briefly) been married to his older brother Arthur before Arthur's death, Henry became convinced (or succeeded in convincing himself) that his marriage was cursed by God for violating the prohibition against sleeping with your brother's wife in the book of Leviticus. His eye had already fallen on Anne Boleyn and Henry wanted an annulment and not a divorce in his marriage with Catherine. In the eyes of God, he would never have been married at all, and then he could marry Anne Boleyn with a clear conscience.
Here, Wolsey's gift for diplomacy failed him, but perhaps it was an impossible task. Catherine of Aragon was the aunt of Emperor Charles V, who at the time was the most powerful man in Christendom. All of Wolseley's efforts to persuade the pope to annul the marriage failed, partly because the pope had already given Henry VIII dispensation to marry his brother's widow.
Wolsey's failure eroded his support with the king. Anne Boleyn likewise hated Wolsey partly because she believed he was hindering the annulment, and partly because he had blocked her from marrying the Earl of Northumberland years before she had her eyes set upon Henry.
Finally, Henry stripped Wolsey of his office of Lord Chancellor, and Wolsey retired to York to take up his role as archbishop there. Wolsey's popularity threatened Henry and Anne, so Henry summoned him back to London to face treason charges. Perhaps fortunately for Wolsey, he died of natural causes on the journey back to London. His replacement as Lord Chancellor was Thomas More, the next of our major for Thomases.
#2: Thomas More. More was an interesting contrast-a Renaissance Humanist who remained a staunch Catholic, even though Renaissance Humanists in general tended towards proto-Protestantism or actual Protestantism. He was also in some ways oddly progressive for his time. He insisted on educating his daughters at a time was considered pointless to educate women about anything other than the practical business of household management.
Anyway, More's training as a lawyer and a scholar led him to a career in government. He held a variety of posts under Henry VIII, finally rising to become the Lord Chancellor after Wolsey. In the first decades of his brain, Henry was staunchly Catholic and despised Protestantism, in particular, Lutheranism in general and Martin Luther in particular. In 1521, Henry published "Defense of the Seven Sacraments" against Luther, and More helped him write it to an unknown degree. In their dislike for all forms of Protestantism, More and Henry were in harmony at this point. More was involved in hunting down heretics (i.e. Protestants) and trying to convince them to recant. During his time as the Lord Chancellor, More ended up sending six people to be burned at the stake for heresy, along with the arrest and interrogations of numerous others. This rather clashes with his "humanist man of letters" aspect, but More was undoubtedly convinced he was doing the right thing. And while he might have believed in education, he most definitely did not believe in freedom of conscience in several areas.
To be fair to More, in the view of many at the time, Protestants, especially Anabaptists, were dangerous radicals. Likely More viewed hunting heretics in the same way as some modern politicians view hunting down covert terrorist cells or surveilling potential domestic terrorists. Harsh measures true, but harsh measures allegedly necessary for the greater good of the nation. However, the concord between More and Henry would not last. Henry wanted to set aside Catherine of Aragon and marry Anne Boleyn, which More staunchly opposed. More especially opposed Henry breaking away from Rome and becoming head of an independent English Church. At first, More was able to save himself by maintaining his silence, but eventually Henry required all of his subjects take an oath affirming his status as head of the church. Thomas Cromwell famously led a deputation to try and change More's mind, but he failed. More refused, he was tried on specious treason charges, and beheaded in 1535.
Later, the Catholic church declared him the patron saint of politicians. This might seem odd given that he oversaw executions and essentially did thought police stuff against Protestants, but let's be honest-it's rare to see a politician even mildly inconvenience himself over a point of principle, let alone maintain it until death when he was given every possible chance to change his mind. Probably the most famous fictional portrayals of More are A Man For All Seasons and Wolf Hall. I would say that A Man For All Seasons was far too generous to More, but Wolf Hall was too harsh.
#3: Now for the third of our four Thomases, Thomas Cromwell. After Wolsey's fall and More's refusal to support Henry's desire to either annul his marriage to Catherine or to make himself head with the church so he couldn't annul the marriage, Thomas Cromwell rose become Henry's new chief lieutenant.
Cromwell is both a fascinating but divisive figure. For a long time, he was cast as the villain in Thomas More's saga, but Hillary Mantel's Wolf Hall really triggered a popular reevaluation of him. Like A Man For All Seasons was too generous to More, I would say Wolf Hall was too generous to Cromwell. Nonetheless, I suspect Cromwell was and remained so divisive because he was so effective. He got things done on a scale that the other three Thomases of the English Reformation never quite managed.
Cromwell's origins are a bit obscure. It seems he was either of non-noble birth or very low gentry birth and his father Walter Cromwell was a local prosperous tradesman in a jack of all trades with a reputation for litigiousness. For reasons that are unclear, Cromwell fled his birthplace and spent some time in continental Europe, possibly as a mercenary soldier. He eventually made his way to Italy and started working for the merchant families there, gaining knowledge of trade in the law, and then traveled to the Low Countries.
When he returned to England, he became Cardinal Wolsey's right hand man. After Wolsey's fall, Cromwell went into Parliament and defended his master whenever possible. This loyalty combined with his significant talent for law and administration caught the eye of Henry and he swiftly became Henry's right-hand man.
Amusingly, Cromwell never became Lord Chancellor like More or Wolsey, but instead accumulated many lesser offices that essentially allowed him to carry out Henry's directives as he saw a fit. Unlike More and Wolsey, Cromwell had strong Protestant leanings and he encouraged the king to break away from the Catholic Church and take control of the English Church as its supreme head. Henry did so. His marriage to Catherine of Aragon was nulled. The rest of Europe never accepted this until Catherine died of illness and it became a moot point. In 1533, he married Anne Boleyn. Like Cromwell, Anne had a strong Protestant bent and began encouraging reformers to take various offices and began pushing Henley to make more reforms than he was really comfortable doing. For example, Cromwell was one of the chief drivers behind the English Bible of 1539.
This, combined with Anne's inability to give Henry a son, contributed to Anne's downfall. Unlike Catherine, she was willing to argue with Henry to his face and was unwilling to look the other way when he wanted a mistress, and this eventually got on Henry's nerves. Events are a bit murky, but it seems that Henry ordered Cromwell to find a way he could set aside Anne and Cromwell complied. Various men, including her own brother, were coerced and confessing to adultery with Anne on charges that were most likely fabricated and Anne's "lovers" and Anne herself were executed for treason in 1536. Cromwell had successfully used a technique that many modern secret police organizations and dictatorships employ- if you want to get rid of someone for whatever reason, accuse them of a serious crime, coerce them to a confession, and then have them executed. Joseph Stalin did basically the same thing when he purged the Old Bolsheviks after Lenin's death.
Henry married Jane Seymour shortly after Anne's execution, and she finally gave Henry his long-waited son, though she died soon afterwards of postpartum complications. Cromwell also oversaw the dissolution of the English monasteries in the 1530s. Monasticism had become quite unpopular even before the Reformation, especially among humanist writers. The concentration of property in the hands of monasteries made for a ripe target. Using Parliament and with Henry's approval, the monasteries of England were dissolved, the monks and nuns pensioned off, and the various rich properties held by the monasteries were given to the king and his friends. Cromwell himself profited handsomely. This was essentially legalized theft, but there was nothing the monasteries could do about it.
Cromwell pushed for more religious reforms, but that combined with the dissolution of the monasteries caused "The Pilgrimage of Grace" in 1537, a rebellion that Henry was able to put down through a combination of lies, stalling, outright bribery, and brutal repression under the Duke of Norfolk (more about him later).
Cromwell was at the zenith of his power and influence, but his reformist bent and made him a lot of enemies. For that matter, Henry was increasingly uncomfortable with further religious changes. He wanted to be head of his own church, but essentially his own Catholic Church, not his own Reformed or Lutheran one. Cromwell's alignment with the reform cause gave his more traditionalist enemies a tool to use against him.
Cromwell's foes had their chance in 1540 when Henry married his fourth wife, Anne of Cleves. Cromwell had heavily pushed for the match, hoping to make an alliance with the Protestant princes of Germany against the Catholic Holy Roman Emperor. For whatever reason, Henry took an immediate dislike to Anne and never consummated the marriage, which was swiftly annulled and Anne pensioned off.
Henry blamed Cromwell for the failed marriage and Cromwell's enemies, particularly Duke of Norfolk and Bishop Gardiner of Winchester, were able to convince Henry to move against him. Cromwell was arrested, stripped of all the titles and property he had amassed, and executed in July of 1540. The sort of legal railroading process he had born against Anne Boleyn's alleged lovers and numerous other enemies of Henry's was used against him.
This was one of the very few executions Henry ever regretted. Within a year, the French ambassador reported that Henry was raging that his counselors had misled him into putting to death the most faithful servant he had ever had. Once again, nothing was ever Henry's fault in his own mind. The fact that Henry allowed Cromwell's son Gregory to become a baron and inherit some of his father's land shows that he likely changed his mind about the execution.
For once in his life, Henry was dead on accurate when he called Cromwell his "most faithful servant". He never again found a lieutenant with Cromwell's loyalty and skill. The remaining seven years of Henry's reign blundered from setback to setback and all the money Henry obtained from the dissolution of the monasteries was squandered in indecisive wars with France and Scotland.
I think it's fair to say that the English Reformation would not have taken the course it did, if not for Cromwell. As ruthless and as unscrupulous as he could be, he nonetheless did seem to really believe in the principles of religious reform and push such policies whenever he could do so without drawing Henry's ire.
#4: Now the fourth of our four major Thomases, Thomas Cranmer. If Thomas Cromwell did a lot of the political work of the English Reformation, then Thomas Cranmer wrote a lot of its theory.
Cranmer was a scholar and something of a gentle-minded man, but not a very skillful politician. He seemed happy to leave the politicking to Cromwell. I think Cranmer would have been a lot happier as a Lutheran pastor in say, 1950s rural Nebraska. He could have married a farmer's daughter, had a bunch of kids, and presided at weddings, funerals, and baptisms where he could talk earnestly about Jesus and Christian virtues, and he probably would have written a few books on obscure theological points. But instead, Cranmer was destined to play a significant part in the English Reformation.
He started as a priest and a scholar who got in trouble for marrying, but when his wife died in childbirth, he went back to the priesthood. Later, he became part of the team of scholars and priests working to get Henry's marriage to Catherine of Aragon annulled. While he was at university and later in the priesthood, he became fascinated by Lutheran ideas and became a proponent of reform.
As with Cromwell, Henry's desire to marry Anne Boleyn gave Cranmer his great opportunity. Anne's family were also in favor of reform, and they arranged for Cranmer to become the new Archbishop of Canterbury. The new archbishop and the like- minded clerics and scholars laid the legal and theological groundwork for Henry to break with Rome and become head of the English church with Cranmer and the rest of the reform faction wanted to be used to push for additional church reforms.
He survived the tumults of Henry's reign by total loyalty to the king – he mourned Anne Boleyn, but didn't oppose her execution (though he was one of the few who mourned for her publicly), did much the same when Cromwell was executed, and personally sent news of Catherine Howard's adultery to the king.
Because of that, Cranmer had a great chance to pursue the cause of reform when Henry died and his 12-year-old son Edward VI became King. Edward's uncle Edward Seymour acted as the head of the King's regency council, and Seymour and his allies were in favor of reform. Cranmer was at last able to steer the English church in the direction of serious reform, and he was directly responsible for writing the Book of Common Prayer and several other key documents of the early Anglican church.
But Cranmer's of luck ran out in 1553 when Edward VI died. Cranmer was part of the group that tried to put the Protestant Lady Jane Grey on the throne, but Henry's daughter Mary instead took the crown. Mary had never really wavered from her Catholicism despite immense pressure to do so, and she had last had a chance to do something about it. She immediately brought England back to Rome and started prosecuting prominent reform leaders, Cranmer among them.
Cranmer was tried for treason and heresy and sentenced to be burned, but that was to be commuted if he recanted his views in public during a sermon, which he did. However, at the last minute, he thunderously denounced his previous recantation, asserted his reformist faith, and vowed that he would thrust the hand that signed the recantation into the flames first. Cranmer was immediately taken to be burned at the stake, and just as he promised, he thrust his hand into the flames, and his last word is that he saw heaven opening and Jesus standing at the right hand of God. Cranmer had spent much of his life trying to appease Henry while pushing as much reform as possible, but in his final moments, he had finally found his defiance.
When Mary died and Elizabeth took the throne, she returned England to Protestantism. Elizabeth was much more pragmatic than her half siblings and her father ever were, so she chose the most expedient choice of simply rolling the English church back to as it was during Edward VI's time. Cranmer's Book of Common Prayer and religious articles, lightly edited for Elizabeth's sensibilities, became the foundational documents of the Anglican church.
So these four Thomases, Thomas Wolsey, Thomas More, Thomas Cromwell, and Thomas Cranmer were central to the events of the English Reformation. However, we have one bonus Thomas yet.
Bonus Thomas: Thomas Howard, the Duke of Norfolk. Thomas Howard was a powerful nobleman during the reign of Henry, and the Duke of Norfolk was frequently Henry's lieutenant in waging various wars and putting down rebellions. He was also the uncle of Anne Boleyn and Catherine Howard, Henry's second and fifth queens. He was also involved in nearly every major event of Henry's reign. So with all that, why isn't Norfolk as remembered as well as the other four Thomases of the English Reformation?
Sometimes a man would be considered virtuous by the standards of the medieval or early modern age, yet reprehensible in ours. For example, for much of the Middle Ages, crusading was considered an inherently virtuous act for a knight, whereas in the modern age, it would be condemned as war mongering with a religious veneer. However, by both modern standards and Tudor standards, Thomas Howard was a fairly odious character.
For all their flaws and the morally questionable things they did, Wolsey, More, Cromwell, and Cranmer were all men of conviction in their own ways. More and Cranmer explicitly died with their faith. Cromwell's devotion to the Protestant cause got him killed since he insisted on the Anne of Cleves match. Even Wolsey, for all that he enriched himself, was a devoted servant of Henry after his downfall never betrayed the king.
By contrast, Norfolk was out for Norfolk. This wasn't unusual for Tudor nobleman, but Norfolk took it to a new level of grasping venality. He made sure that his daughter was married to Henry's bastard son, Henry FitzRoy, just in case FitzRoy ended up becoming king.
He used both his nieces, Anne Boleyn and Katherine Howard, to gain power and lands for himself, and then immediately turned against him once he became politically expedient. In fact, he presided over the trial where Anne Boleyn was sentenced to death. After the failure of the Anne of Cleve's marriage, Norfolk made sure to bring his young niece Catherine Howard to court to catch Henry's eye, and to use the Anne of Cleve's annulment as a lever to get rid of Thomas Cromwell. Both stratagems worked, and he attempted to leverage being the new Queen's uncle to bring himself to new power and riches, as he had with Anne Boleyn. Once Henry turned on Catherine Howard, Norfolk characteristically and swiftly threw his niece under the bus.
However, as Henry aged, he grew increasingly paranoid and vindictive, and he had Norfolk arrested and sentenced to death on suspicion of treason. Before the execution could be carried out, Henry died, and Norfolk spent the six years of Edward VI's reign as a prisoner in the Tower of London. When Edward died and Mary took the throne, she released Norfolk since she was Catholic and Norfolk had always been a religious traditionalist suspicious of reform. He spent the remaining year of his life as one of Mary's chief advisors before finally dying of old age.
As I often say, history can be a rich source of inspiration for fantasy writers, and the English Reformation is full of such inspiration. Wolsey, More, Cromwell, and Cranmer can all make excellent inspirations for morally ambiguous characters. For that matter, you can see why the reign of Henry VIII has inspired so many movies, TV shows, and historical novels. The real life events are so dramatic as to scarcely require embellishment. So that's it for this week.
Thank you for listening to The Pulp Writer Show and thank you for listening as I went on one of my little historical digressions. I hope you found the show enjoyable. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, we take a look at hysteria over AI, and compare it to past religious movements like William Miller's Great Disappointment.
This coupon code will get you 50% off the audiobook of Half-Elven Thief, Book #1 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store:
RIVAH50
The coupon code is valid through March 2, 2026. So if you need a new audiobook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 291 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 28th, 2026, and today we're looking at AI hysteria and whether or not AI gives any actual benefits to people. We also have Coupon of the Week, progress updates on my current writing projects, and also Question the Week, where we talk to people about AI.
But first, let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Half-Elven Thief (as excellently narrated by Leanne Woodward) at my Payhip store. That coupon code is RIVAH50. This coupon code will be valid through March 2, 2026. So if you need a new audiobook as we exit winter and come into spring, we have got you covered.
Now let's have an update on my current writing and publishing and audiobook projects. I'm pleased to report that the rough draft of Cloak of Summoning is done. It turned out to be just about as long as Cloak of Worlds, maybe a thousand words shorter. I am about 20% through the first round of editing, and I am hopeful that that book will be out sometime in March, probably the first week of March if all go as well. I've also written a short story called Dragon Claw that newsletter subscribers will get for free in ebook format when Cloak of Summoning comes out, which as I said will hopefully be in early March. I'm also 11,000 words into Blade of Wraiths, the fourth book in my Blades of Ruin epic fantasy series, and that will be my main project once Cloak of Summoning is published.
In audiobook news, the audiobook of Blade of Shadows (as narrated by Brad Wills) is now out at almost all the stores, so you can get it at Audible, Apple, Google Play, Kobo, and the other main stores. Cloak of Titans (as narrated by Hollis McCarthy) is done and is currently rolling out to the stores. I think as of right now, you can get it at Google Play, Kobo, and my own Payhip store, but it should be showing up on Audible and the other main stores before too much longer. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:01:56 Question of the Week
Now let's move on to Question of the Week. For the first Question of the Week of 2026 and this week's question: have you personally derived any benefits or experienced any negatives from the rise of generative AI? And this question was inspired by the topic of this week's post, obviously enough since we're talking about AI. I should note that this is a contentious topic with divergent opinions, and so I asked people to remain civil in the comments and they definitely were, so thank you for everyone for that.
Now let's have some opinions on AI before I tell you how AI has positively and mostly negatively affected my life. Joachim says: I have not used AI for private purposes. My Con: My Chromebook might be obsolete rather sooner than later. In my company, we use an AI, which is helpful. It has all the knowledge articles, so you can ask, how do I do this or that? The company's Con: laptop prices are going up.
Eddie says: My Cons are much the same as yours. My Pros are using it to create images for tabletop games to help players visualize monsters and NPCs. I have found it effective in turning voice to text meeting notes into meeting minutes and actions.
Jesse says: Software engineer here. I have found it helpful when I'm working on something in a language I'm not as familiar with the syntax. As a "how I might do this" learning tool, it's not bad. As a "do this for me/vibe code" thing, no thanks…too much trust.
John says: Yes and no. I was in an AI startup that stopped paying me and my team for two months then let us go. We're currently suing them for back pay, but the tech worked and is still working. I also work in ad tech. Devs are trying to get more productive using AI tools. It's hit and miss as far as I can tell, but using traditional machine learning and data science to optimize marketing has worked for decades and still works, but that's not what people consider to be AI nowadays. Also drove across the country last August and used ChatGPT to plan my trip, and that works splendidly.
I think John might win here for largest negative in his comment though, to be fair, that's more for business reasons than for AI itself, though I, for his sake, I'm pleased he was able to use ChatGPT to plan his drive across the country and ChatGPT didn't send him driving off a cliff someplace.
Jenny says: I'm so over everyone trying to push this "solution" on me. It's like protein enhanced foods. Stop trying to put protein and AI into everything. Just put it where it makes sense or let me choose it. My negative experiences far outweigh anything helpful.
Jimmy says: I have quit using Google search. It never tried to find the answer that I asked for. It just returned what it felt like. Its answers usually matched the paid ads it led the list with.
Rob says: Okay for meeting notes and rough drafting for job applications, et cetera. Other than that, seems to have limited use for me personally and is a nuisance on my phone, internet browser, et cetera.
And finally, Randy says: my biggest Con is that the AI answers that pop up when I'm trying to search range between inaccurate and dangerously wrong. I suspect many people don't realize they aren't reading actual data when they see them.
So thank you to everyone who shared their thoughts on that. For myself, I've mostly experienced negative things with AI and a few positive things though to be honest, both the positive and negative things were relatively minor in the greater scheme of things. So I shall list off the Pros and Cons of my experiences with generative AI. I should mention that none of my books, short stories, for sale audiobooks, or book covers contain any AI elements. If it says Jonathan Moeller on the cover and it's not on YouTube, then it is 100% human made.
Now, the Pros and Cons. The Pros: Power Director 365, the video editing program I use for YouTube, has an "animated by AI" feature so I've used it to animate some of my book covers for use of Facebook ads with middling results at best.
I used Google's Voice AI stuff to create AI voice versions of the Silent Order books and then put them on YouTube because I wanted to understand the technology. I'm not planning to ever do actual audiobook versions of Silent Order since they wouldn't make back any money, so I wasn't screwing a narrator out of work and the voices involved were licensed by Google, so there was no copyright infringement the way there is with companies like Anthropic. That said, I suspect this is less generative AI and simply a more advanced text to speech technology, which has been around forever. I mean, you could do text to speech back on the earliest versions of the Macintosh. I mean, ideally, I would like text to speech to just be a button in your ereader app of choice for accessibility reasons, and then you can purchase the audiobook if the text to speech was too bland. Overall, a lot of people listen to the AI versions on YouTube, but the listeners mostly complained about the synthetic voice and would've preferred a real narrator, unsurprisingly.
Now onto the Cons. Facebook ads went from very effective to middling at best on a good day, thanks to their Advantage Plus AI. I am constantly bombarded by AI generated scam emails of several different varieties. I deleted twelve before I recorded this. The price of Microsoft Office went up, the price for RAM and GPUs went up due to data center hoarding them all. The price for electricity has gone up. Windows 11 and Microsoft Office's performance has gone down quite a bit due to forced AI integration. In fact, I got so annoyed at Windows 11, I switched to writing on a Mac Mini, which I suppose was a positive because I like the Mac Mini, but still. Google Search and all Google products in general are much less useful because of AI and the quality of information on the internet (already low) has gone down quite a bit due to the prevalence of AI slop.
Admittedly, neither these Pros or Cons are majorly serious to me personally (with the possible exception of electricity prices going up), but the Cons definitely outweigh the Pros. I can confidently say I have derived no real benefit from generative AI, and I suspect a lot of other people could say the same, if they're honest.
00:07:27 Main Topic of the Week: William Miller, The Great Disappointment, and AI
Now onto our related main topic this week, AI hysteria, William Miller, and The Great Disappointment. This past week there were numerous articles from and interviews with various AI bros saying that within 12 to 18 months, AI will replace white collar work and humanity must simply adjust. When I read these articles, I wasn't reminded of the Singularity, of AI, of Skynet and the Terminator, or anything technological. Instead, I thought of a preacher named William Miller who died about 190 years ago. William Miller came out of the Second Great Awakening, which was one of the waves of religious vitality and furor that grip America every so often.
Miller almost died in combat as an officer in the War of 1812, and saw one of his men killed in front of him, which understandably left a lasting impression. His experiences led him to an examination of mortality that resulted in a fervent Baptist conversion. He also became convinced that he could calculate the date of Christ's return from the Bible and decided that Jesus Christ would return on October 22nd, 1844. By then, he had a substantial following, and on the day his followers gathered in their churches to await the End of Days and the judging of the living and the dead, many of them having already given away their possessions, but nothing happened. Miller's movement collapsed and most of his followers abandoned their beliefs, though some splinter groups eventually involved into the Adventist branch of American Protestantism, of which the Seventh Day Adventists are the most prominent. Nowadays, when Miller is discussed online, the usual tone is to laugh at the religious rubes from the benighted past, so unlike us enlightened and savvy moderns.
But I think the truth is that Miller succumbed to a universal human impulse. Every generation thinks that it is going to be the last generation or the generation that will see the culmination of history, whether they're viewing that through a religious lens or a secular lens. For example, when I was in my early twenties, I knew a very religious woman my own age, who was convinced that the world had become so wicked that it would end by the time she was 30. A few years later, I met another woman who thought global warming would ensure the collapse of the ecosystem and the end of the food chain by the time we were 30. However, I have not been 30 for a rather long span of time now, and for better or for worse, the world grinds on.
Nor is this an impulse limited to my own generation. People who came of age during the Cold War thought the world would end in nuclear fire during their lifetimes and a little after that from global cooling. Lesser examples could be seen in the Y2K scare in 2000. Throughout the Middle Ages and the early modern period, it was common for peasant revolts to be led by charismatic preachers who predicted that soon all thrones would be overthrown and Christ would return to judge the living and the dead. Because of all these examples, I'm certain there is a universal human impulse to believe that the world will end in our lifetimes. I think this comes partly from a combination of fear and hope, fear of the future and the end of the world and hope that one's life will be lifted out of the mundane in the final fulfillment of history. You don't have to get up and go to school or work tomorrow if the world ends, but the truth is that the world is most likely not going to end, and you and I are probably going to have to get up and go to work tomorrow.
I think the hyperbole about AI comes from that same sort of apocalyptic impulse, this idea that one is living to see and participating in the apotheosis of history when what one is in fact doing is using a money losing chatbot that frequently gets things wrong. To be clear, AI isn't going to wipe out white collar work, and it isn't going to cause the collapse of society, though like cryptocurrency, it will cause a lot of harm without very much benefit. AI simply isn't good enough and doesn't do what does boosters say that it can do. There are numerous people who, in my opinion, are accurately explaining and pointing out the many flaws in AI and in the economic bubble it has created, just as there were people who predicted the fall of the Soviet Union, the dot-com bubble, the housing bubble, the criminal activities of FTX and the flaws of cryptocurrency, and were frequently derided as cranks until subsequent events prove them right.
So why all the hyperbole around AI? I think part of it is the end of days impulse we discussed above. The rest of it, I'm afraid, is simple crass desire for money and power. Why are all these tech companies burning unfathomable sums of money on AI when it's obvious, painfully obvious, that the bubble is heading for a crash? After the dot-com crash of the early 2000s, the Internet companies that survived eventually evolved into the tech titans of our day (Amazon and Google come to mind). All these different AI companies and boosters are hoping that their company is the one that survives and becomes the next titan conglomerate of the 2030s.
Admittedly, I think this is unlikely. I think that while the most probable outcome for the current model of AI, LLMs, and generative AI is that it ends up like cryptocurrency. For a while, crypto advocates thought that it would overthrow central banking and lead to unprecedented freedom and prosperity. However, while there are many valid criticisms to be made of central banking and fiat currency, one of their advantages is that that they do a good job of shutting down the kind of scams that crypto easily facilitates. For all the glowing promises of its boosters, the primary use case for cryptocurrency has been to cause economic disruptions and to facilitate crimes and scams.
I suspect AI will probably degenerate down to a similar state once the bubble pops. The technology won't go away, but it can't do all the miraculous things its backers promise. The money is going to run out eventually and it will inflict a lot of economic damage on its way out. And like crypto, AI will mostly have negative uses. Likely its most common use cases will be to help students cheat on exams, make stupid political memes where someone's least favorite politician (whoever that is) is shaking hands with Emperor Palpatine or Thanos or whoever, engage in mass copyright infringement, and to scam seniors out of their savings.
So if you are disturbed by the rhetoric around AI, take heart. When you read an article from someone announcing the glories of AI and discussing how all of civilization will have to rework itself around AI, remember that the person in question is most likely seeking money or power, or are like William Miller's followers the day before October 22nd, 1844.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, we take a look at five Instagram tips for writers, and we also discuss recent Facebook ad changes.
This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store:
CAINA25
The coupon code is valid through February 23, 2026. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 290 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 13th, 2026, and today we're looking at five tips for Instagram marketing for writers. We will also have Coupon of the Week and an update on my current writing and publishing projects.
So let's first start with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store, and that code is CAINA25. The coupon code is valid through February the 23rd, 2026 so if you need a new ebook for this winter, we've got you covered.
And now on my current writing and publishing projects. I'm currently 91,000 words into Cloak of Summoning, which will be the 14th book in my Cloak Mage urban fantasy series. I am hoping to finish the rough draft in the coming week, and then it's going to need a fair bit of editing because I've decided to change things and move things around to improve it. So if all goes well, I hope that book will be out in the first week of March, assuming nothing comes up before then.
I am also 8,000 words into Blade of Wraiths, which will be the fourth book in my Blades of Ruin epic fantasy series, and I am hoping that will be out in April, if all goes well.
In audiobook news, Blade of Storms is completely finished and I believe as of right now you can buy it at my Payhip store, Kobo, and Google Play, and it is currently working its way through processing at all the other audiobook stores. Hollis McCarthy has finished recording Cloak of Titans, which is the 11th book in the Cloak Mage urban fantasy series, and if all goes well, my proofer should be able to listen to it this week and then hopefully the audiobook will be available to you sometime in March. So that's where I'm at with my current writing and publishing and audiobook projects.
00:01:51 Thoughts on Facebook Ads
Before we get to our main topic, I want to have a brief digression into another part of the Meta empire, specifically Facebook ads and my recent experiences therein. I've mentioned before that I stopped using Facebook ads in October since the Advantage Plus system, which is their AI targeting system, was giving me headaches.
For a brief summary of my experience with Facebook ads. I started using them in 2019, did really well with them in 2020, then Facebook randomly started banning accounts during this craziness of summer 2020. I got my account reinstated, used them less frequently more and more until October of 2025 when I stopped using them altogether because Advantage Plus made targeting so hard. Since then, I've relied mostly on Amazon ads and BookBub ads to good results. However, I've also read various blog posts from people who have been struggling with the Advantage Plus system as well, and they've been investigating it thoroughly as internet marketers tend to do, and they've uncovered something interesting that isn't mentioned at all in Facebook's documentation about the new changes, specifically that Advantage Plus uses the text content of your ad to target it.
Under the old system, it didn't work that way at all. You would select interests that match your ad, usually popular authors in the fantasy genre (like J.R.R Tolkien, Robert E. Howard, George R.R. Martin, Brandon Sanderson, and so forth) and then you wrote the text of the ad and supplied an image, which was usually called a creative. The creative was like 80% of a successful Facebook ad. You just needed a good picture, more or less. The Advantage Plus system by contrast targets according to the text in the ad. So while you still need a good creative, you need to be precise in the ad text. So for example, you need to write something like this: "Fans of The Lord of the Rings, Conan the Barbarian, Mistborn, and Game of Thrones will love this free epic fantasy available for Kindle readers."
Now, I found the arguments in these blog posts persuasive, so I decided to give it a try. The results are on the better side of okay-ish, I will admit. I didn't lose any money and did make a bit of money. The results were definitely better than I expected, though the ad using Advantage Plus typically only has a shelf life of six to 10 days before it stops working. That said, the old system was still better because the interests were more granular and I could assign them more precisely. I used to be able to advertise Frostborn, Cloak Mage, The Ghosts, and Demonsouled all at the same time because I could target the ads so precisely and granularly. There's absolutely no way I could do that now because the Advantage Plus system is a black box. It basically boils down to "trust us, the AI will figure it out" when it very obviously can't.
So for the moment I will have one Facebook ad in the rotation until Meta changes something and everything breaks. There's no way I'll run as many Facebook ads as I did in 2020, when sometimes I had eight different Facebook ads going at once. Apparently in the last three years, Meta spent around 130 billion on AI, give or take, and what they got for that money is an ad targeting system that frequently doesn't work, and when it does work, doesn't work as well as the old system did. Spending unfathomable sums of money to replace a system that worked pretty well with one that intermittently doesn't work, and then when it does function, doesn't work as well as the previous system seems to be a pretty good summary of the "AI revolution" so far.
00:05:05 Main Topic: 5 Tips for Instagram Marketing for Indie Authors
Now onto our main topic this week, five tips for Instagram marketing for indie authors. Because I'm looking for new alternatives to Facebook ads for reasons I just discussed, I have just started using Instagram as part of my marketing strategy, and many indie authors, especially in the romance genre, have reported a lot of success marketing through Instagram so I wanted to learn more about it and share what I learned. In today's episode, I'm going to focus on marketing through your author account, not paid Instagram ads, which could be a separate podcast topic in the future. Here are five tips that might help you with running an author Instagram account.
#1: Find a strategy beyond book promotion. Like any other form of social media, if all you post is promotion for your books, it'll be hard to gain a following. Before you start posting regularly, you'll have to think about what else you have to offer your audience. Even if you want to keep your posts exclusive to writing, there are other types of posts you can make, like behind the scenes peeks, extra facts about a character, or using the poll/question feature to engage with your followers about the books.
Follow other author accounts from writers in your genre to learn about their successes and how they engage with their followers. That said, a warning with that, spending a lot of time looking at posts from engaging with other authors creates a closed loop and doesn't further your goal of getting your books into the hands of your readers. Looking at other author accounts and engaging with them definitely falls into the category of what I've called writing adjacent activities that can easily give you the illusion of progress but not actual progress that I've talked about on this podcast before. Ideally, you should spend most of your time on Instagram with readers, not other authors.
It's also important to find the balance between providing personal content to make readers feel more connected to you and having it drift too far into being a personal account. Most of us have seen author accounts and social media accounts that post far too personal of relationship details or various long types of rants on various topics that I find it hard to believe help sell any books.
The balance will be different for everyone, but always keep in mind that your primary goal on your author accounts is to be a space for your brand as an author. In that same vein, posting negative reviews of other books or negative comments about other writers is not a smart idea in the long run. At best, it looks like you're attacking someone else to make yourself look better, and at worst, you can end up as part of one of the many Bookstagram dramas that crop up with predictable and tedious frequency and in the process, you may make yourself some enemies for life. Nobody wants that.
Spamming your books by promoting them in other author's accounts, comments sections, or worse, DMing them is considered bad form and not even remotely effective in the long run.
#2: Your space, your rules. Don't be shy about blocking people or deleting comments, especially from spam accounts. Remember that it's your space, not theirs. The flip side of that is turning off comments altogether will limit your reach on Instagram. Although engagement with other accounts matters on Instagram, not every single comment or DM needs a reply, and it would be a waste of precious writing time to even try. Many authors find a compromise in liking non-spammy, well-intentioned comments instead of replying to each one. Although it's important to post regularly, putting out a public schedule for what you'll post is an invitation for people to get upset when you miss a day.
#3: Captions matter. Although Instagram is about images and video, substantial captions are important for helping people to find your content. The algorithm rewards decent size but not overly long captions with good hashtags, even if people don't read them. The more specific you make your hashtags, the more effective they will be.
Broad ones like "writing" and "author" won't be as effective as "Arthurian Fantasy" or "Enemies to Lovers Historical Romance." There are also a lot of genre specific abbreviations, especially in romance such as "HEA" (which stands for happily ever after) or the pepper emoji to suggest that the romance is a spicy one (which is a euphemism for saying that it gets explicit). Take the time to learn these by following other authors or accounts in your genre because it'll help others find your posts.
#4: Try Instagram Reels. The algorithm for Instagram Reels (the short videos on Instagram) rewards interaction more than videos on TikTok. So it's best to watch videos in your genre, post regularly, and expect that you won't get a lot of views starting out or the views might come much later after the initial post than they would on TikTok. Some authors report that it took months of regular posting before they saw success, or that videos would take off weeks after posting.
So keep on posting consistently, even if you're not seeing a lot of followers and engagement at first. Some authors use Reels for off topic things like memes and lighthearted content so their posts remain completely about their writing. Pick a strategy of things you can consistently post Reels about two to three times per week because the algorithm rewards frequent posting of Reels.
#5: Don't pay influencers or accounts to promote your content. If someone approaches you to pay for reviews or promotion, it is 99.9% likely that it is a scam. Delete and move on. When in doubt, assume it is a scam. Even if that person or account who wants to be paid to promote you is magically legitimate (which is, as I mentioned, very unlikely) the Bookstagram community is very savvy and distrustful of paid reviews. It's not good strategy. Real reviews from real, unpaid people take time, but the results are far more effective.
You could try a raffle giveaway of your book to get reviews instead of paying an influencer or offering a special Smashwords coupon code just on your Instagram account.
Above all, Instagram will work if you're authentic, post regularly, and are patient in building up a following. Taking shortcuts like buying followers or spamming other accounts is not an effective strategy. Like so many things, there isn't a magic pill that substitutes for hard work over time, which if there was an overwhelming theme of this podcast over the last 290 episodes, I think that hard work over time is probably the lesson we want to take away here.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this episode, we look at how the classic black & white Universal movie monsters tap into universal fears, and how you can use that to create compelling villains in your book.
This coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book #2 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
GARETH50
The coupon code is valid through February 16, 2026. So if you need a new audiobook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 289 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 6, 2026, and today we are discussing how you can use the Universal monsters to write interesting villains. Before we get into that, we will have Coupon of the Week and an update on my current writing and publishing projects.
First up is Coupon of the Week and this week's coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book #2 of my Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. And that code is GARETH50. And as always, the coupon code and the link to my Payhip store will be available in the show notes. This coupon code is valid through February 16th, 2026, so if you need a new audiobook to get you through the middle of February, we have got you covered.
Now let's see where I'm at with my current writing and publishing projects. As of this recording, I am 63,000 words into Cloak of Summoning and I am almost but not quite halfway through my outline. So this is definitely going to be a long book and it's probably going to come out in the first part of March because it's long enough that it will take me a while to finish writing it and then to edit and proof it and everything else. So I'm making good progress on it. It was a very productive week, but I am still not even halfway through, so I think it's probably going to be March. I am also 5,000 words into Blade of Wraiths. That will be the fourth book of my epic fantasy Blades of Ruin series, and that will probably be in April, if all goes well.
In audiobook news, Blade of Shadows (as narrated by Brad Wills) is done and it is slowly starting to roll out to the various platforms. I think as of this recording, the only place it is live right now is my Payhip store and Google Play, but hopefully by the time I record the next episode, it will be available at even more stores than that.
Hollis McCarthy is working on Cloak of Titans and I think she's about halfway or two thirds of the way through recording, so we should be able to get that to you before too much longer. So that is where I'm at with my current writing and publishing and audiobook projects.
00:02:13 Main Topic: Universal Monsters, Universal Fears, and Creating Villains
Now our main topic, which is the Universal monsters and the universal fears and how you can use that to create villains. One idea a writer can use to create compelling villains is to tap into some of the universal fears, and in some ways, those universal fears are embodied by the classic Universal monster movies.
I mentioned before that in Halloween of 2025, I saw that a bunch of the old black and white Universal monster movies were on Prime Video. So I watched them for the first time since I was a kid, and I was pleased to see that they held up pretty well for movies that are nearly a century old, especially considering these were some of the very first movies ever made with sound and the filmmakers were kind of figuring it out as they went along. Dracula is a bit uneven because they tried to cram the stage play version of the book into a 70 minute movie, which really doesn't work, though Bela Lugosi's performance as Dracula and Edward Van Sloan as Van Helsing really carried the movie and helped define the characters in the public eye, but the others are all good and Bride of Frankenstein is legitimately a great movie, but why have these particular movies lasted so long in the public consciousness?
For that matter, why do people keep coming back to new versions and new stories of Dracula and Frankenstein's Creature and all the others? Partly it's because these characters are in the public domain and you can use them without getting sued. True, but there's a lot of stuff in the public domain that doesn't see the light of day nearly as often as these classic monsters. I think it's because the classic monsters tap into the universal (small U) fears or classic archetypes of the things that people fear in real life. It's interesting to note that most of the classic Universal monsters were either originally humans who became monstrous or creations by humans that turn monstrous. Essentially, the monsters tap into archetypal fears and are exaggerated versions of villains and monsters we might actually encounter on a day-to-day basis. What do I mean? Let's expound.
First up, Dracula. Count Dracula is in some ways the easiest metaphor to explain. He's an aristocratic vampire that feeds upon people and gives them nothing but evil in return. Perhaps he will pass on his own immortality to some of his victims, but it's a cursed and hellish form of immortality and any vampires that he creates are essentially his slaves, sometimes his mindless slaves. Dracula is the fear of the Evil Elite. This of course, takes many different forms in the modern era, but it is very much alive and well. The various conspiracy theories that the elite of society might be devil worshippers or engaged in sinister cults are definitely Dracula adjacent (and based on recent news reports, it indeed appears at least some of these conspiracy theories turned out to be accurate).
More prosaically, "rent seeking behavior" is often characterized as vampirism. Rent seeking behavior is defined as finding ways to extract profit without adding value by manipulating the legal or regulatory environment. The landlord who raises rent by $500 a month for no reason. A software developer who reduces features while raising the subscription price or a financier who manipulates the regulations for an industry while investing in it are good examples of rent seeking behavior that is metaphorically vampiric. For that matter, it can be downright mundane. The middle manager who bullies his employees and then takes all the credit for their work is a very boring and unpleasant, but nonetheless, an all too common example of the vampire metaphor in real life.
Frankenstein's monster is a much easier metaphor to explain now than it would've been before ChatGPT went mainstream. There is always a fear that we will be destroyed by the works of our own hands, especially in the last a hundred years since the creation of nuclear technology and gene editing. Probably most famous examples of that in science fiction are The Terminator and The Matrix movies series.
However, these days the metaphor for Frankenstein's monster is almost ridiculously easy. We have generative AI to fulfill the metaphor of Frankenstein's monster for us. Karl Marx famously said that history repeats twice, the first time as tragedy, the second as farce. Nuclear weapons as a metaphor for Frankenstein's monster was a tragedy but generative AI is a farce.
The tech bros sold it as this omniscient mind that could solve all problems and eliminate all jobs. What we've actually gotten is an imbecilic chatbot that makes a lot of mistakes, can't remember anything, can't actually do anything right, inflicts widespread damage to the economy, drives up electricity costs, and makes existing products like Windows 11 and Google search much worse. It's like as if Frankenstein's monster was really, really stupid and wanted you to add glue to your pizza to keep the cheese from sliding off.
The Wolf Man, of course, is a metaphor for the potentially bestial nature of man. We all know, of course, or are eventually forced to learn that human beings have a dark side that can come out in times of anger and stress. Civilization is sometimes a thin veneer over the animalistic side of humans. Sometimes the veneer grows even thinner and the dark side comes raging out in riots and wars and mass slaughter. For Larry Talbot, the original Wolf Man in the movie, his situation is even more terrifying. He's a rational man who believes in science and psychology and doesn't believe in things like werewolves. Yet when he is bitten, he nonetheless loses control and transforms into the Wolf Man. He doesn't want to transform and attack people, but he has lost control of himself to the werewolf curse, and so he does.
In a sense, all humans are werewolves in that we have a monstrous side that can come out under the right or the wrong conditions. The worst of us embrace that fact, just as in medieval legends, sometimes people would make pacts with the devil to become werewolves.
The Invisible Man was originally a science fiction story, which means that the Invisible Man represents a new fear created by science. "Transhumanism" is an idea that eventually humans will merge with machines and evolve and become something new. Naturally, many people think this is a bad idea, and so a new idea has emerged: "posthumans" or humans that have been so modified by science that they are no longer recognizably human. So far, this has remained mostly science fiction, but you can see the glimmers of it beginning in biology and medical science. There's a reason performance enhancing drugs are banned in most sports. Genetic engineering opens up the possibility that corporations could create their own custom humans, essentially their own posthumans. The possibilities for abuse in such situations are sadly endless. So the Invisible Man, like Frankenstein's Creature, taps into the fear of science or more accurately the fear of what horrors science might create.
On the surface, the Creature from the Black Lagoon is a monster story about a creature that carries off a pretty girl. I think it taps into a deeper fear, however, namely that the world is older and stranger and more alien and incomprehensible than we can possibly know. Like hardcore creationists say that the earth is 6,000 years old or so, and the traditional scientific view is that the earth has been around for four and a half billion years or so, and both groups have detailed charts explaining why their theories are correct, but what if they're both wrong? Oceanographers say that we don't fully understand the oceans. And a common theory among UFO people is that UFOs emerged from hidden bases at the bottom of the ocean, inaccessible by any human.
There are other theories that there have been entire civilizations such as Atlantis that have vanished without a trace and were more advanced than our own, or that all of human civilization is a cycle that constantly destroys itself and restarts without a memory of its previous failures, or that aliens have influenced and controlled human history or that aliens created the earth and this is all some sort of elaborate science experiment. Of course, all these theories are likely bunk. Probably. I think it is true to say that not only is the world stranger than we know, it is stranger than the human mind is actually capable of comprehending. And depending on how far that goes, that could be a terrifying thought. So the Creature from the Black Lagoon, the idea that some race of fishmen lurks beneath the waves that we don't know about, taps into that fear.
Like The Creature from the Black Lagoon, The Mummy on the surface is another story about the monster who wants the girl since Imhotep waits 3,000 years for his love to be reincarnated. But I think this taps into a deeper fear, namely that we can't escape history, that no matter what we do or how hard we try, history will catch up to us (whether our own personal history or national history).
Political philosopher Francis Fukuyama famously wrote a book called The End of History and The Last Man in 1992, arguing that with the collapse of Communism, liberal democracy was the final form of government achieved by mankind and it would have no serious competitors in the future. This was a nice dream, but I think it's fair to say that the last 34 years since 1992 have proven that thesis profoundly wrong. History is definitely not over and in every domestic or international political crisis of the last 34 years, you can trace its roots back for decades or even centuries. It took 3,000 years for the dead hand of Imhotep to affect the present, but it usually doesn't take nearly that long for history to have negative effects in the present world.
The Phantom of the Opera is considered one of the Universal monsters, but I don't think he really taps into a deeper fear, maybe just to be wary of a creepy guy who lives in a theater basement and is unhealthily obsessed with the leading actress. Honestly, that just seems like good common sense. Maybe poor Christine Daae just needs some pepper spray or a good solid shotgun.
In conclusion, I think each of these Universal monsters remains popular because they tap into a deeper, more profound fear. So if you're a writer looking to create a memorable villain, you could do worse than to follow those universal fears. You don't even explicitly have to write horror, science fiction, or fantasy to do it.
In a mystery novel, you could have a Dracula type villain in the form of a slumlord who traps his tenants with restrictive lease agreements to bleed them dry financially or an Invisible Man villain in the form of a scientist who is illegally injecting college athletes with an experimental drug without their knowledge. The Wolf Man appears quite often in detective and thriller fiction as a serial killer or some other kind of violent criminal. Naturally we cannot escape history, so the Mummy can appear as a conflict that had its roots in events that happened decades ago. Of course, the range for universal fear villains in science fiction and fantasy is much greater. Then you don't even have to be metaphorical. So hopefully this look at the Universal monsters and the universal fears they tap into will give you some good tips and ideas for writing villains in your book.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes in https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, we look at five business lessons for indie authors from Brandon Sanderson's recent Apple TV deal.
Once again it is time for Coupon of the Week!
This coupon code will get you 25% off the ebooks in the Silent Order series at my Payhip store:
CALASKAR25
The coupon code is valid through February 9, 2026. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 288 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 30th, 2026 and today we are discussing five additional business lessons for indie authors from Brandon Sanderson in the aftermath of his recent Apple TV deal. Before we get into that, we will have a Coupon of the Week and an update on my current writing and publishing progress.
First up is Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Silent Order series at my Payhip store. And that coupon code is CALASKAR25. And as always, you can get the coupon code and the links to my Payhip store in the show notes of this episode. This coupon code will be valid through February the 9th, 2026. So if you need a new science fiction ebook to read for this winter, we have got you covered.
And now for an update on my current writing and publishing projects. Now that Blade of Storms is out and is doing well (thank you all for that), my main project is now Cloak of Summoning, and I am 34,000 words into it as of this recording, which puts me on Chapter 6 of 23 in the outline. I think it's probably going to come out in March because February is a short month and Cloak of Summoning is going to be a long book. So hopefully it should come out early in March. I'm also 1,000 words into Blade of Wraiths, which will be the fourth book in my Blades of Ruin epic fantasy series. That will be my main project once Cloak of Summoning is done. So hopefully that will come out in probably April or thereabouts.
In audiobook news, recording is very nearly completed for Blade of Shadows, the second book in the Blades of Ruin epic fantasy series, and that will be narrated by Brad Wills. Hollis McCarthy is currently working on the audiobook of Cloak of Titans, and I think she's about halfway through. So hopefully we should have some new audiobooks for you to listen to before much longer. And that is where I'm at with my current writing and publishing projects.
00:02:04 Main Topic of the Week: 5 Business Lessons For Indie Authors From Brandon Sanderson
Now onto our main topic this week, five additional business lessons for indie authors from Brandon Sanderson. And I think it is objectively factual to say that Brandon Sanderson is probably the most successful fantasy author who is currently publishing. Beyond the sheer number of sales, what many find most impressive about what he's achieved is his company, Dragonsteel Entertainment, that he has been able to create. It consists of Kickstarter campaign work, special book editions, a successful convention, merchandising (including an RPG), and a whole slew of other things. Even for authors like me operating on a much smaller scale, there are a few things to learn from his success at publishing and creating a specialized empire.
Now what's amusing is the notes for the show were prepared a couple of weeks ago, but a few days ago, the news was announced that Brandon Sanderson entered into a licensing deal with Apple TV to produce adaptations based on his Mistborn and Stormlight Archive series. As the author himself said on Reddit, "The decision to pick Apple was due to two factors. First, the levels of approvals and control. Apple wants to be a true partner with me and they feel like they really get what I want to do. Second, their track record. Apple does fewer things, but higher quality than some other studios. I find virtually everything of theirs I watch is excellent and creator driven." So that and an impressive degree of creative control he wrung out of Apple for this and if you are at all familiar with the history of movie adaptations, you know that the author getting any degree of creative control does not happen all that often. Usually what happens is the studio cranks out the adaptation that butchers the book and then it disappears into obscurity.
So this actually happens to tie in quite well with the original theme of today's episode, which is the Five Business Lessons from Brandon Sanderson. He was able to reach this level of success by following these five business lessons consistently over a period of decades. So we will go into that now.
#1: Find a way to meet fan demand and find gaps in the market. Sanderson was ahead of traditional publishing when it came to responding to fan requests for high quality letter bound or other enhanced special editions. By focusing on this gap in the market, he was able to meet a need expressed by his most passionate fans and get an additional round of sales from existing customers who already have the mass market paperbacks or ebook versions.
Even in an age with ebooks and audiobooks, physical copies are still important to many readers, partly because they can't be deleted off your ereader. This is even more true of special editions being gifted or displayed like decor. He further cemented the respect of his fans by spending a great deal of time and effort adding elaborate details like gilding and full color illustrations to the premium editions. He listened to fan demand and exceeded their expectations without pricing out or alienating fans by only offering the premium versions.
It's also been long been a complaint of readers that they can't buy bundles of the physical book, ebook, and audiobook at the same time. There's a wide variety of reasons it's not easy or even possible to bundle these formats together, but Brandon Sanderson found a way to make it work with books from his largest Kickstarter campaign because he was controlling the production of all three formats. He found a gap in the market by addressing this need and made fans feel like they're getting a more complete experience by getting the formats all at once.
#2: Take advantage of an opportunity. One of the most surprising parts of Brandon's largest Kickstarter campaign is how one of the Secret Project books, Tress of the Emerald Sea, took off on BookTok and became popular with readers who haven't read other Brandon Sanderson or even fantasy books before. Tress also gave potential readers who are intimidated by how prolific he is and how long and interconnected the books in his series are a chance to try his writing in a less intimidating way. Dragonsteel responded to this development by commissioning special editions of Tress, Mistborn, and The Emperor's Soul in a Sanderson starter pack on the TikTok shop, which did extremely well.
Authors who are prolific would do well to think about entry points in a similar way. What are your "starter pack" books? How can people feel more comfortable trying out your work and sampling from your books in your different genres? For myself, one way I do this is making the first book in almost all my series permafree. This gives people a chance to try my work without making a financial commitment, and usually the second book is $0.99, which is a little bit of a financial commitment, but not very much. And if someone has read the first two books in the series, odds are they are probably going to continue on to the full price rest of the series.
#3: Be transparent. Brandon uses weekly update videos and his podcast to update readers on his writing and publishing progress as well as new merchandise releases. If there is a delay or an unexpected development, he can use this outlet to explain what happened in more detail.
For example, when there was a delay in the printing of the premium hardcover of Tress of the Emerald Sea, he posted to Kickstarter, social media, and his weekly video to explain what happened and what Dragonsteel was doing to address it. For myself, I include writing updates at the beginning of each of my podcast episodes and also post updates to my website and Facebook page on a regular basis. He also posts a State of the Sanderson every year on his website and YouTube channel that summarizes the status of his various projects in a more collected form so more casual fans can catch up on his news there. This level of transparency builds trust with your readers. Some authors hide from failed promises about publishing dates or future books, but it's better to be transparent when something changes than to act like it never happened or keep giving vague answers.
For example, very recently, I'd hoped Cloak of Summoning was going to come out in February, but like I explained at the start of the episode, it's a long book, February is a short month and I've got a bunch of stuff to do in February that's not related to writing, so it's probably going to be early March that the book comes out.
#4: Keep creative control. One of the reasons that even during the era of peak streaming, we did not see an adaptation of a Brandon Sanderson book (besides Wheel of Time, which doesn't really count because it mostly belongs to Robert Jordan and the series didn't last long enough to get to the final books in the series that Sanderson authored). It was in part because creative control of the work is important to him. He wants to find a production company that respects his work and is at least reasonably faithful to the original books.
As anyone who has been disappointed by a show or movie that was created by people unfamiliar with the work or uninterested in following the original plot knows, that is not as simple of a request as you might think. Like of all the books I've read that have had TV or movie adaptations, I think I can think of only three adaptations that were better than the original book: Goldfinger (because Goldfinger's plot in the movie made more sense than it did in the book), The Godfather (because The Godfather movie frankly eliminated some unnecessary and frankly weird subplots from the book), and I think the show adaptation of Wolf Hall (because I've been reading the Wolf Hall books this year and while the books are good, I think the show kind of gets to the point in a better way and avoids some of the long internal monologues that Cromwell has that seem to kind of not be necessary, but that could be a matter of taste).
So, but back to the main point, out of all the adaptations I've seen, I think I've only encountered three that were better than the original source material. So you can see how having creative control of the adaptation will be very important for an author. Even though most books will never become movies or shows, keeping as much creative control as possible is extremely important as a writer in general and indie publishing allows you to do that, which I found has been very useful to me in my writing career, especially after I started doing my own audiobooks because then I can move the audiobooks to different stores and make bundles of them as I want without having to fight with the rights holder about that.
#5: Find good people you can trust and treat them well. One of the most underrated elements of Sanderson's success is that he has built a strong and loyal team at Dragonsteel headed by his wife, Emily, who is co-president of Dragonsteel Entertainment. The company has over 50 employees that work on merchandise, the podcast, the convention, and all of Sanderson's various projects, which baffles my mind because I don't think I talk to 50 different people in a month, let alone every day. Many of the employees are longtime friends (some going back as far as college) or family members, but Emily says that it's still important that each employee is qualified for their role.
Treating employees well is a stated priority of Sanderson. One specific example is how he structures his major annual sale, which is called Light Day, early in November to not take place over the American Thanksgiving holiday, and the Dragonsteel Shop has earlier Christmas holiday ordering deadlines than most online stores do so his employees can have more time off around that holiday. Another example of treating others well is although many people have offered to volunteer at the Dragonsteel Nexus Convention, he hired temp employees instead.
I hope that one of the reasons I've been able to keep employees like a cover designer and narrators for so long is that I try to treat people well. I try to act professionally, not make unreasonable quote requests, and pay people promptly. You can get away with a lot if you pay people on time as agreed. I'm not saying this is an excuse to act like a jerk, however, you will find that people are much more patient with you and much more willing to accommodate reasonable requests when they know that you will in fact pay on time when they are done. So finally, although you and I may never manage a media empire like Dragonsteel Entertainment, you and I can still learn from Sanderson's success and take lessons and apply them to our own businesses from what he has done well. So that is it for this week.
Thank you for listening to The Pulp Writer Show. I hope you found the show useful and interesting. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look back at my ten bestselling books of 2025, and consider five lessons learned from them.
This coupon code will get you 50% off the audiobook of Dragonskull: Sword of the Squire, Book #1 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
DRAGONSKULL50
The coupon code is valid through February 2, 2026. So if you need a new audiobook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 287 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 23rd, 2025, and today we are discussing five lessons learned from my 10 bestselling books of 2026. We'll also have Coupon of the Week and an update at my current writing, publishing, and audiobook projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Sword of the Squire (as excellently narrated by Brad Wills) at my Payhip store. And that coupon code is DRAGONSKULL50. And as always, links to my Payhip store and the coupon code will be available in the show notes of this episode. This coupon code will be valid through February 2, 2026. So if you need a new audiobook this winter, we have got you covered.
Now for an update on my current writing, publishing, and audiobook projects. I am very nearly done with Blade of Storms, the third book in my Blades of Ruin epic fantasy series. I am probably just going to stay inside and finish it this weekend because it is very cold. It is winter, but it looks like this week we are having super winter and I'm in the part of the US where we're not getting any snow thankfully, but it is in fact -20 degrees [Fahrenheit] outside, which makes it a good time to stay inside and work on Blade of Storms. So hopefully it will start going live by the time this episode goes live or shortly thereafter.
I'm also 16,000 words into Cloak of Summoning, which will be the 14th book in the Cloak Mage series. And if all goes well, that should be my main project soon. It might come out before the end of February, but it will probably slip to March, the way things are looking.
In audiobook news, we're very nearly done with the audiobook of Blade of Shadows (as excellently recorded by Brad Wills) and hopefully that should start getting through quality assurance on the various audiobook platforms before too much longer. Hollis McCarthy has started working on Cloak of Titans, the 11th book in the Cloak Mage urban fantasy series. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:09 Main Topic of the Week: 5 Lessons Learned from My 10 Bestselling Books from 2025
And now let's move on to our main topic this week, five lessons learned from the top 10 of my bestselling books from 2025. I have this growing pile of tax paperwork on my desk and that got me to thinking about what were my 10 bestselling books of 2025 because all the sales data is now in so I can parse it and look back and see which books of mine sold the best in 2025.
I thought it'd be interesting to look at my 10 bestselling ebooks, audiobooks, and paper books for 2025 and see what percentage of them or what rather what percentage of book revenue came from new stuff published in 2025 and old stuff that I had published previously and then I would take a look at five lessons learned from that. So with all that in mind, let's take a first look at my ten bestselling ebooks of 2025 and what percentage of my book revenue for 2025 came from new books and from my backlist. So first up, my 10 bestselling ebooks of 2025:
- Shield of Deception 2. Shield of Battle 3. Shield of Power 4. Ghost in the Assembly 5. Ghost in the Corruption 6. Cloak of Worlds 7. Blade of Flames 8. Ghost in the Siege 9. Blade of Shadows 10. Cloak of Illusion
And for my total ebook revenue for 2025, 29.3% came from new books and 70.7% came from things I published prior to 2025.
So let's look at the 10 bestselling audiobooks of 2025:
- The Ghosts: Omnibus One 2. Cloak Mage Omnibus One 3. Ghost Armor Omnibus One 4. Dragonskull Omnibus One 5. The Ghosts Omnibus Two 6. The Ghosts Omnibus Three 7. Half-Elven Thief: Omnibus One 8. Ghost Exile Omnibus One 9. Cloak Mage Omnibus Three 10. Frostborn: The Shadow Prison: Frostborn, Book 15
So for audio, for my total revenue, 11.92% of it came from things that were newly published in 2025 and 88.08% came from things that had been published prior to 2025.
Now my top 10 selling print books:
- The Windows Command Line Beginner's Guide - Second Edition 2. The Linux Command Line Beginner's Guide 3. The Ubuntu Beginner's Guide 4. Frostborn: The Gray Knight 5. Shield of Storms 6. Frostborn: The Master Thief 7. Shield of Darkness 8. Shield of Deception 9. Frostborn: The Shadow Prison 10. Frostborn: The Eightfold Knife
In terms of the percentages of my total print revenue, 5.57% came from things that have been published in 2025, but a whopping 94.43% came from stuff I published prior to 2025.
So those are the numbers and the sales percentages. Let's see what lessons we can learn from looking at this data. And so I thought of five lessons.
#1: My efforts in 2025 to focus up and focus on finishing series and then shift to just working on three series at a time really paid off.
For instance, my three bestselling ebooks for 2025 came from the Shield War Series (Shield of Deception, Shield of Battle, and Shield of Power). So very clearly it was a good idea to focus on that and it was also a good idea to focus on doing a new epic fantasy series like Blades of Ruin because Blade of Flames and Blade of Shadows were number, let's see, number seven and nine on that list respectively, and that was after they were published only in the last quarter of 2025. For that matter, I think people were very excited that I finally managed to get back to the Cloak Mage series because Cloak of Worlds was the sixth bestselling book of the year, even though it came out in I believe October and Cloak of Illusion was a year old and it was still one of the 10 bestselling books of 2025 just because people were that eager for me to get back to the Cloak Mage Series.
Wizard Assassin, the fifth book in the Half-Elven Thief series, didn't make the list, but the reason for that is very obvious. It only came out on December 23rd and if it had become one of the 10 bestselling books of 2025 in the remaining, what was it, eight days of 2025 at that point, that would've been nothing short of astonishing, but it sold very well. And I think when I do podcast episode for this at the end of 2026, then some of the Half-Elven Thief books will definitely be on the list. So my strategy of focusing on just three series at a time and having the big epic fantasy series like Blades of Ruin be the main series, and then I alternate between Cloak Mage and Half-Elven Thief every other month does seem to be the right strategy.
#2: The second lesson I think I learned is that it's good to have all your books in print if possible, but if you have nonfiction books, it's especially good for them to be in print because as you remember from the top 10, my top three bestselling print books of 2025 were The Windows Command Line, The Linux Command Line, and The Ubuntu Beginner's Guides, which are all nonfiction books I wrote a very long time ago and put into print. If I remember right, Linux Command Line and Windows Command Line, both were from 2012, which is a disturbingly long time ago at this point, but they remain my two of my top three bestselling print books of 2025.
Obviously it's good to have all your books in print because you'll notice that several of my older fiction books and even one of my relatively newer fiction books (Shield of Storms) were all in the top 10 bestselling print list. But nonetheless, if you have nonfiction and you're selling nonfiction, I strongly recommend you get your nonfiction books into print because I think people are more likely to buy a nonfiction book in print than they are a fiction book. For fiction, it's only your absolute favorites that you get in print these days. I think the majority of what used to be the mass market paperback market has switched over to ebooks. But if you are reading nonfiction, trying to learn how to do something (and all three of these books are technical books), it's more likely that you're going to buy the print book but you keep it as a reference. So if you have a nonfiction, it's definitely a good idea to put it into print.
#3: I think the third thing I learned is that audiobook bundles very definitely pay off. You notice that of my top 10 audiobooks for 2025, 9 of the 10 were audiobook bundles, and I think we see the influence of Audible on the audiobook market there. If you're familiar with Audible, you know that most Audible subscription plans give you a credit every month (or more than one credit every month), which means that Audible listeners are very length conscious because they want to get the most audiobook possible for their monthly credit. So they're more likely to spend their monthly credit on the Ghost Omnibus One rather than getting Child of the Ghosts, Ghost in the Flames, and Ghost in the Blood individually because it's a much better bargain. There's much debate online in the indie author space about how much influence Audible has over the audiobook market, and many people argue that Audible has too much influence over the audiobook market, but the reality remains that Audible has a lot of influence on the audiobook market.
And so consequently, the longer the audiobook, the easier it is to sell. So if you have the opportunity to do audiobook bundles, it might be worth doing them. I think you'll find that selling an audiobook bundle is significantly easier than selling an individual audiobook. The best way to promote the audiobook is to promote the ebook. For example, this past week I had a BookBub feature deal for Cloak Mage Omnibus One that did very well (and thank you everyone for that) and it also boosted the audiobook quite a bit, to the point where that as of this recording January 23rd, 2026, Cloak Mage Omnibus One will be my bestselling audiobook for 2026 so far, we'll see how the rest of the year plays out, but I will continue to do audiobook bundles when feasible. And very clearly, this is an excellent way to market your audiobooks if you have the resources to do that, and you're willing to put the bundles on Audible. Not everyone is.
#4: The fourth lesson is that I basically misread the LitRPG market because if you'll remember Stealth and Spells Online: Final Quest, the last book in my Stealth and Spells Online trilogy, came out in July and it didn't crack the top 10. I don't think it even cracked the top 20, if I remember right, it was like my 24th, 25th maybe bestselling book of 2025, which means that a lot of older stuff sold quite a bit more than it did. In fact, I think Demonsouled Omnibus One and Demonsouled Omnibus Two both sold more copies and brought in more revenue than Stealth and Spells Online: Final Quest did. Now, I think those are good books, the Stealth and Spells books, and I'm very grateful to everyone who enjoyed them.
But as I've said before, I think I fundamentally misread the LitRPG market because it's about a virtual reality game but the LitRPG market these days focuses mostly on isekai style stories or system apocalypse style stories, more things like on the verge of a Dungeon Crawler Carl than people playing a virtual reality game. This isn't to say that the genre of virtual reality online game can't be done well, it's just that I don't think I executed it well in terms of communicating it to potential readers. And as you might remember, it was originally entitled Sevenfold Sword Online, which just confused people because they thought it was connected to my Sevenfold Sword series.
So with all that, if I had to do it over again, I would not do a virtual reality LitRPG, I'd probably do a system one or an isekai one, but for now, I'm not going to think about that. I'm going to focus on my three unfinished series and not start a new unfinished series until I finish one of my three remaining unfinished series because as I learned in '23, '24, and '25, having five unfinished series at the same time is too many for both the writer and the reader. So if I ever return to the LitRPG genre and never say never, it will not be for a virtual reality online LitRPG.
#5: The fifth and final lesson I think I can learn from this is the combination of effort over time because I've been doing this for a long time, and the reason that in 2025, 70% of my ebook sales came from the backlist (and even more for print and audiobooks) is because I've been doing this for such a long time and my efforts have been compounding over that length of time.
For example, when I published Wizard-Assassin last month in December, the previous four books in the series in just the eight days of 2025 that were remaining sold like 600% more in December than they had in November, just from the boost provided by a new book. And again, that's only possible with the effort over time because of those four books hadn't been there, then they wouldn't have been available to have that significant sales boost. So I think this just reflects that one of the hardest lessons of all is patience, because when we publish a book, we want it to immediately be a bestseller and make us lots of money and all that, but that usually doesn't happen. In fact, it hardly ever happens. What you really need to do is just keep slogging away, putting in the effort every day, writing your book, publishing a new one, and building up gradually over time.
And I think looking at these numbers for the last year, that the combination of effort over time and remaining patient is indeed the most valuable lesson I can learn and that all of us can learn from 2025. And I would like to conclude talking about this by saying a big thank you to everyone who bought an ebook, a print book, or an audiobook over this year. I'm very grateful for all of your readership, listening and reading, and obviously there'd be no point in doing all this if nobody was reading the books. So thank you again for reading and listening over 2025.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful, a reminder that you can listen to all the backup episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please consider leaving your review on your podcasting platform of choice. Stay safe, stay healthy. Please stay warm, and we will see you all next week.
In this week's episode, we offer four tips for setting up a comfortable and productive home office space for writers.
This coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store:
DRAGONTIARNA25
The coupon code is valid through January 26, 2026. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 286 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 16th, 2026 and today we are discussing office setups for writers in terms of computers and furniture and so forth and how do you do that in a way that is maximally comfortable and maximally beneficial to overall joint health. We will also talk about Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
So first up, let's start with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store and that coupon code is DRAGONTIARNA25. And as always, links to my Payhip store and the coupon code will be available in the show notes to this episode. And this coupon code will be valid through January the 26th, 2026. So if you need some new ebooks to read as we head into the winter, we have got you covered.
Now for an update on my current writing and publishing projects. The rough draft of Blade of Storms, the third book in my Blades of Ruin epic fantasy series, is now done at about 90,000 words. It's time to start editing. It might actually be a little longer once I'm done editing because I was thinking about it on the treadmill this morning and I think I may need to add some scenes to some of the chapters, but we'll see when we get there. I have also written a short story called Talon Depths. That is a tie into this book. Newsletter subscribers will get a free ebook copy of Talon Depths when Blade of Storms comes out. So this is an excellent time to subscribe to my new release newsletter if you haven't already. I am hoping to get it out before the end of January, but we'll see how the next two weeks go; it might slip to the first week in February. I'm also 13,000 words into Cloak of Summoning, which will be the ... Yeah, it'll be the 14th book in the Cloak Mage series. It'll be my main project once Blade of Storms is published.
In audiobook news, Brad Wills is currently recording Blade of Shadows, the previous book in the series, and is about one third of the way through. So if all goes well, hopefully we'll get that out and available to everyone sometime in February or March, if all goes well. So that's where I'm at on my current writing and publishing projects.
00:02:17 Main Topic: Home Office Setups for Writers and Remote Workers
Now let's move on to our main topic, home office setups for writers and remote workers. This isn't as trendy of a topic now as it was six years ago during the peak COVID times, but I still want to talk about setting up a home office as a writer or a remote worker.
Even people who don't work remotely can benefit from thinking about changing their writing environment to better suit their needs and having the right setup for you makes a huge difference in your productivity and comfort. The wrong setup can make you feel drained, stressed, and distracted, and can potentially contribute to carpal tunnel syndrome or shoulder troubles or other related joint or posture problems as people, for example, can find out if they spend all their time sitting on the couch working on their laptop. I have been a full-time writer for almost 10 years now, and during that time, my work from home setup has evolved quite a bit. I thought that I would discuss the specific things I've changed and why. Our transcriptionist for the podcast also thought this was a really interesting topic, and so she will also share her remote work setup, which is quite a bit different than mine. And then to close out the episode, I will give four general tips for writing and working from home, which is something I know a little bit about at this point since I've been doing it for 10 years.
So the basics: what is my office set up? I work from a sort of ad hoc U-shaped desk that I've assembled myself out of bits and pieces. The center part, sort of the bottom of the U is a piece of a glass top wraparound desk that I originally bought at Shopko [(a now defunct Wisconsin-based big box store)] back in I think like 2006. I've carried it with me through every apartment and residence since. I lost half of it a while back, but I still have the other half and it's a glass top desk. My monitor is sitting on an Amazon Basics riser atop it. It has a keyboard tray for the keyboard and it is where I do most of my main writing and editing. And in fact, this month I've written 50,000 words of Blade of Storms on that setup. So it is working quite well for me.
The sides of the U are two white plastic contractor tables I've picked up. The one on the right is the one I use for ... It has the keyboard and monitor and the mouse for my graphic design computer because I have two different computers, which we'll get to in a bit. And it has the keyboard, the mouse, and the monitor riser for that. The other side, the table on the left, I try to keep as empty as possible for when I need to do paperwork. It turns out when you're self-employed, there's a surprising lot of paperwork you have to do on a regular basis. So whenever I need to do paperwork or read documents or that kind of thing, I try to keep that side of the desk as empty and as clean as possible. And it also looks nice to have it empty, though at the moment it's not empty because I have a growing stack of tax paperwork since it is tax season.
As I've mentioned before, I use two desktop computers. I have a Mac Mini that I use for writing and editing and the keyboard and mouse for that are on the central computer, sort of the bottom of the U. And I have a Dell XPS tower that I use for graphic design, 3D modeling, and other multimedia things such as podcasting. I am literally recording this podcast on that computer right now.
Both of the computers are actually sitting next to the U on an old kitchen cart that I think I bought back in like 2005 and again, has been moving with me from a residence to residence over the past 20 years. The reason for that is I didn't want to put the desktop computers on the desktop because that takes up a lot of space and I didn't want to put them on the floor because that's a good way to get a lot of dust into a computer and pretty much truly shortens its life. So what I ended up doing was I put this kitchen cart next to the bottom of the U-shaped desk and I put the desktop Dell computer and the Mac Mini on the kitchen cart and that keeps them off the floor, keeps them off the desk, and it's worked pretty well. And that's what I've been doing for the last 10 years, keeping a computer on that.
How has it changed over time? Originally I just had one Windows computer that I did everything on. I did writing, I did editing, which was fine in 2016 when I started doing this full time because back then I didn't do my own covers. Back then I didn't do any graphic design. I didn't have the podcast and so my computing needs were a bit more limited back then. However, as you know, since then I've started doing my own covers. I have this podcast; I occasionally do YouTube videos and so I found it helpful to have a separate computer to do that, partly because when I render 3D models into 2D images for cover images, that takes up a lot of processing power and depending on the size of the render, it can take like 20 minutes. And so you have 20 minutes where the computer's processor is maxed out, which is not a comfortable experience using Microsoft Word while that is happening. So I decided eventually it would be best to have a separate writing and graphic design computers. And that's worked pretty well for the last year for me.
For my chair, I have a very basic office chair I got from Amazon Basics, which is because it gets kind of hot in here in summer, and so I didn't want a big office chair. And so instead I just have one with the basic cushion, basic armrest, and sort of a net back in a plastic frame. And that has the twofold benefits of not getting too hot and then because it's not got a great back, it's got an excellent way of forcing me to have good posture while I type, which is probably why I haven't developed any serious back or shoulder problems in the 10 years I have been a full-time writer. So I realized that my office setup might seem a little bit idiosyncratic, half a glass top desk from Shopko from 20 years [ago] to contractor folding tables and an old kitchen cart that holds the computers, but it's worked pretty well for me for the last 10 years. And honestly, it's preferable to buying like a really expensive heavy computer desk and paying twice as much for something that I'd like half as much. So that's what I do.
And our transcriptionist thought this was an interesting idea for an episode. So she thought she'd share her setup since it's quite a bit different than mine. She does more traditional office type tasks such as working in spreadsheets, checking audio files against documents for things like this podcast transcript, and entering data into various websites. Her computing needs are far less intense than mine, but she has done a lot more specific things customized to her physical office space than I have, namely the setups of her desk. She does not have a dedicated office, but has found a way to carve out space in her living room for both a sitting and a standing desk. The sitting desk has dual monitors at a desktop computer, and this is used for the more data and writing intensive tasks like transcription work.
She has a standing desk with a laptop and a second monitor for more reading-based work that doesn't require as much data entry or typing. She mentioned she also likes to watch webinars on that since it doesn't require her to do a lot of typing. How has this changed? The walking pad and standing desk setup took some trial and error to figure out. The adjustable laptop stand was a major part of getting the setup to feel comfortable since it could be positioned at a better angle than a monitor stand or a stack of books. Much of her setup was thrifted when people started returning to work in person in their offices, including the matching dual monitors and the stand for the second monitor. As you can see, there are a variety of approaches and budgets you can take. My transcriptionist's computing needs are simpler than mine, but she has spent funds on making a space that's flexible and encourages movement when possible. As different as our setups are, they're both based on an understanding of what works best for us.
I tried to think of a few tips that would apply to anyone making a space for working or writing from home and came up with four.
#1: Taking a gradual and sort of iteration-based approach to adding things made it easier to get the things that would help best instead of following lists of online "must haves". Everyone's work needs and work styles are so different that these type of lists might lead you to over buy or overspend. Additionally, the thing about working with anything is that the reality doesn't often match up with the idea in your head. Like you might have a tool or a chair or a desk that you think, this will be really great for my setup and you try it only to find out that it doesn't work. So it's really a good idea to sort of iterate and see what works best for you before committing to spending any money.
#2: Make a space that's as far from the high traffic areas of your household as possible. Kitchens and living rooms are particularly tough spaces to concentrate [in] for many people because so much activity happens there. So the further away you can get from the high traffic areas of your home is probably a good idea since that will give you a better chance of concentrating.
#3: Walking pads and standing desks are something people often buy with good intentions, but people find it distracts them or they just don't like them once they start using them. For myself, I knew for a fact that I didn't want a standing desk and never wanted to try one, so at no point have I ever used a standing desk while writing. If possible, try other people's setups first before investing a lot of money into it. Used standing desks are pretty cheap right now, so that's another option for lowering the cost of one if you really want one.
A free option to get yourself moving during the day is to set a few reminders to walk around a bit or do a few body weight strength exercises such as pushups or squats. For myself, I've talked before about how I use the Pomodoro method of working in 25 minute bursts and I frequently get up and move around or maybe do a few exercises during the five minute gap between those 25 minute working bursts.
#4: Let go of your idea of what an office has to be and focus on what works best for you. It doesn't have to be a dedicated room with a thousand dollar specialized office chair or even a desk in order to be a good workspace.
What you need most is a space that's comfortable and helps you to focus. If that's working on a laptop from the chair in a corner or a stack of books piled on a ledge to make a standing desk, that's okay. One of the advantages of writing from home is that writing is an activity that doesn't need a specific configuration and you can try out a few different options to see what works best for you. I hope you got some ideas from your at-home working and writing setup from this episode.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we share five tips for effectively using Amazon Ads for indie authors.
This coupon code will get you 25% off the ebooks in the Sevenfold Sword series at my Payhip store:
SEVENFOLD25
The coupon code is valid through January 19, 2026. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 285 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 9th, 2025 and today we are discussing five tips for Amazon ads for authors. We will also have Coupon of the Week and a progress update on my current writing and publishing projects.
So let's start off with Coupon of the Week. First up is Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Sevenfold Sword series at my Payhip store. That coupon code is SEVENFOLD25. And as always, the coupon code and the links to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through January the 19th, 2026. So if you need a new ebook for this winter, we've got you covered.
And now for an update on my current writing and publishing and audiobook projects. As of this recording, I am about 68,000 words into Blade of Storms, which will be the third book in my Blades of Ruin epic fantasy series. I think the book will be about 100,000 words, give or take, so that means I'm 68% of the way through. And I'm really hoping I can finish the rough draft by the end of the week of the 12th, if all goes well. So hopefully finishing up the rough draft by the 16th or the 17th, if all goes well, but we'll see if I can get there or not. I am also 9,000 words into Cloak of Summoning, which will be the 14th book in the Cloak Mage series. Hopefully that will come out a month or so after Blade of Storms. I'm hoping Blade of Storms will come out in January, but it might be tight. And then Cloak of Summoning will come out the month after that.
In audiobook news, Brad Wills is working on recording Blade of Shadows, the previous book in that series and Hollis McCarthy will start recording Cloak of Titans, the 11th book in the Cloak Mage series, at the end of this month. And a few people asked if Wizard-Assassin was going to have an audiobook. It will. Leanne Woodward will record it in March, if all goes well. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:12 Main Topic of the Week: 5 Tips for Amazon Ads for Indie Writers
And now let's move on to our main topic of the week, five tips for Amazon ads for indie writers. And let's not beat around the bush here. Amazon ads for writers can be extremely difficult to figure out, especially when you're just starting out. The advice you'll find online can be contradictory or confusing, and it doesn't help that books tend to act very strangely in terms of advertising compared to other products.
A while back, I was chatting on Facebook with someone else who does Amazon ads, and he mainly does cosmetics reselling, and he was shocked by how much a click for an ebook would cost compared to a click for say like a six pack of shampoo or whatever. And that's just the nature of the market category that ebooks are in. Because of that, the advice you'll find online can be contradictory or confusing. Some Amazon ad experts insist that you devote at least an hour or even two a day to managing your ad results and then have intricate formula-filled spreadsheets for doing so, while others advise you to set them and forget them. Advice about the bids and spending vary wildly. It can be very easy to get overwhelmed or overspend starting out, but that doesn't have to be the case. I will say that compared to Facebook ads or BookBub ads, it is a lot harder to accidentally lose a lot of money on Amazon ads because regardless of how you configure your Facebook ads or your BookBub ads, Facebook in particular will cheerfully spend your ad budget and give you nothing in return if you haven't configured or targeted your ad correctly.
By contrast, an Amazon ad that doesn't work tends not to display and therefore doesn't spend any of your money. So when I'm talking ad platforms for beginners, I tend to recommend that beginners start out more on Amazon ads just because it's much harder to lose money, but it's not impossible, which is something to keep in mind as we get into that. I'm not going to get into the individual specifics of how to set up Amazon ads today, since there's many other people out there who provide that information and probably do a better job than I would. That said, I'm going to just focus on broad principles based on things I've learned instead of providing a specific step-by-step guide for the topic. So without further ado, here are five lessons I've learned about Amazon ads for writers in the last eight or nine years that I've been learning them.
#1: Do your research before you start. It can be tempting to dive in right away, but before you spend a single cent on Amazon ads, you should take the time to learn how the bidding process works and how keyword and category ads work. You should also familiarize yourself with other books and trends in your categories. Your book and its ad copy should feel like it belongs with the others in your category and genre. For example, having a neon pink, high heel boot, and flowers [on a cover] in the political thriller category doesn't match the colors since most political thriller books tend to have a solitary dark figure walking in the opposite direction of the camera and many, if not most of the books in the genre have that kind of cover design.
Optimizing your book cover for the category before you start doing ads can make a huge difference in the ad results you see. And this is true on many levels as well since when indie authors ask, "Why isn't my book selling?", the number one thing to fix in like 90% of the cases is a bad cover that looks like it was done in Canva or was slapped out of an AI like Copilot or ChatGPT or something that is immediately off-putting to the reader because it's not attractive.
You should also make a set budget before you start out and make sure that your daily budgets for your campaigns reflects that budget instead of using whatever daily budget or bids that Amazon suggests for your ad campaigns. Amazon likes to suggest pretty high suggested bids in daily spending limits, which isn't a great use of money if you're just starting to learn how the ads work. And as always, in business it is very, very, very good advice and a very good idea not to spend money that you don't actually have.
#2: Targeting is everything. We've all seen baffling book results when browsing on Amazon. For example, once when I was searching for space opera books, a book on visiting Wisconsin Dells as a tourist showed up as a sponsored result in my search, which is insane because I was searching for space opera books. Sometimes an author will choose to advertise in too many categories or choose ad keywords that don't represent their book well. That's the most likely reason why you see things like that Wisconsin Dells book in search results that don't match it. I've told this story before on the podcast, but our transcriptionist once was taking a class on Amazon ads and heard someone say that they wanted to advertise their gritty memoir in every possible category because everyone should read their book. And I think that is a small-scale example of hubris because someone shopping for children's picture books or Spanish language technical manuals is very unlikely to buy that book. Someone looking for a romance novel might be actively annoyed if they start reading that gritty memoir expecting a happily ever after love story and might leave a negative review since they didn't get the book content that they expected.
One of the foundational principles of book marketing is that your book is not in fact for everyone. Your book is for a subset of the reading population. The key to successful advertising is to find a way to advertise that book to the subset of the reading population that would actually be interested in reading your book. There's a reason that when you are publishing your book through Kindle Direct Publishing, Amazon wants you to pick three categories for your book and that is in part because they know books do their best when they're paired with other books in the specific topic or genre. It's not a bad thing to focus your desired audience for a book when marketing it.
In fact, ad targeting will save you time and money and help people to find your book. Your goal isn't to find every possible reader for your book. It's to find the readers who are most likely to be interested in your book in the subset of the reading population that I was talking about earlier. The more focused that your category targeting is, the better this process will be. For example, picking romance as a category is so broad and so competitive that you might not get any traction at all on a small bid. Choosing a more targeted category like "Amish romance" or "clean and wholesome romance with a happily ever after ending" that is more targeted is better both for helping readers to find your work and for getting good results on your ads.
#3: Start small. My best advice is to ignore Amazon's suggested bid amounts and start out with a small per click bid and daily budget. It may take a few weeks to see results using that method, but it's best to start small and gain some understanding of Amazon ads before you spend lots of money that you may not be able to earn back. Some smaller categories like children's books and technical manuals actually do pretty well with very small bids.
Aggressive bids make more sense when you have the data to know that they're going to work well and reach the exact audience that you want to see them. As a new author, it's not your best bet to chase the biggest authors in your category as keyword targets. Bids for those authors will be extremely high and competitive. It's most likely better to find comparable authors in your categories with less expensive bids starting out.
Amazon will suggest you advertise in a wide variety of countries (in fact, every country in which they currently offer the Amazon ads platform), but it's probably wisest to start out with just the US before expanding to other countries. Starting with Amazon's largest market will provide you with a lot of ad result data that you can use to refine your ads before you try them in other countries. If you're based outside the US, it may make more sense to start out with the country you're most familiar with. For example, if you're a UK author or a German author, you might have better luck starting advertising your books in Amazon Germany or Amazon UK than in Amazon US.
#4: Be patient. And I have to admit this is the hardest one, whether you are just starting out or like me, if you've been self-publishing for almost 15 years because you want to see results now, now, now, but that's often not the case and the best results usually come with applied effort over a span of time. If you're just starting out and your bids are small, it will most likely take at least a few weeks to see a significant amount of impressions on your ads. Don't adjust for anything for at least a couple of weeks unless an ad is spending more than you'd like or is getting a lot of poorly targeted searches to it, which can frequently happen with autotarget ads.
#5: Check your Amazon ads dashboard regularly. It's important to review your ad spending regularly and to keep an eye on it, not to maybe obsessively deep dive into it but to keep an eye on it. Sometimes an ad can go a bit haywire and start spending more than you want, seemingly at random. It's good to go into ads that are doing this and see if they need some negative targeting added to them or something needs to be adjusted.
The reverse of that is to not check the dashboard obsessively. It can be tempting to do that, but it's what I call a writing adjacent activity that can take too much time away from your actual work of writing. For myself, what I do to check Amazon ads is I just glance at the dashboard at least once a day to make sure that the spending isn't out of control or there isn't something big and obvious that I need to fix. And then at the midpoint of the month and the end of the month, I do take about an hour to do a deep dive into each of the campaign groups I have running to make sure that they are turning a profit, which is the main point after all, and to make sure that nothing is going wrong. And I've been doing that schedule for a couple of years now and that works pretty well for me. Check the dashboard once a day and then a deep dive twice a month to make sure that nothing is going berserk or that something is broken that I need to fix.
Now, your ad results can also teach you how people are searching for your books and what other topics and authors are searching for, and this can be a great source for creating keyword ads. I found in the last few years that keyword ads really work a lot better with nonfiction books. And if you're going to use them for fiction books, you need, at least in my experience, at least a very focused keyword ad list with like less than 10 keywords. But as always with anything in Amazon ads, your mileage may vary. So those are my five broad lessons for creating Amazon ads for your book. It can be a frustrating process and there is a bit of a learning curve, but it can also teach you a lot about your potential readers and how they are trying to find your books or what appeals to them about your books specifically. Like many things in life, there are many ways to do it and succeed, but these are a few of the things I've noticed make a difference when working with Amazon ads and I hope you will find them helpful.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
In this week's episode, I explain my reasoning for putting my new book WIZARD-ASSASSIN in Kindle Unlimited, even though the majority of my books are wide and will remain so. I also examine the phenomenon of British Christmas chocolate boxes.
This coupon code will get you 25% off the ebooks in the Frostborn series at my Payhip store:
FROST25
The coupon code is valid through January 12, 2026. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction, Writing Updates, and British Christmas Chocolate Boxes
Hello, everyone. Welcome to Episode 284 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 1st, 2025 and today we are discussing why Wizard-Assassin is in Kindle Unlimited. We'll also talk a bit about British Christmas chocolate boxes, something I just learned about recently. We will also have a Coupon of the Week and an update on my current writing and publishing projects.
But first off, Happy New Year to everyone. I hope you had an enjoyable Christmas and New Year's holiday, whatever form that may take for you and I hope that 2026 turns out to be a great year.
Now, let's move on to Coupon of the Week. This week's coupon code will get you 25% off all the ebooks in the Frostborn series at my Payhip store. That code is FROST25. And as always, the coupon code and links to my store will be available in the show notes. This coupon code is valid through January the 12th, 2026, so if you need a new ebook series to dig into this snowy winter, we have got you covered.
Now an update on my current writing and publishing projects. I said I wanted to take the week off between Christmas and New Year's and I mostly did. Played a lot of video games, saw a lot of family, ate a lot of good food, but I do get a bit bored. So I did get some work in and I'm currently at 35,000 words of Blade of Storms, which will be the third book in the Blades of Ruin epic fantasy series. I think the book's going to end up about 100,000 words or so, maybe a little more, maybe a little less, so that means I'm about 35% of the way through the rough draft. So that's good progress and it's back to full speed now that the New Year's and Christmas holidays are over. I am also 5,000 words into Cloak of Summoning, which will be the 14th Cloak Mage book. I'm hoping that Blade of Storms will be out in January and Cloak of Summoning will be out in February.
In audiobook news, Brad Wills is working on recording Blade of Shadows, the second book in the Blades of Ruin series and Leanne Woodward has signed up to record Wizard-Assassin, the fifth book in the Half-Elven Thief series, and she's hoping to start work on that in March, if all goes well. So that is where I'm at with my current writing and publishing projects.
And now for a brief digression into the subject of British Christmas chocolate boxes. Now, I'm grateful for all my readers, but I am surprised by how many UK readers I have. Mathematically, it is surprising because based upon which statistics you read, the UK has about 25 to 20% of the total population of the United States.
So do you think that the UK book sales would be only about 20% of my US sales, but that isn't the case? In December of 2025, the US made up about 58% of my sales, but the UK did 34. I think the reason for that is that fantasy is generally a more popular genre in the UK than it is in the US. Like numerically speaking, the US probably has more fantasy readers because of the larger population, but the UK population's overall percentage of fantasy readers seems higher. Of course, maybe I'm completely wrong since the US and the UK are very different places, even if they both speak English.
Anyway, that was a long-winded introduction of saying that before I started self-publishing in 2011, I knew practically nothing about the contemporary UK. I couldn't have told you if the UK was on the Euro or the Pound. However, in the 15 years since, I've absorbed a fair few facts by osmosis. One of them is Christmas chocolate boxes. I didn't know about this until recently, but apparently Christmas chocolate boxes are very popular in parts of the UK, with frequent debates about the best brand, quality, et cetera and this has been a tradition going back almost to the 1930s and the 1940s.
Now, this was only an abstract fact I knew for a while, but a nice person got me a Quality Street chocolate box for Christmas. That's the brand name, if you're not familiar with it, Quality Street, which I suppose is better than Cheap Street. It was pretty good. There are apparently great debates about which chocolate ones are best, but honestly, I think I like the red cherry flavored ones the best. I know not everyone feels this way, but I do like that sort of artificial cherry taste that it has and that sometimes turns up in other things. So all in all, it was pretty tasty and [an] interesting way of experiencing a different culture.
00:04:28 Main Topic: Why is the Half-Elven Thief Series in Kindle Unlimited?
Now onto our main topic this week: why is the Half-Elven Thief Series in Kindle Unlimited? Now with the release of Wizard-Assassin recently, the fifth book in that series, a few people wrote in to ask why Half-Elven Thief was in Kindle Unlimited (KU) and not wide and on all the other ebook stores.
Short answer: business of publishing reasons. The "too long; didn't read" answer: of my three unfinished series, I determined that one of them needs to be in Kindle Unlimited and Half-Elven Thief drew the short straw, so to speak. What I've realized over the years I've been self-publishing is that if you have a new book that does well in Kindle Unlimited, Amazon puts its thumb on the scale for the book in a big, big way. More eyeballs get on the book. It stays higher in the rankings for a lot longer than it would otherwise, and therefore more people read and buy it. More people get email or app notifications about it. A new Kindle Unlimited book that does well even has a halo effect on the rest of my backlist, even for books that are not in Kindle Unlimited. Blade of Flames and Blade of Shadows had their best days in a couple of weeks in the days after Wizard-Assassin came out and even Stealth & Spells Online got a boost.
And of course, the price for this buffet of algorithmic bounty from Amazon is that a Kindle Unlimited book must be exclusive to Amazon. Now, a lot of writers get really mad about this fact, but the truth is that this is how retail works and in fact is how retail has always worked. Like for example, let's say you go to Walmart, Target, Costco, Tesco, or some other big box store and see a big display of Tide detergent towards the front of the store and near the registers. It's partially there because the store thinks it will sell, but it's mostly there because Procter & Gamble paid big bucks to have Tide detergents featured at the front of the store. This is even frequently true when the big box stores send out emails with discounts and coupons for this and that, though there is more of an algorithmic component to that than in traditional brick and mortar retail, since it's very often the case that, for example, from Target, no two customers will get identical offers.
Now, admittedly, compared to the kind of draconian contracts between a big box store and an industrial conglomerate like Procter & Gamble, Kindle Unlimited by comparison is relatively mild. Amazon doesn't charge anything for it, and the term is only three months if you want to take your book out of it. The exclusivity requirement is probably anti-competitive, but the US government can't even rouse itself to do something very popular like changing Daylight Savings Time, so there's no way it will address a more complicated and more obscure issue like ebook exclusivity anytime soon. Of course, traditionally in US antitrust law, you only get in trouble for raising consumer prices and Kindle Unlimited is objectively a very good deal for heavy readers. And for that matter, exclusivity is fairly common in retail arrangements, which is why you occasionally see things like special edition holiday themed body wash available only at Target or something like that. Or in the book world, this happens as well, which is why Barnes & Noble sometimes has B&N exclusive hardback editions of various books. So that's just the reality of Kindle Unlimited since the program settled into more or less its current form around 2015 or so.
To deal with it, indie writers typically settle on one of four strategies. #1: they go all in on Kindle Unlimited. #2: they ignore Kindle Unlimited, perhaps as a point of ethics and protest of Amazon. #3: they split the difference with Patreon, and #4: they split the difference with publishing windows.
Strategy #1's big, big drawback is that book revenue becomes entirely dependent on Amazon, and Amazon's algorithms occasionally go berserk and start banning accounts at random. A smaller but still significant drawback is that you cut yourself out of every market that Amazon doesn't address, which means if your Amazon sales tank, there's no fallback position.
Strategy #2 is much more viable across the long term, and I did it for a lot of years, but it does mean you are operating under a permanent handicap on Amazon, which remains the largest bookseller in the US and the UK. The most successful example I've seen in strategy #3 is with indie author Lindsay Buroker, who first offers her books to her Patreon subscribers and then puts the series on Kindle Unlimited. Once the series is complete, she takes them out of KU and puts them on all the other retailers and starts a new series that is first up on Patreon and then on Kindle Unlimited. I've thought about doing something like this myself, but I'm not ready to commit to the extra work Patreon would require and the Andomhaim and Cloak Mage books have such large audiences built up on the other retailers that switching them to KU would be a massive rug pull for people.
With strategy #4, the publishing windows, the indie author makes the book available on all retailers for the first week and then switches them over to Kindle Unlimited. I think that approach has serious drawbacks, especially since you don't have the opportunity to build up an audience long term on the other retailers. An overlooked factor in a lot of indie publishing strategies is the long-term effects that build up over time. Part of the reason my books do well on, for example, Kobo is because I've had the majority of them on Kobo for the last 14 years, and so they have 14 years worth of reviews accumulated around them.
So with all that in mind, in late 2023 and early 2024, I settled on strategy #5, which plays to the fact that I'm pretty fast as a writer. Namely, I will start a new series unconnected to everything else I've written and put that in Kindle Unlimited. Once it's finished, I will take it out of KU and put it all on all the other retailers and start a new series for Kindle Unlimited. Honestly, this has worked out pretty well so far. In 2024, the Half-Elven Thief series did well enough that it paid for my health insurance in 2024, which as we know, is no small feat. It didn't do as well for the first 11 and a half months of 2025 for the obvious reason that I didn't publish any new books in the series in that time. I had too many unfinished series and needed to wrap some of them up first, which was a separate, self-inflicted problem I've talked about in other episodes. But Wizard-Assassin did really well, as I mentioned above. So moving forward, that's my publishing strategy, and it will have three prongs.
#1: Only three unfinished series at any one time. #2: Two of those series will be available on all platforms, and #3: One of those three series will be on Kindle Unlimited. So when Half-Elven Thief is finished at nine books, which will probably be in 2027, I will take it out of KU and put it on all the other retailers. One rule for my Kindle Unlimited series: it will always have to be something new and unconnected to anything I've previously written. No Andomhaim books will be in Kindle Unlimited since Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, The Shield War, and Blades of Ruin have always been wide. Likewise, Cloak Mage is staying wide. If I ever go back to the Silent Order universe for a new science fiction series, that will also be wide.
So that is the longer answer for why Wizard Assassin was in Kindle Unlimited. And as always, thanks for reading. I am tentatively hoping Dragon-Mage, the sixth book in the Half-Elven Thief series, will come out in April or possibly May, depending on how the next few months go. And once again, thanks for reading the Half-Elven Thief series and all my other books, and there would be no point in writing all these books if you guys didn't want to read them.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found it useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. And if you enjoyed the podcast, it would be very helpful if you were to please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, I provide an update on my writing projects, and then share samples from four of my audiobooks to start 2026!
This coupon code will get you 50% off the audiobook of Shield of Power, Book #6 in the Shield War series, (as excellently narrated by Brad Wills) at my Payhip store:
POWER2025
The coupon code is valid through January 5, 2026. So if you need a new audiobook this winter, we've got you covered!
In this week's episode, I take a look back at my writing goals for 2025, and see how many of them I met. I also take a loog ahead at my writing goals for 2026.
This coupon code will get you 25% off the ebooks in my Anthologies series at my Payhip store:
STORIES2025
The coupon code is valid through December 29, 2025. So if you need a new ebook this winter, we've got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 282 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December 19th, 2025 and today I'm taking a look back at my writing goals from the start of 2025 and seeing how many of them I reached. We'll also take a look ahead at my writing goals for 2026. Before we get to that, we will have Coupon of the Week and a progress update on my current writing projects.
This week's coupon code will get you 25% off the ebooks in my anthology series at my Payhip store. And that is STORIES2025. And as always, I will put the coupon code and a link to the store in the show notes. This coupon code is valid through December 29th, 2025, so if you need new ebook to read as you travel for this upcoming Christmas week, we have got you covered. A reminder that the anthology series is collections of my short stories, which I tend to release every year. And in fact, next month, if all goes well, we'll have 2025: The Complete Short Stories.
Now for an update on my current writing projects. Wizard-Assassin, the fifth book in the Rivah Half-Elven series is now done. By the time this episode goes live, you should be able to get it off Amazon and Kindle Unlimited since it is my series that is in Kindle Unlimited. So I hope if you are looking for something to read, you will give that a shot. Now that Wizard-Assassin is done, my main project is going to be Blade of Storms, which will be the third book in my Blades of Ruin epic fantasy series. And I believe I'm 12,000 words into that. I'm hoping to have that out in January, but depending on how January goes, it might slip to February, but January would be ideal. And after that, my next main project will be Cloak of Summoning, the 14th book in the Cloak Mage series. And I literally just started it this morning before I went to the gym, which puts me at 250 words into it, so there's definitely a ways to go in that.
In audiobook news, we are still waiting on Cloak of Embers (as excellently narrated by Hollis McCarthy) to get through processing at the various platforms, which always, as you imagine, tend to slow down this time of year. And Brad Wills has just started working on recording for Blade of Shadows. So hopefully we should have Cloak of Embers available for you at all platforms before too much longer. And Blade of Shadows will probably be our first audiobook for 2026. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:28 Main Topic: 2025's Writing Goals and My Writing Goals for 2026
And speaking of 2026, in this week's episode, we're going to take a look back at my writing goals for 2025, see how many of them I met, and then look ahead for my writing goals to 2026, which is in fact just around the corner.
So first off, a big thank you to everyone who read one of my books over the year of 2025. 2025 for me was an interesting year, both in a personal and a professional way, and sometimes in both the good and bad senses of the word interesting. Sales were down from 2024, but given all the economic turbulence of the year, I am grateful they were only down a relatively small amount compared to 2024. Facebook ads went from my main advertising platform at the start of 2025 to near uselessness by the end of the year due to all the AI nonsense Meta has injected into them. Spotify converted Findaway Voices to Inaudio and made a total mess of it this summer, which after that got settled is why I now upload my audiobooks directly to Google Play and Kobo rather than through Findaway Voices.
It seems like a lot of companies are pursuing AI in the desperate hope that it will somehow magically become profitable even as the expense of running AI services devours them from the inside out and renders them incompetent at their primary missions. I was so annoyed at all the half-baked AI stuff Microsoft shoved into Windows 11, I did all my writing on a Mac Mini this year and have been pretty happy with it as a writing platform. Apple, of course, has AI stuff as well, but what Apple has that Microsoft doesn't is a switch that flips it all off at the system level and doesn't do any "install later" passive aggressive crap that Microsoft does. On the plus side, my Super Summer Of Finishing Things let me finish The Shield War, Stealth & Spells Online, and Ghost Armor one after another. Five unfinished series at once was too many. Three has been more manageable.
And after five years, I finally got my weight down to what it was before COVID in 2025. Watching some relatives go on Ozempic and the side effects they experienced was very inspirational in the sense of wanting to avoid that experience myself. I thought I would take a lot of exercise and vegetables to do lose weight. It turns out instead it takes a whole freaking lot of exercise and a truly staggering quantity of vegetables. I tell myself the carrot sticks are really just like potato chips when I eat them, and I can almost convince myself of it. They're crunchy, right? Just like potato chips. I told myself that often enough that I very, nearly almost believe it.
So let's start with a look back at my writing goals for 2025 and see how many of them I reached.
#1: Write as many new words as possible, hopefully hitting one million new words of fiction in 2025.
And I'm pleased to report that I hit this one. 2025 was the second year in a row where I reached a million words of new fiction and will come in at 1.12 million words with Wizard-Assassin. It did get a bit tight, but I passed the million word mark with Blade of Shadows in November, so is a nice milestone to reach. Two years of a million words in a row!
#2: Finish The Shield War.
I did that one! Shield of Power, the final book in The Shield War series, came out in July. It's even available in audiobook (as excellently narrated by Brad Wills).
#3: Finish Ghost Armor.
I did this one as well. Ghost in the Siege, the final book in the Ghost Armor series, came out in August. It's also available in audiobook (as excellently narrated by Hollis McCarthy).
#4: Continue Cloak Mage.
There was a year gap after Cloak of Illusion, but I'm pleased to report I finally got back to Cloak Mage with Cloak of Worlds in October. As I mentioned earlier, in 2024, I had five unfinished series, which is way too many. So my goal was to finish some and then limit myself to only three unfinished series at any one time. By the end of summer 2025, I successfully achieved that. So going forward (barring any illness or Unexpected Events), there shouldn't be another year-long gap between Cloak Mage books. In fact, I'm hoping to write the outline for Cloak of Summoning this weekend, if all goes well. And in fact, I started this morning.
#5: Continue Half-Elven Thief.
It went down to the wire with only 12 days left in the month, but I was able to publish Wizard-Assassin and meet my goal. Like with Cloak Mage, there's a yearlong gap between the books, but that should be much shorter going forward. I'm hoping to start work on Rivah #6 in March or February, if all goes well.
#6: Conclude Stealth & Spells Online.
I did this as well. I'm not going to lie, it really was quite challenging. I originally thought of Stealth & Spells Online as a seven or eight book series, but it sold weakly enough that I didn't want to put six books' worth of effort into it. So I thought about it and figured out how to wrap up the story in one volume, and I wrote most of it at 500 words a day from like October 2024 to July 2025, squeezing it between other things as time allowed. Then in July, I was far enough along from all that cumulative work that I finished it in like one quick burst. I think I had only like one full-time day working on it.
So I'm very glad that people liked the ending for the trilogy and thought that it worked. I'm hoping to release a single volume edition of the audiobook sometime in 2026, if all goes well.
Fun fact: the book was 116,000 words long, and since I published 1.12 million new words in 2025, it was in fact Stealth & Spells Online: Final Quest that got me over the million word mark.
#7: New epic fantasy series in the Andomhaim/Frostborn world.
I did that as well with Blade of Flames and Blade of Shadows. As I mentioned before, I'm about 12,000 words in Blade of Storms, and hopefully that will be the first book I publish in 2026, ideally in January, but it might slip to February.
#8: New audiobooks as time, budget, and narrator availability allow.
This worked out as well. Like I said, in 2024, I've brought as many of my old series into audio as I'm going to, so instead we're going to focus on recording the books in the new series. We have books from The Shield War and Blades of Ruin narrated by Brad Wills, new books from Ghost Armor and Cloak Mage [narrated] by Hollis McCarthy, and a new Half-Elven Thief audiobook [narrated by] Leanne Woodward.
So I am pleased to say that I met all my 2025 writing goals.
Now with that in mind, let's take a look at what I would like to do in 2026. I'm not planning on starting anything new in 2026, but I don't think I'll reach the end of any ongoing series in that year. So basically 2026 will be The Year of Continuing.
#1: Publish a million words of new fiction.
I'm going to try and hit a million words again, but there's a chance ... I'm going to say right up front, there's a chance it might not work out in 2026.
I'm going to have to spend at least a couple of weeks on travel, and I know for sure there are a couple of mandatory Real Life Activities that will take up an unknown amount of time. The older I get, the more I can emphasize with former UK Prime Minister, Harold McMillan when he said his biggest problems were "events, dear boy, events." But assuming we can avoid too many "events," I will aim to publish a million new words of fiction in 2026.
#2: Continue Blades of Ruin.
I also want to continue with Blades of Ruin, which will be my main series for a while. I'm planning for 12 books in this series, so we should hopefully make some good progress with it in 2026.
#3: Continue Cloak Mage.
I would also like to continue Cloak Mage in 2026. Cloak of Worlds was number 13 in the series and I'm planning for 18. Since I'm only working on three series at a time now, like I said before, we shouldn't have those yearlong gaps between books like I've had in the past for Cloak Mage.
#4: Continue Half-Elven Thief.
I'm also continuing Half Elven Thief in 2026. I had planned for six books originally, but there was just too much story to fit into six, so we're going to end up with nine. So I'm planning to continue that in 2026 as well. There was a year's gap between Orc-Hoard and Wizard-Assassin like there was with Cloak Mage but hopefully won't have as big a gap for Half-Elven Thief now that I'm only writing three series at the same time.
#5: New audiobooks as time, budget, and narrator availability allow.
I did this in 2025 and it worked pretty well. I don't want to bring any more of my old backlist books into audio, but instead I'll focus on Blades of Ruin, Cloak Mage, and Half-Elven Thief as time, budget, and narrator availability permit.
#6: Other opportunities as available.
I think it is fair to say we live in turbulent times, which is often unsettling. The flip side is that sometimes this can bring unexpected opportunities your way, so it's wise to remain alert and flexible. So we will see what 2026 brings. So those are my six writing goals for 2026.
Once again, thanks for reading and listening. I hope I have new books for you to read in 2026. And as ever, when I make plans for the new year, it seems like a good idea to reflect on this quote from the book of James:
"Go to now, ye that say, Today or tomorrow we will go into such a city, and continue there a year, and buy and sell, and get gain: Whereas ye know not what shall be on the morrow. For what is your life? It is even a vapour, that appeareth for a little time, and then vanisheth away. For that ye ought to say, If the Lord will, we shall live, and do this, or that."
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I indulge my hobby of medieval history, and take a look at six times Catholic monarchs came in conflict with the pope during the medieval peroid.
This week's coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store:
NIGHT2025
The coupon code is valid through December 22, 2025. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 281 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December 12th, 2025 and today, even though this is a podcast about indie writing and publishing, I'm going to indulge one of my hobbies and talk about Medieval history, specifically six specific instances of conflicts between Popes and Catholic Monarchs during the Middle Ages. We'll also have Coupon of the Week and an update on my current writing and publishing projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 25% off all the ebooks in the Ghost Night series at my Payhip store, and that code is NIGHT2025. And as always, the coupon code and the links to my Payhip store will be available in the show notes for this episode, and this coupon code will be valid through December the 22nd, 2025. So if you need a new ebook this winter or something to read as you do Christmas holiday travels, we have got you covered.
Now for an update on my current writing and publishing projects. I am pleased to report the rough draft of Wizard-Assassin is done at exactly 70,000 words. I have also written a tie in short story called Dwarven Treasure that newsletter subscribers will get for free in ebook format when Wizard-Assassin comes out. So this is an excellent time to subscribe to my new release newsletter, in my opinion. If all goes well, I am hoping to have that book out very shortly before Christmas, like maybe the Monday or Tuesday before Christmas because that way if I do, I can reward myself by taking off the entire week between Christmas and New Year's, which is what I really want to do. So I am going to definitely hustle and try to get Wizard-Assassin out before Christmas.
I'm also 9,000 words into Blade of Storms, which will be the third book in my Blades of Ruin epic fantasy series, and that will come out in January or February, depending on how things go, hopefully January, maybe February, we will see how things go. After Wizard-Assassin is published, Blade of Storms will be my main project and my secondary project will be Cloak of Summoning, the 14th book in my Cloak Mage series. Cloak of Worlds, the last book in the series, just came out in October, so considering the year gap between the last two books, that is quite a bit shorter, but as I mentioned before, the summer of 2025 was my Summer of Finishing Things. I am now down to just three active series, which means thankfully there is less of a wait between books in the series. There is a year gap between the last book in the Half-Elven Thief series and a year gap between the last book in the Cloak Mage series. Hopefully we will avoid those kind of big gaps moving forward.
In audiobook news, Cloak of Embers is done (as excellently narrated by Hollis McCarthy) and is gradually filtering out to the retailers. I believe as of this recording, you can get it at Payhip, Google Play, and Kobo. The other retailers, including Audible, should be showing up before too much longer. So that is where I'm at with my current writing and publishing projects.
00:03:11 Main Topic: So The Pope is Mad at You: A Practical Guide for Secular Lords
And with that, let us move on to our main topic this week and our main topic is So The Pope is Mad at You: A Practical Guide for Secular Lords. This episode was inspired by news reports, which we'll get to in a little bit. John F. Kennedy was elected the first Catholic President of the United States in 1960. Before that, there is a widespread suspicion against having a Catholic president in the US, partly because the origin of the United States was heavily Protestant and partly for fear that a Catholic president would take his orders from the Pope in Rome.
However, practical experience has proven robustly otherwise. In the past 20 years of United States history, there has been one officially Catholic president and two Catholic vice presidents and their disagreements with the various popes have made frequent news articles. For that matter, American Catholic officials of lesser authority such as Speaker of the House, mayors, governors, and senators have also found themselves frequently in disagreement with the Pope. Whenever a US Catholic political official or office holder disagrees with the Pope about something, the news media always seems to react in baffled astonishment, but Catholic political leaders disagreeing with the Pope is not shocking. It is in fact a tradition going back centuries if not millennia. Compared to the way the things used to be, the vice president and the Pope exchanging harsh social media comments is downright tame.
For example, in the early 14th century, the extremely Catholic King of France sent his lawyers to kidnap and beat up the Pope. This sounds outlandish, but it actually happened. So here are some of the more dramatic disagreements between Catholic secular leaders and the Pope and we will pick six of the most prominent examples.
#1: The Investiture Controversy
The Investiture Controversy in the 11th century was about who had the right to appoint bishops, the Pope or the emperor. To the modern era, this sounds quite dry and boring, however, at the time it was serious business for many reasons. There wasn't much of the way in centralized state authority in Western Europe after the death of Charlemagne and the withdrawal of the Byzantine Empire from Italy and between the Viking invasions and local warfare, violence was endemic. Often the church was the only functioning large scale organization and so bishops frequently came to hold lands like feudal lords and to wield significant local power. As kings began to grow in authority and try to construct centralized governments, they often began to rely on bishops as essentially secular lords and officers of state.
Like to put it in a modern context, imagine that the Archbishop of New York also served as the governor of New York and the mayor of New York City. That would mean a lot of political leaders would be very heavily invested in making sure the Archbishop was a man who had their approval. Naturally then the king had a very strong interest in appointing the bishops to make sure they were reliable men or at least men on his side. Of course, this involved a good deal of corruption, which reformers in the church condemned as simony, the buying and selling of church offices. The name comes from the Apostles' encounter with Simon the Sorcerer in the Book of Acts who tried to purchase the power of the Holy Spirit from the Apostles. Despite widespread disapproval, simony was essentially standard business through much of the ninth and 10th centuries.
However, by the 11th century and through the 13th, many of the popes who came to office were zealous reformers who wanted to purge the church of all corruption. One of them was Gregory VII, who became Pope in 1073 AD. Like many of the popes of his time. Gregory VII was an energetic reformer which quickly brought him into conflict with Henry IV, the King of Germany who wanted to be anointed Holy Roman Emperor. Both Henry and Gregory wanted to strengthen their respective domains, which led to them officially deposing one another. However, Gregory had greater moral authority on his side and many of Henry's nobles disliked their king a great deal. An excommunication from the Pope gave them all the excuse they needed to move against Henry. Gregory sheltered with his ally, Countess Matilda of Tuscany at Canossa, and to lift the excommunication, Henry famously stood barefoot in the snow wearing a hair shirt. Gregory was suspicious, but eventually he succumbed to the pressure and forgave Henry.
The pendulum swung back soon enough. Henry crushed his internal rivals, marshaled an army, appointed his own anti-pope and marched on Rome. Desperate, Gregory called on his ally, the Norman adventurer and warlord Robert Guiscard. Guiscard himself is a fascinating character who went from a landless adventurer from Normandy to ruling Sicily and making war on the Byzantine Empire. Guiscard 's army drove off Henry's horses. Neither Henry nor Gregory would have the last laugh, but rather Guiscard, as his troops sacked Rome in the process. The people of Rome blamed Gregory for this and he had no choice but to flee with Giscard. Gregory died in exiled at Salerno in 1085, famously and bitterly declaring that "I have loved justice and hated iniquity, therefore I die in exile."
The Investiture Controversy between Emperor and Pope continued for a few more decades, but was finally settled by The Concordat of Worms in 1122. The emperor gave up the right to appoint bishops but still had a major unofficial say in the matter. Essentially, canons could elect their own bishop and monks could elect their own abbots, but if they were smart, they would make sure that their choices were acceptable to the emperor. However, choosing your own bishops could backfire, as the next example will show.
#2: Will No One Rid Me of This Turbulent Priest?
In England, King Henry II had his own challenges with the church and the Pope. Henry II was a vigorous king who faced significant challenges, both in holding on to his extensive territories and ruling in England that had been divided by nearly 20 years of civil war during the conflict between Empress Matilda and King Stephen. (Fun fact, I based the civil war in Blades of Ruin off the war between Matilda and Steven.) Justice had largely broken down during the Civil War and Henry undertook reforms of the legal machinery of England.
He ran into a problem with the church courts. At that time in England, the church essentially had its own courts for trying cases involving clergymen, and all you needed to do to prove that you were a clergyman was to read a sentence of Latin. Naturally, some frequent malefactors used this to escape justice, since the church courts were quite a bit more lenient than the royal ones since they were not allowed to spill blood. This went on to the point where it became something of a scandal. In the US and UK, there are sometimes scandals when a judge is more lenient with members of his or her own ethnicity or social class than with other defendants. This shocks the conscience and people frequently experienced similar reactions to some of the light sentences given by the church court to serious criminals. So Henry II rolled out a full-scale program of reform and he was assisted by his chancellor Thomas Becket, who had started as a relatively low ranking clerk in the household of the Archbishop of Canterbury.
Becket was a good and faithful servant of the king, and when the previous Archbishop died, Henry arranged for him to become the new Archbishop. However, Becket seems to have undergone a personal crisis of some sort after becoming Archbishop, perhaps believing himself unworthy of the office. He resolved this crisis by becoming something of a self-righteous aesthetic and started pursuing the rights of the church and church courts with the same fervor that he once pursued the king's interests. Henry was shocked and then increasingly angry and Becket attacked Henry's reform program more and more, finally threatening excommunication and to put threatening to put England under interdict. Becket fled to take refuge with King Louis II of France, who understandably did not like Henry very much because Henry had stolen his wife, Eleanor of Aquitaine (who, to be fair, had cheerfully allowed herself to be stolen). Pope Alexander III managed to mediate a compromise and Becket returned to England, but Henry and Becket remained enemies.
Events came to a head in 1170 AD when Henry crowned his son (also named Henry) as co-king with him in an effort to establish the succession. Since he was angry at Becket, he had other clergymen carry out the coronation, which was traditionally done by the Archbishop of Canterbury. Furious, Becket excommunicated all the clergymen involved. Henry, who had a volcanic temper blew his top at this, the source of the famous quote of "Will no one rid me of this turbulent priest?" This however, is a paraphrase. According to one of his biographers who was an eyewitness to events, what Henry actually said was something along the lines of "What miserable drones and traitors have I nourished and brought up in my household, who let their lord be treated with such shameful contempt by a low-born cleric?" Henry seems to have been blowing off steam, but four of his knights took this as a royal command.
They proceeded to Canterbury and went to arrest Becket in his cathedral. Becket refused to submit to arrest and refused to flee, and the knights killed him before the altar. It is commonly observed that the Middle Ages was a much more physically violent time than our own, with people of all social classes much more willing to employ violence in quarrels than is the norm in the modern US. That said, killing an archbishop in his cathedral was a massive scandal that broke every social norm of the time.
The murder was a serious blow to Henry's authority. While he may not have ordered Becket's murder, no one actually believed that, and many people found it politically convenient to believe that had commanded the archbishop's death. Henry's relationship with his family was already strained because of his refusal to share meaningful power and several of his sons and his wife Eleanor rose revolt against him.
Henry put down the revolt, managed to make peace with his sons, imprisoned his wife, and diffused the crisis over Becket's death by doing penance and praying in front of Becket's tomb. Pope Alexander III declared Becket a saint and Henry actively encouraged the development of the cult of this new saint. Having to pray and do penance in front of the tomb of a former enemy had to have been galling to a proud man like Henry, but Henry had a keen instinct for political survival and he came through the crisis of the murder and the revolt of his sons with his crown intact. His son John would not be nearly so savvy.
#3: So you've Sold Your Kingdom to the Pope.
Henry II and his son and heir Richard I were both capable warriors and ruthless leaders. When Richard died, however, his brother John took the throne. John is something of a controversial figure because historians keep constantly reevaluating him, but I think it is on balance fair to say that he had all the vices of his father and brother, but none of their virtues.
Henry and Richard were ruthless men who crushed their enemies whenever possible, but they also rewarded their friends and had a knack for winning battles. That was probably one of the reasons Henry was so offended at Thomas Becket. He felt he had rewarded Becket and been repaid with self-righteous ingratitude. John had the first part down, but he had an amazing gift for making new enemies, often by breaking his word at the worst possible time and frequently lost battles. Victories can paper over any number of problems, but John didn't have many victories. To be fair, he also had extraordinarily bad luck, but he also did put a lot of work into making that bad luck even worse. If John had been a quarterback in an American football team, he'd be the kind of quarterback who throws a lot of interceptions.
Anyway. Throughout Henry II's reign, the English crowd had large parts of in northern France as feudal fiefs. Henry spent a lot of time maintaining control of France, and in 10 years of his reign, Richard only spent six months in England. The rest of his reign was spent campaigning to hold his lands in France. After John became king in 1199 AD, he very swiftly lost control of most of his lands in northern France in 1204 to the King of France Philip II, who was a much savvier politician than John. Philip had been on the back foot against Henry and Richard for most of his reign but against John, he had an opponent he could dominate.
After 1204, John spent the next decade extracting as much money from England as possible. Every possible device for raising revenue was used, and John employed the judicial reforms his father had made to raise even more money from court cases. This led to John's conflict with the church. When the old Archbishop of Canterbury died in 1205, John favored one candidate, but the canons elected Stephen Langton as the new archbishop. The election became disputed, but Pope Innocent III favored Langton. Enraged, John declared that anyone who supported Langton as a public enemy. Innocent III would not take this lying down. When various anti-Catholic American writers in the 19th and early 20th centuries imagined an all-powerful Pope controlling Catholics from Rome, Innocent III was probably the closest the papacy ever actually came to achieving that vision. Innocent was a savvy enough politician and had enough moral authority that he could sometimes act as sort of an over king across all of Christendom, and he was frequently involved in international politics.
In response to the Langton controversy, Innocent put England under papal interdict. No church services or masses were to be offered in all of England. To ratchet up the pressure, Innocent also declared John deposed and authorized Phillip II to overthrow him. However, this is where John's more competent side actually came out. He used the opportunity to loot as much money from the church as possible, and Innocent realized there wasn't actually a lot he could do to force John's compliance. A compromise was reached. John would accept Langton as archbishop and become a vassal of the Pope, and Innocent would lift the interdict. By this time, John was unpopular enough that his barons were plotting against him and Langton swiftly sided with the barons.
Finally, all of John's hopes came to crashing ruin in 1214 at the Battle of Bouvines. For 10 years, he extorted enormous sums of money from England to conquer northern France and with that money, he sent a vast army to France. Philip II and his allies crushed that army, ruining 10 years of John's efforts and destroying his last vestige of authority. His barons promptly rebelled against him and forced him to sign the Magna Carta, which limited the king's powers over the nobility. John immediately (and with tedious predictability) went back on his word and England was in full civil war when he died of dysentery in 1216.
England would technically remain a papal fief, though nothing much came of it. In 1365, Parliament declared that John surrendering England to the Pope had been invalid, and that was that. The papacy, preoccupied with its own impending crisis, which we'll talk about shortly, could do nothing about it. Ironically, John's greatest contributions to history came from his failures, since the Magna Carta was one of the foundations of the modern concept of constitutional government.
A king with few limits on his power is a tolerable state of affairs when the king is competent, wins battles, and keeps order. When the king is capricious, cruel, and wastes 10 years of heavy taxation in losing a war, it's much less acceptable. Later kings in negotiation with Parliament would solemnly reissue Magna Carta and swear to uphold its provisions in exchange for taxes.
Fun fact: Langton was also the first to divide the Bible into the chapters and verses it has today.
Innocent III was powerful enough to bend kings to his will or at the very least force them to compromise, but his successors would not be as fortunate.
#4: Talk to My Lawyers Fist
The papacy in the 13th century was at the height of its power, but problems were on their horizon. One problem was a loss of moral authority. The papacy had become an extremely efficient machine for collecting tithes and donatives, with a lot of money flowing to Rome. Throughout the history of Christianity, you'll often see a cycle of success leading to prosperity, the prosperity leading to corruption and vice, and moral revulsion of the corruption inspiring a new reform and aesthetic movement.
Then the reform movement becomes successful and rich and the circle begins anew. The Protestant Reformation was probably the most dramatic example of this cycle, but it has happened many times before and since. People were growing increasingly cynical about the masterful lawyer-popes who efficiently ran the church in the 1200s.
The second problem was strong monarchies developing in England and France. Part of the reason the church and the popes had become so powerful was because there had not been much in the way of centralized state organization after the collapse of the Carolingian Empire and the weakening of the Byzantine Empire in the east. As mentioned before, for a long time the church was the only functioning large-scale organization, which meant the church and popes acquired a great deal of power and influence.
But by the end of the 13th century and the start of the 14th, the world was changing.
Monarchies in Western Europe were starting to develop into strong, centralized governments. Feudalism was becoming increasingly archaic and performative, with kings preferring cash to hire professional soldiers instead of feudal levies, and the concept of the nation-state was beginning to develop. Strong kings were less willing to suffer challenges to their authority from the church and unlike Henry II, Henry IV, and John, often had more resources and power to do something about it. More practically, running a centralized government is very expensive, and the church had a lot of revenue and property that the kings wanted to tap for themselves.
These trends came to a head in the conflict between King Philip IV of France and Pope Boniface VIII. Boniface had an outsized view of papal power, and frequently intervened in political quarrels, which was to his own detriment because he had a tendency towards tactless arrogance. Philip was just as arrogant as Boniface, but far more conniving and vastly more ruthless. Philip was also a master of the modern technique that various dictatorships and their secret police use to rid themselves of their enemies – accuse them of wildly outlandish crimes, and if necessary, torture them into confessing those crimes. Due to continual wars with England and Flanders, Philip needed money, and he began taxing the French clergy.
In 1296, Boniface issued a bull forbidding lay taxation of the clergy, but most of the French prelates sided with Philip and Boniface had to back down. Boniface declared a jubilee year in 1300, and the influx of pilgrims (and money) to Rome boosted Boniface's confidence, and the conflict with France flared up again. In 1302, Boniface issued the famous papal bull "Unam sanctam", which argued that all temporal authorities were subject to the pope, and this resulted in a ratcheting up of various disputes and tensions between the French crown and the papacy.
However, Boniface had fatally miscalculated, or had misunderstood just how ruthless Philip really was. Philip's chief minister and lawyer, Guillaume de Nogaret, convinced the king to abduct Boniface and bring him back to France for trial and deposition. Nogaret headed a force that ventured into Italy and abducted the pope at one of his houses in the town of Anagni. Boniface was captured, held without food and water for three days, and beaten. The sheer outrage of the townspeople forced Nogaret to withdraw, but the outcome worked in Philip's favor. Boniface died shortly after, possibly from the strain of his ordeal. The next pope, Benedict XI, was much friendlier to Philip, and when he died abruptly, the new pope, Clement V, was so under Philip's control that he moved the papal court from Rome to Avignon in southern France, starting the period called the "Babylonian Captivity" of the papacy.
This led to the not unjustified view that the papacy had become a tool of the king of France, which led to further problems down the road.
#5: A Fistful of Popes, and For a Few Popes More
From 1306 to 1376, the Papal court would reside at Avignon in southern France. This was not a tenable situation for a variety of reasons. For one thing, the papacy was seen as too partial to the king of France, which damaged relations with every other monarch, especially those who were enemies of France. For another, the church administration became very efficient during this period and even more skilled at collecting tithes and a wide variety of fees, which further eroded the church's moral authority. All levels of society increasingly criticized the church as spending less time tending to souls and more time extorting money from them. Various anti clerical movements started and began to gain strength from that criticism.
13 centuries of tradition placed the Pope in Rome, and there is a growing opinion within the church that the Pope should actually move back to Rome.
Finally, in 1376, Pope Gregory XI decided to move back to Rome, which he did in 1378. He immediately found himself thrust into the vicious politics of the various Italian city-states, who did not welcome the return of the pope to meddle in their affairs. Gregory found the experience unpleasant enough that he decided to move the court back to Avignon, but he died unexpectedly in 1378.
The Roman mob, determined that there would be a Roman pope who stayed in Rome, bullied the cardinals into electing Urban VI as the new Pope. Urban immediately offended his cardinals with fits of rage, and they fled to Anagni, claimed they had been forced into electing Urban under duress, and declared the previous election invalid and elected Clement VII. Urban wasn't about to resign, and Clement was unable to take possession of Rome, so he had no choice but to flee to Avignon.
So now Christendom had two competing popes, both claiming legitimacy (and sole control of church revenues) and neither willing to step down. The Great Western Schism had begun.
Naturally, this resulted in polarization in international relationships. France supported Clement VII, while England supported Urban VI. Various other nations and kings lined up behind one pope or another as it suited their interests. Both Clement and Urban eventually died, and their respective cardinals elected two new popes in their place.
The schism did terrible damage to the moral authority of the church, as the spectacle of two popes hurling excommunications at each other and their supporters while trying to raise as much money as possible was hardly an edifying spectacle. The crisis was half deadly serious and half farce. It is likely no coincidence that various proto-Protestant movements like the Lollards in England and the Hussites in Bohemia started building steam during these years. More sensible heads realized this state of affairs could not continue, and started trying to convince both lines of popes to resign so a church council could select a new, unified pope.
After much negotiation, in 1409, both lines of popes had agreed to abdicate, and the Council of Pisa met to elect a new pope. However, at the last minute, the previous two popes balked and refused to resign, but the council elected Alexander V as the new pope. Which meant there were now three competing lines of popes, all of them claiming legitimacy and excommunicating each other.
Finally, in 1414, the Council of Constance convinced the Roman pope Gregory XII to step down, arrested the Pisan pope John XXII who had tried to go full local warlord, and appointed Martin V as the new legitimate pope. Benedict XIII, the Avignon pope, refused to step down, but the tide had turned, and Benedict had to flee to a castle held by his supporters in Aragon, and spent the rest of his days hurling excommunications and generally being ignored. After Benedict's death his surviving cardinals tried to elect a new Avignon pope, but Pope Martin bribed them with bishoprics instead, and that was that.
The Great Western Schism was finally over, but the damage had been done. The total collapse of moral leadership had piled up a lot of kindling, and a century later it was an argumentative German university professor who would accidentally light the spark that would become the Protestant Reformation when he posted ninety-five propositions about church reform for public debate. It didn't help that the post-Schism popes were often worldly Renaissance princelings who were more interested in fine living, artwork, occasional enthusiastic debauchery, and waging war to extend the Papal States than in spiritual leadership.
Popes had once exercised power over kings, but during the Great Schism, the papacy had become a problem and headache for the kings to manage. The ability of a pope to bend a king to his will had become severely limited, and soon it would be gone entirely.
#6: Screw You Guys, I'm Starting My Own Church With Divorce and Protestantism!
The thing to understand about King Henry VIII of England was that he was genuinely and sincerely religious.
He was also colossally self-absorbed, and truly believed that he was God's anointed to rule over England. If Henry had been either a little less religious or a little less egotistical, history would have been very different.
At first, Henry was staunchly Catholic. He despised Martin Luther, and in 1521 wrote "Defense Of The Seven Sacraments" against Luther. (Thomas More helped write it to an unknown degree.) Luther fired back with a treatise called "Against Henry, King of the English." One gets the impression that if Henry and Luther had lived today, they would have loved social media, and spent much time arguing with each other across it.
Pope Leo X was so pleased by "Defense Of The Seven Sacraments" that he awarded Henry the title "Defender of the Faith", which was perhaps darkly amusing considering what happened next.
Henry likely would've been content to remain a Catholic for the rest of his days, but for one of those quirks of fate upon which history so often turns, he didn't have a son and he really badly needed one.
To the modern ear, Henry's obsession with having a son sounds bizarre, but England had just gone through thirty years of dynastic upheaval and instability during the Wars of the Roses from 1455 to 1485. There were other noble families in England that could exercise a claim to the throne, and Henry was always uneasy about the possibilities of rebellions and coups. Having a male heir would go a long way towards solving that problem. For England in Henry's time, the king not having a viable heir was as serious a crisis as a disputed presidential election would be in 21st century America.
His wife Catherine of Aragon had originally been betrothed to Henry's older brother Arthur, who had been the expected heir to the crown of England, but he had died unexpectedly and so Henry had married her instead. Henry became convinced that because he had married his brother's widow, his marriage was cursed by God and therefore he would have no son, and so he needed another wife. Consequently he petitioned the pope to annul his marriage so he could marry again.
Under normal circumstances, this likely would have been no difficulty. However, the pope at the time, Clement VII (the previous Clement VII from the Great Western Schism was declared an anti-pope) has been called one of the unluckiest of popes because of crisis after crisis that he had to manage. France and the Holy Roman Empire were at each others' throats, and both wanted Clement VII to come down on their side. The Protestant Reformation was exploding throughout Europe, and the Ottomans were advancing in the east. To further compound Clement's woes, Charles V was both Holy Roman Emperor and the King of Spain, which made him the most powerful man in Europe. Catherine of Aragon was Charles's aunt, and because of the vicious politics of the time, Clement was essentially Charles's prisoner. There was absolutely no way Clement could give an annulment so Henry could dissolve his marriage to the emperor's aunt.
Clement advised Henry to simply divorce Catherine and remarry, but that was not acceptable to Henry's mind because he wanted an annulment, not a divorce. The distinction was very important to him. In the rumblings of Protestantism at the time, Henry found his answer. The Church of England should not be subject to a distant foreign pope, but under the leadership of the crown of England. Henry eventually broke away from the Catholic Church, declaring himself supreme head of the Church of England, and annulled his marriage to Catherine of Aragon and married Anne Boleyn instead. Henry and his ministers also used the opportunity to dissolve the monasteries and seize their lands and revenues for themselves, which would have long-term deleterious social consequences because the charity the monasteries supplied to the poorest residents of England was never really replaced.
This did not work out so well for Anne Boleyn. A combination of her inability to produce a son and her forceful advocacy of Protestantism got on the king's nerves, and Henry had her executed on most likely falsified charges of adultery. (Philip IV of France would have approved of the technique.) After Henry's death, his son Edward VI pursued even more radical Protestantism than Henry ever would have been comfortable with, but after his untimely death, Henry's daughter Mary took the throne and returned England to Rome. But after Mary died, her sister Elizabeth removed the country from the Catholic Church, and this time it stuck.
Earlier this year, King Charles III made headlines for praying with Pope Leo XIV during the official visit to Vatican, which is a sentence that would've baffled many of the major figures of English history for the last 500 years.
What can we learn from these six examples? So, as we can see, Catholic secular leaders frequently found themselves in conflict with the pope, and at times even went to war against him. And these are just some of the more prominent examples. The history of the papacy's conflict with the Italian city-states, the Holy Roman Empire, and various kingdoms in Eastern Europe, all of them ostensibly Catholic, could fill (and has filled) countless books.
What is interesting in that during conflicts with secular authorities, the pope usually lost in the end. The secular lords often took significant loss during the conflicts, but usually got their way when things settled, or had to come to some sort of compromise. In fact, it would have been better for both sides to come to a compromise first, but medieval rulers were often forceful personalities who were only willing to bend when left with no other choice. So, we can see that the news genre of "American Catholic political leaders disagree with the Pope" is in fact a long and rich tradition dating back centuries, and relatively mild compared to the days of Henry IV making war on Gregory VII or Philip IV sending his lawyers to kidnap Boniface VIII.
And, of course, when I say that history can inspire fantasy novels, this sort of thing is what I mean. You could probably get dozens of novels out of these events.
So that is it for this week. Thank you for indulging my interest in Medieval history and allowing me to ramble about it for about a half hour. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, we take a look at six software tools for indie authors to help them write and improve their workflow.
This coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
BLADES2025
The coupon code is valid through December 15, 2025. So if you need a new audiobook this winter, we've got you covered!
TRANSCRIPT
[This episode's content is not sponsored. Jonathan has not received any compensation for these reviews and has not received any free products or services from the companies mentioned in this episode. He does not currently use affiliate links for the products mentioned.]
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 280 of The Pulp Writer Show. My name is Jonathan Moeller. Today is a very snowy December 5th, 2025, and today I'm discussing six software tools that are useful for indie authors. Before we get into that, we will have Coupon of the Week and then an update on my current writing, publishing, and audiobook projects.
So first up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. And that is BLADES2025. And as always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through December the 15th, 2025. So if you need a new audiobook for this winter or for your Christmas travels, we have got you covered.
And now for an update on my current writing and publishing projects. As I mentioned last week, Blade of Shadows is out and it's available at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store, and it's been doing quite well and gotten a good response from everyone. So thank you for that and I am looking forward to continuing that series. Now that Blade of Shadows is done, my main project is the fifth book in the Half-Elven Thief series, which is Wizard-Assassin. I had originally planned to name it Elven-Assassin, but decided Wizard-Assassin sounded a bit punchier, so I went with that instead. I am 46,000 words into it, which puts me on chapter 10 of 16. The final draft will have more chapters because one of the chapters is 11,000 words. I'm going to have to cut it up.
I've also noticed that readers in general these days seem to prefer shorter chapters, so I've been trying to lean more into doing that and having books with shorter chapters. I think the rough draft is going to be about 70 to 75,000 words, give or take. So I'm hoping I can finish that next week, and I am cautiously optimistic I can have the book published before Christmas. If I can't get it published before Christmas, it is going to slip to my first book of 2026. But at the moment, and of course, barring our old unwelcome friend unexpected developments, I am cautiously optimistic I can have it out by Christmas 2025. So watch my website and listen to this space for additional news.
My secondary project is Blade of Storms, which will be the third book in the Blades of Ruin series and the direct sequel to Blade of Shadows. I am about 6,000 words into that, and once Wizard-Assassin is done, that will be my main project. I'm hoping to have that out at the end of January, but if Wizard-Assassin slips to January, then Blade of Storms will [of necessity] slip to February.
In audiobook news, Blade of Flames, the audiobook of the first book in the Blades of Ruin series, is now out and you can get that at Audible, Amazon, Apple, Kobo, Google Play, my own Payhip store, Spotify, and all the other usual audiobook stores. So if you're looking for something else to listen to during your Christmas travels this year, I suggest checking out Blade of Flames (as excellently narrated by Brad Wills).
Cloak of the Embers, the 10th book in the Cloak Mage series (as excellently narrated by Hollis McCarthy)…the recording of that is done and it is being proofed right now, so I am hopeful we can hopefully have that out before Christmas (if all goes well). In fact, after I record this podcast episode, I'm going to have to convert the ebook cover of Cloak of Embers into an audiobook cover for Cloak of Embers. So that is where I'm at with my current writing and publishing projects. There is definitely a lot going on.
00:03:40 Main Topic: 6 Helpful Writing Tools for Indie Authors in 2025 [All Prices referenced are USD.]
Now we're going to move on to our main topic this week, which is six helpful writing tools for indie authors in 2025. Last year in 2024, I did a roundup of popular software tools for writers and I thought I would give a quick update for it. Some of these tools like Calibre and LibreOffice I use, while others like Scrivener and Notion just aren't great fit for my workflow, I still want to talk about them anyways since just because I don't use them doesn't mean that they're not good and a lot of writers do in fact use them. Many writers also have complex systems for organizing their files and would benefit from tools like that. Without further ado, here are six pieces of software used for writing and writing adjacent tasks.
I should mention before we get going as well that none of these tools are explicitly generative AI tools because as you know, if you've listened to the podcast over the years is my opinion of generative AI remains mostly negative. I have and continue to do some marketing experiments with generative AI elements, but I remain overall unimpressed by the technology. So with that in mind, none of these software tools I'm going to mention are explicitly AI tools. Some of them do have AI elements that you can plug in and use if you want to, but they aren't part of the core functionality of the application unless you specifically seek it out. With that in mind, let's get to it.
#1: The first one we will talk about is Scrivener. Scrivener is of course essentially a word processor and project management system specifically designed for creative or nonfiction writing, unlike a traditional word processor like Microsoft Word, LibreOffice Writer, or Apple Pages. It features tools for outlining, for breaking documents into chapters, tracking word count goals and et cetera. One of the major benefits of it is a one-time cost instead of as a subscription because it seems like everything is a subscription nowadays, but Scrivener is still $60 a pop. They also offer a free trial and student discount and occasionally [it will] go on sale during peak times like the holidays.
The downside of this is that Scrivener has a sharp learning curve. For myself when I write, I write either in Microsoft Word or Libre Office and I just sit down and write. When I write an outline, it's one Word document and the rough draft is another document that I write until I'm done. Scrivener is definitely a more complex software application, which I have to admit is funny to say because Microsoft Word is ridiculously complicated and has, in my opinion, far more functionality stuffed into it than it really needs.
But Scrivener is a different kind of functionality and therefore the learning curve could be quite high for that. Additionally, this may not be the right software tool to work with your style of writing or how you organize your files. A couple extra thoughts with that is it's important to know yourself. Will you actually use the extra features included with Scrivener or do they just look cool and shiny?
Scrivener probably is best for those who take extensive notes on their work, especially if trying to organize research based on chapters where it's needed. So if you're a nonfiction writer or if you're a historical fiction writer or a thriller writer who is very concerned about accuracy in your books, this may be useful for you so you can put in notes about the proper way to address a duke in 19th century England or what caliber of ammunition your thriller hero's preferred firearm takes.
It's maybe the best for the kind of people who enjoy curating their Notion and Trello accounts and are able to think about their book in a very visual way without letting that process be an excuse to keep them from writing. I'd also say it's good for people who extensively revise blocks of text within a chapter and move chapters around a lot.
#2: Canva. Canva has been around for a long time and it is a platform that makes it easy to create visual content using a drag and drop interface that provides a variety of templates, fonts, and designs to use for things like social media posts. They currently have two tiers for individuals, a limited free option, and Canva Pro, which is $12.99 a month. Some of the pros for Canva are it is well-suited for using templates for writers to create images for social media posts and book marketing material.
The learning curve is not very steep, especially compared with something like Photoshop. If you've used PowerPoint before, you can definitely handle Canva. The cons: although some people use it to create book covers, many books have been flagged by Kindle Direct Publishing (KDP) and some of the other publishing platforms for doing so. I would advise you to avoid Canva for creating book covers because of the potential for issues that could keep your book out of ebook stores. At the very least, read Canva's terms of use and the rules of KDP and the other ebook publishers very, very carefully before you would even begin to consider using Canva for this purpose.
Many of the free features have been folded into the pro version such as sharing template links. The editing and design features are basic compared to something like Photoshop, though that may change as we're going to discuss a little bit here. Because Canva is so popular, there's a certain amount of snobbery out there about using its designs without significant modification. You may have encountered on social media or the Internet people who react very negatively to the presence of AI generated images and this exists to a lesser extent with Canva templates. "Looks like it was made in Canva" is sometimes used as an insult. If you want a unique style and look for your images, you'll have to work a little more to achieve that using Canva.
Canva is quick for great one-time things like Facebook or BookBub ads, but I wouldn't recommend using it for book creation or book covers at this time because of the potential problems that can arise from that. For myself, I don't usually use Canva. I've had enough practice with Photoshop that I'm pretty confident in making whatever I want in terms of ad images or book covers in Photoshop, and I use Photoshop for that.
However, since I organized the notes for this episode, there is a major caveat to that. Recently, Canva acquired a program called Affinity Photo Editor, which is essentially a much lower cost alternative to Photoshop. When this happened, there was a great deal of negativity around it because people thought Canva was going to jack up the price or make it into an overpriced subscription. But what Canva did surprised a great many people in that they made Affinity totally free and essentially are using a freemium model with it where you can use Affinity Photo Editor for free. It used to be, I believe like $79, possibly $69, and then any of the other features like downloading additional content from Canva would cost part of your Canva subscription.
So I have to admit, I'm sufficiently curious about this, that when I write the tie in short story for Wizard-Assassin, I may use Affinity Photo Editor to assemble the cover for it just to see if it would work for that or not, because as I've said, I use Photoshop, but Photoshop is very expensive, Adobe frequently does business practices that are a bit shifty, and the idea of a freemium alternative to Photoshop is not necessarily a bad idea. So when I write a tie in short story for Wizard-Assassin later this month, I think I will attempt to make the cover in Affinity Photo Editor and see if that is something that would be good for my workflow or not, and I will report on that later.
#3: Number three is Notion, which can be used to organize information, links, calendars, and reminders into one central dashboard. They have two plans for individuals, a free plan and a Plus plan, which is currently $10 to $12 per month (depending on whether you want a monthly or an annual plan). The Plus version offers unlimited file uploads, greater customizations, and integrations with Slack and Google Drive.
The pros for using Notion is that it is popular with writers and content creators for being able to have project planning tools, notes, lists, links, trackers, and reminders all in one dashboard. If you enjoy customization and getting something set up exactly the way you want, you might enjoy setting up your lists, calendars, trackers, and notes through Notion. You can add images and adjust the layout and colors for a more "aesthetic" experience. It is easy to find customized templates [online], especially for writers and for things like storyboarding, word counts, and keeping tracks of sources for nonfiction writing. These Notion templates are shared by individuals, not the company and can be free or paid.
Now, some of the cons with Notion. It didn't used to use very much AI, but the company is leaning increasingly heavy into AI, both as a company and in its features on the boards, if that is a concern. The amount of customization options and detail can be absolutely overwhelming. Someone who gets decision fatigue easily or doesn't want to customize a lot and might not enjoy using it. Some people are increasingly complaining that the software is getting too overloaded with features and is slow. For people who value being organized and love having complex and highly visual systems, Notion might be helpful.
The downside is that maintaining your Notion boards can easily turn into what I call a "writing-adjacent activity" that gives you the illusion of productivity because of the time you spend managing and updating it aside from the business of getting actual writing done. So once again, this is a good example of "know thyself." If this is something that would be helpful for you, go ahead and pursue it. But if it's something that could turn into a tool for procrastination, it's probably better to avoid it. For myself, I am old enough that when I need to make lists and keep track of things, I have a yellow legal pad on my desk that I write things down on.
#4: The next piece of software we're going to look at is LibreOffice. It is an open source piece of software that closely matches Microsoft Office, including Microsoft Word. Pros: It's free and open source. There's a minimal learning curve for those already familiar with Microsoft Word. The interface is a little different, but it's pretty easy to figure things out if you're familiar with Word or Excel.
Some swear that that LibreOffice is faster than Word. It depends on the kind of document you're working on and the kind of computer you're using. So that's an area where your mileage may vary. It is also the best word processing option for privacy advocates, especially for those who are concerned about Microsoft and Google storing their work and possibly harvesting it for AI because by default, LibreOffice doesn't work with any AI elements. If you want it to work with any AI elements, plugins are available but they are not included. It's great for the writer who doesn't want to support Microsoft for any reason but still wants to be able to easily save documents in Microsoft file formats like .docx.
It works. I've written entire books using it. I wrote all of Soul of Serpents and Soul of Dragons in it, and that was 13 years ago now, and the software has only improved since then. I wrote Silent Order: Eclipse Hand [using it] in 2017 and was very happy with the results, and I still use it for various projects every week, and I found a couple times if something was screwed up in the formatting of Microsoft Word, if I opened it up in LibreOffice, I could fix it pretty easily and much easier than I could in Word.
It does have a few cons. The user interface compared to Word or something like Apple Pages does look a bit dated, but it's still navigable. It doesn't have any cloud storage functionality. You would need to piece it together with another storage option if you want to be able to backup stuff to the cloud. But overall, if you can't afford the Microsoft Office Suite, don't want to support Microsoft, and value your privacy, this is your best bet for word processing. Some people may not like its interface, but it's still an extremely solid piece of free software.
#5: And now let's move on to our fifth software tool, which is Calibre. Calibre is a tool for ebook management. It can be used for file formatting, changing your books' metadata, or changing file formats. Many use it to create a custom ebook library. Pros include: the product is free and open source. It is easy to generate different file formats for book publication. Do you want to categorize and organize your books in a very specific way? Calibre works for that. The cons: some people find the interface a little clunky and it comes with a bit of a learning curve. To be honest, the interface does look like it came from Windows 2000 and some of the features rely on knowledge of HTML and CSS. Editing and formatting of the book itself is better done using other software.
Final thoughts on that? The software is trustworthy, reliable, and has been maintained over the years. It does exactly what it says it does, without any real style but plenty of substance. And I've been a regular Calibre user for like 15 years now, and whenever I get a new computer Calibre is usually one of the very first things I install on it.
#6: And now for our sixth and final tool, Inkarnate. Inkarnate is a very useful piece of software that is designed for creating maps. I believe it was originally intended to create maps for role-playing games like Dungeons and Dragons and Pathfinder and so forth. But it's also very useful for creating maps for fantasy novels. As I may have mentioned on the podcast a few times before, I really don't like making maps. I find it constraining and it makes the writing feel a bit crabbed at times. That said, I write primarily in the fantasy genre and people in the fantasy genre love maps, so I'm kind of on the hook for making maps.
I used to draw the maps by hand and then import it into Photoshop and add all the locations and add colors and so forth. But that is a lot of work, I have to admit. Inkarnate makes it a lot easier, and I've used it for the last couple of maps I've made. The map of the city of Tar-Carmatheion in the Half-Elven Thief books came from Inkarnate. The map of Owyllain for Blades of Ruin came from Inkarnate, and the map of New Kyre and adjoining regions for Ghost Armor also came from Inkarnate. It's very affordable too. The subscription, I believe, is only $30 a year, and I've been using for a few years now and have never regretted it. So I'd say all the pros are all the ones I've already listed. The cons are that the learning curve is a little bit sharp, but there are excellent YouTube videos and tutorials for that. So, final thoughts. If you find yourself needing to make maps and don't enjoy the process of making maps, then Inkarnate is the software product for you.
So those are six tools, software tools for indie authors that I hope will make you more productive and make your work easier.
So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this Thanksgiving episode, I take a look at five things I am thankful for as an indie author.
This coupon code will get you 25% off the ebooks in the Ghost Exile series at my Payhip store:
EXILE2025
The coupon code is valid through December 8, 2025. So if you need a new ebook this winter, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 279 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 24th, 2025, and today I'm discussing five things I'm thankful for as an indie author for this Thanksgiving themed episode. As you might guess, I am recording this a little early to get ahead of the [United States] Thanksgiving holiday, but all the news and updates should still be current. We will start off with Coupon of the Week and then a progress update on my current writing and publishing projects.
First up is Coupon of the Week and this week's coupon code will get you 25% off all the ebooks in the Ghost Exile series at my Payhip store. And that code is EXILE2025, and as always, the coupon code and the link to my store will be available in the show notes. This coupon code is valid through December 8, 2025, so if you need a new ebook this winter as we head into the Christmas season, we've got you covered.
Now an update on my current writing, publishing, and audiobook projects. Blade of Shadows is done and it should be available on all the ebook stores: Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my own Payhip store. Initial reviews and reactions have been positive, so thank you all very much for that. My next main project is Wizard-Assassin, and that will be the fifth book in the Half-Elven Thief series. If my math is right, I think I'm about 25% of the way through the rough draft, and my goal is to get that out on Amazon and Kindle Unlimited before Christmas 2025, which will make (hopefully if all goes well) Wizard-Assassin the final book I publish in 2025.
The first book I hopefully publish in 2026 will be Blade of Storms, the third book in the Blades of Ruin epic fantasy series, and the direct sequel to Blade of Shadows. I am about a thousand words into Blade of Storms, so just starting and hopefully that will be the first book I publish in 2026 (if all goes well).
In audiobook news, Blade of Shadows…the status of that is pretty much the same as the last time I recorded three days ago. It's available at some of the audiobook stores but hasn't finished processing and gotten up on ACX yet. That was narrated by Brad Wills. We are approaching proof copies of the audiobook of Cloak of Embers, and that will be narrated by Hollis McCarthy. So that is where we are at with my current writing, publishing and audiobook projects.
00:02:24 Main Topic: 5 Things to Be Thankful For as an Indie Author
So let's move on to our main topic in keeping with the Thanksgiving holiday, which is only a few days away as I record this and was only a few days past when this episode was live, and that is five things to be thankful for as an indie author because I do spend on the show a lot of time talking about the various challenges and difficulties of being an indie author, but there are a lot of things to be thankful for as well.
So as I said before, the Thanksgiving holiday is coming up here in the United States and that day always leads [me] to reflect on what we have to be thankful for. And one of the things at the top of my list is my work as an indie author and publisher. Today I'm going to talk about five things that I can be thankful for as an indie author and that other indie authors may be thankful for as well.
#1: Creative freedom. As I've talked about before on this podcast, the most immediate benefit to indie publishing is not having to make creative compromises in order to get published. For example, you can make a series the exact length that you want it to be, not what the market can support. You can write in whatever genre, style, and using the themes you want without any interference.
As we all know, traditional publishing is pretty trend driven and they seek out books that match trends because they are very risk averse. There's a time about a decade and a half ago when publishers were outright telling authors not to submit books with goblins and orcs and other traditional fantasy creatures, for example. Instead of trying to change your book or writing style in order to get accepted by traditional publishing, indie publishing allows you to create and share the exact book that you want to and then it can rise and fall on its own merits and how well you market it. In fact, what has been traditionally called genre writing (such as categories [like] science fiction and fantasy and mystery and so forth) have flourished without the constraints of traditional publishing. The Internet and platforms like Amazon and the other ebook platforms as well have made it easy for readers to discover books that fit in their preferred genres and styles, not what publishers think they want to read.
#2: Freedom from bad deals. The traditional publishing industry is not quite as exploitative as the music industry, but it is not through a lack of trying. Bad deals abound in traditional publishing because they're relying on the fact that new authors want to be published so badly that they're willing to compromise on things like royalty rates, exclusivity agreements, and control over rights. This mindset persists quite strongly even today where if you go on any of the social media platforms, you'll see writers desperately trying to get themselves an agent rather than doing what they should be doing, self-publishing and learning digital marketing. The amounts paid out in advances (which is the amount that publishers pay authors before a book is released) are decreasing and fewer and fewer books are earning out (which means that the author receives royalties beyond the initial advance). Romance writers are especially benefiting from indie publishing because one of the top publishers in that genre is known to make deals that don't favor the author such as low advances and royalty rates, and they don't allow for contract negotiations.
Indie publishing gives you the ability to get published and get your book to readers without taking a bad deal from a publisher or worse yet, turning to scammers. And unfortunately, there are a lot of scammers out there. In indie publishing, where you publish is what determines how much you receive. Each platform has their own royalty setup and payment structures, and you'll get paid far more often (usually monthly, sometimes quarterly) and have the ability to review book sales in real time instead of waiting for quarterly statements (if that or sometimes biannual statements) from a publisher that feel like they're written in hieroglyphics. If you're publishing on a direct sales platform like Pay Hip or Shopify, you can get as much as 90% of each sale and you don't have to wait for a book to reach the mysterious point where it earns out in order to get that money because the money is immediately available to you, although usually after a period of 60 days or so.
And if you are an indie author, you don't have to worry about your publisher canceling your active series because of sales that the publisher doesn't like, which is allowed in a standard traditional publishing contract. It's becoming increasingly common to have publishers do this even when the next book in the series is ready for publication or even scheduled for publication. Indie authors can always complete a series for their readers, (which I've been able to do with Stealth and Spells Online most recently, for example).
#3: Write [and] release at your own pace. There are no, or at the very least, very, very, very few traditional publishers that would let me have the frequent release schedule I currently have. For example, Blade of Flames came out in September, and then Blade of Shadows is coming out right now in the gap of only two months.
Publishing still thinks in terms of seasonal releases, especially the fall and spring release seasons. The schedules for these releases are created far, far in advance and don't change all that much. In self-publishing, there is no one bumping your release to another season or telling you that you can't put out a book because a similar book is coming out at the same time. If you want to put out a book monthly like the pulp writers of old, you are completely free to do that. I do that myself when possible because I'm hoping there's less about a month gap between Blade Shadows and Wizard Assassin.
#4: Control over your online brand. Traditional publishers like their authors to have a strong social media presence and heavily favor authors with a large and preexisting follower account. They even give pre-written social posts to their authors or require pre-approval from their team before posting on social media. With indie publishing, you are completely free to exist online in the way that makes the most sense and is the healthiest for you, and no one is telling you what you can or you can post. You can post as much as you want or even forego certain media platforms altogether or as many of them as you want. For myself, I like to post about my hobbies like vintage video games, even though that's a not a high engagement topic that the algorithm favors. There is no one telling me what I can post or trying get me to increase my follower count as a condition of getting future contracts.
#5: And for me personally, the fifth and final thing to be thankful for that we'll discuss on this episode is the ability to make a living and hire others. And obviously this is a big, big, big thing to be grateful for. I've been an indie author for 14 and a half years now, and a full-time one for over nine years, and I was able to hire people to help me two and a half years ago with many non-writing tasks such as Amazon Ads, podcast transcripts, bookkeeping, and so forth.
I have also been able to hire narrators like Brad Wills, Hollis McCarthy, C.J. McCallister, and Leanne Woodward to produce my audiobooks since the majority of my audiobooks are self-funded by me. I don't have to rely on a team that a publisher that has been picked out for me, and I can choose my own team as an indie author, or I can do everything myself, which is what I really did for the first 11 years. Unlike a team that a traditional publisher that has been spread too thin across an increasing number of authors, the team I hire is focused on making the best ebook or audiobook we can, and we're all on the same page. The ability to make a living at my work and even hire others is because of all of you. I am very, very grateful for all of you who have read my books and listened to my audiobooks, and so thank you very much, and we hopefully we will have new things for you to read and listen to in the coming months and in 2026.
In conclusion, there is a lot to be thankful for in the world of indie publishing. Although it is hard work, the benefits of being an indie author over a traditionally published one are significant, and I suspect they're only going to grow over time as the traditional publishing industry continues to consolidate into one or two few mega corporations. So for Thanksgiving 2025, I'm grateful for all of my readers who allow me to be an indie author, and thank you once again for all of your support.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review of your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I rate the movies and streaming shows I saw in Autumn 2025.
This coupon code will get you 25% off the ebooks in The Ghosts series at my Payhip store:
GHOSTS2025
The coupon code is valid through December 1, 2025. So if you need a new ebook this fall, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 278 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 21st, 2025, and today I am sharing my reviews of the movies and streaming shows I saw in Fall 2025. We also have a Coupon of the Week and an update my current writing, audiobook, and publishing projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 25% off all the ebooks in The Ghosts series at my Payhip store, and that is GHOSTS2025. And as always, we'll have the link to my Payhip store and the coupon code in the show notes for this episode. This coupon code is valid through December 1, 2025, so if you need a new ebook for this fall, we have got you covered.
Now for my current writing and publishing projects: I'm very pleased to report that Blade of Shadows, the second book in my Blades of Ruin epic fantasy series, is now out. You can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. By the time this episode goes live, all those stores should be available and you can get the book at any one of them and I hope you will read and enjoy it. I'm also 15,000 words into what will be my next main project Wizard-Assassin, the fifth book in the Half-Elven Thief series, and if all goes well, I want that to be out before Christmas. I'm also working on the outline for what will be the third book in the Blades of Ruin series, Blade of Storms, and that will hopefully, if all goes well, be the first book I publish in 2026.
In audiobook news, as I mentioned last week, the audiobook of Blade of Flames is done and I believe as of this recording, you can get at my Payhip store, Google Play, Kobo, and I think Spotify. It's not up on Audible or Apple yet, but that should be soon, if all goes well. That is excellently narrated by Brad Wills. Hollis McCarthy is still working on Cloak of Embers. I believe main recording is done for that and it just has to be edited and proofed, so hopefully we'll get both audiobooks to you before the end of the year. So that is where I'm at with my current writing, publishing, and audiobook projects.
00:02:08 Main Topic of the Week: Autumn 2025 Movie Review Roundup
Now on to this week's main project, the Autumn 2025 Movie Review Roundup. I watched a lot of classic horror movies this time around. The old Universal black and white monster movies from the '30s and '40s turned up on Prime for Halloween and I hadn't seen them since I was a kid, so I watched a bunch of them in October and November, which seemed an appropriate thing to do for Halloween. They mostly held up as well as I remembered from when I was a kid, which was a nice surprise. As ever, the grades I give these movies are totally subjective and based on nothing more than my own opinions and thoughts. With that, let's take a look at the movies from least favorite to most favorite.
First up is The Other Guys, which came out in 2010 and this is a parody of the buddy cop/ cowboy cop movie along with a heavy critique of the reckless and corrupt culture of late 2000s Wall Street. "Dumb funny" movies I've noticed tend to fall on either side of the "dumb but actually funny" or "dumb and not funny" line. And this one definitely landed on "dumb but actually funny". Danson and Highsmith, played by The Rock and Samuel L. Jackson, are two maverick popular detectives who never do paperwork. Their paperwork is always done by Allen Gamble, who's played by Will Ferrell and Terry Hoitz, played by Mark Wahlberg. Gamble is a mild-mannered forensic accountant, while Hoitz desperately wants to be as cool as either Danson or Highsmith, but since he accidentally shot Yankees player Derek Jeter (in a recurring gag), he's a pariah within the New York Police Department.
However, Danon and Highsmith's plot armor suddenly run out and they accidentally kill themselves in a darkly hilarious scene that made me laugh so much I hurt a little. Hoitz wants to step into their shoes, but Gamble has stumbled onto potentially dangerous case and soon Hoitz and Gamble have to overcome their difficulties and unravel a complicated financial crime. This was pretty funny and I enjoyed it. Amusingly in real life, someone like Gamble would be massively respected in whatever law enforcement agency he works for, since someone who prepares ironclad paperwork and correct documentation that stands up in court is an invaluable asset in law enforcement work. Overall Grade: B
Next up is Fantastic Four: First Steps, which came out in 2025. I like this though, to be honest, I liked Thunderbolts and Superman 2025 better. I think my difficulty is I never really understood The Fantastic Four as a concept and why they're appealing. Maybe the Fantastic Four are one of those things you just have to imprint on when you're a kid to really enjoy or maybe at my age, the sort of retro futurism of the Four, the idea that science, technology, and rational thought will solve all our problems does seem a bit naive after the last 65 years of history or so. Additionally, the idea of a naked silver space alien riding a surfboard does seem kind of ridiculous. Anyway, the movie glides over the origin story of Reed Richards, Sue Storm, Johnny Storm, and Ben Grimm and gets right into it. To their surprise, Reed and Sue find out that Sue is pregnant, which seemed unlikely due to their superpower induced genetic mutations. Shortly after that, the Silver Surfer arrives and announces that Earth will be devoured by Galactus. The Four travel in their spaceship to confront Galactus and realize that he's a foe far beyond their power, but Galactus offers them a bargain. If Reed and Sue give him their son, he will leave Earth in peace. They refuse and so it's up to the Four to figure out a way to save Earth and Reed and Sue's son. Pretty solid superhero movie all told, but it is amusing how in every version of the character, Reed Richards is allegedly the smartest man on Earth but still can't keep his mouth shut to save his life. Overall Grade: B
The next movie is Superman, which came out in 1978. After seeing the 2025 version of Superman, I decided to watch the old one from the '70s. It's kind of a classic because it was one of the progenitors of the modern superhero film. Interestingly, it was one of the most expensive films ever made at that time, costing about $55 million in '70s-era dollars, which are much less inflated than today. A rough back of the envelope calculation would put 55 million in the '70s worth at about $272 million today, give or take. Anyway, this was a big gamble, but it paid off for the producers since they got $300 million back, which would be like around $1.4 billion in 2025 money.
Anyway, the movie tells the origin story of Superman, how his father Jor-El knows that Krypton is doomed, so he sends Kal-El to Earth. Kal-El is raised as Clark Kent by his adoptive Kansas parents and uses his powers to become Superman- defender of truth, justice, and the American way. Superman must balance his growing feelings for ace reporter Lois Lane with his need for a secret identity and the necessity of stopping Lex Luthor's dangerous schemes. Christopher Reeve was an excellent Superman and the special effects were impressive by the standards of 1978, but I think the weakest part of the movie were the villains. Lex Luthor just seemed comedic and not at all that threatening. Unexpected fun fact: Mario Puzio, author of The Godfather, wrote the screenplay. Overall Grade: B
Next up is Superman II, which came out in 1980. This is a direct sequel to the previous movie. When Superman stops terrorists from detonating a nuclear bomb by throwing it into space, the blast releases the evil Kryptonian General Zod and his minions from their prison and they decide to conquer Earth. Meanwhile, Superman is falling deeper in love with the Lois Lane and unknowing of the threat from Zod, decides to renounce his powers to live with Lois as an ordinary man. I think this had the same strengths and weaknesses as the first movie. Christopher Reeve was an excellent Superman. The special effects were impressive by the standards of the 1980s, but the villains remained kind of comedic goofballs. Additionally, and while this will sound harsh, this version of Lois Lane was kind of dumb and her main function in the plot was to generate problems for Superman via her questionable decisions.
Like at the end, Superman has to wipe her memory because she can't keep his secret identity to herself. If this version of Lois Lane lived today, she'd be oversharing everything she ever thought or heard on TikTok. The 2025 movie version of Lois, by contrast, bullies Mr. Terrific into lending her his flying saucer so she can rescue Superman when he's in trouble and is instrumental in destroying Lex Luthor's public image and triggering his downfall. 1970s Louis would've just had a meltdown and made things worse until Superman could get around to rescuing her. Overall, I would say the 1978 movie was too goofy, the Zac Snyder Superman movies were too grimdark, but the 2025 Superman hit the right balance between goofy and serious. Overall Grade: B
Next up is Dracula, which came out in 1931, and this was one of the earliest horror movies ever made and also one of the earliest movies ever produced with sound. It is a very compressed adaptation of the stage version of Dracula. Imagine the theatrical stage version of Dracula, but then imagine that the movie was only 70 minutes long, so you have to cut a lot to fit the story into those 70 minutes. So if you haven't read the book, Dracula the movie from 1931 will not make a lot of sense. It's almost like the "Cliff's Notes Fast Run" version of Dracula. That said, Bela Lugosi's famous performance as Dracula really carries the movie. Like Boris Karloff in Frankenstein and The Mummy (which we'll talk about shortly), Bela Lugosi really captures the uncanny valley aspect of Dracula because the count isn't human anymore and has all these little tics of a creature that isn't human but only pretending to be one. Edward Van Sloan's performance as Dr. Van Helsing is likewise good and helped define the character in the public eye. So worth watching as a historical artifact, but I think some of the other Universal monster movies (which we'll discuss shortly) are much stronger. Overall Grade: B
Next up is The Horror of Dracula, which came out in 1958. This is one of the first of the Hammer Horror movies from the '50s, starring Peter Cushing as Dr. Van Helsing and Christopher Lee as Count Dracula. It's also apparently the first vampire movie ever made in color. Like the 1931 version of Dracula, it's a condensed version of the story, though frankly, I think it hangs together a little better. Van Helsing is a bit more of an action hero in this one, since in the end he engages Dracula in fisticuffs. The movie is essentially carried by the charisma of Peter Cushing and Christopher Lee and worth watching as a good example of a classic '50s horror movie. Overall Grade: B
Next up is The Wolf Man, which came out in 1941. This is another one of the classic Universal horror movies. This one features Lon Cheney Jr. as Larry Talbot, the younger son of Sir John Talbot. Larry's older brother died in a hunting accident, so Larry comes home to reconcile with his father and take up his duties as the family heir. Larry is kind of an amiable Average Joe and is immediately smitten with the prettiest girl in the village, but when he takes her out for a walk, they're attacked by a werewolf, who bites Larry. Larry and everyone else in the village do not believe in werewolves, but they're about to have their minds changed the hard way. The transformation sequences where Larry turns into the Wolfman were cutting edge of the time, though poor Lon Chaney Jr had to stay motionless for hours as they gradually glued yak hair to him. I think Claude Rains had the best performance in the movie as Sir John and he's almost the co-protagonist. Overall Grade: B
Next up is Jurassic World: Rebirth, which came out in 2025, which I thought was a perfectly straightforward but nonetheless enjoyable adventure film. After all the many disasters caused by various genetic engineering experiments in the previous movies, dinosaurs mostly live in relatively compatible ecosystems and tropical zones near the equator. No one's looking to create a theme park with dinosaurs or create bioengineered dinosaurs as military assets any longer. However, the dinosaurs are still valuable for research and a pharmaceutical company is developing a revolutionary drug for treating cardiac disease. They just need some dinosaur blood from three of the largest species to finish it, and so the company hires a team of mercenaries to retrieve the blood. We have the usual Jurassic Park style story tropes: the savvy mercenary leader, the scientist protesting the ethics of it all, the sinister corporate executive, the troubled family getting sucked into the chaos. And of course, it all goes wrong and there are lots and lots of dinosaurs running around. It's all been done before of course, but this was done well and was entertaining. Overall Grade: B+
Next up is The Thursday Murder Club, which came out in 2025, and this is a cozy mystery set in a very high-end retirement home. Retired nurse Joyce moves into Coopers Chase, the aforementioned high end retirement home. Looking to make new friends, she falls in with a former MI6 agent named Liz, a retired trade unionist named Ron, and psychiatrist Ibrahim, who have what they call The Thursday Murder Club, where they look into cold cases and attempt to solve them. However, things are not all sunshine and light at Coopers Chase as the two owners of the building have fallen out. When one of them is murdered, The Thursday Murder Club has to solve a real murder before Coopers Chase is bulldozed to make high-end apartments.
A good cozy mystery with high caliber acting talent. Both Pierce Brosnan and Jonathan Price are in the movie and regrettably do not share a scene together, because that would've been hilarious since they were both in the James Bond movie Tomorrow Never Dies in the '90s with Brosnan as Bond and Price as the Bond villain for the movie. Overall Grade: B+
Next up is The Creature From the Black Lagoon, which came out in 1954 and is one of the last of the black and white classic horror movies since in the '50s, color film was just around the corner. When a scientist finds the unusual half fish, half human fossil on a riverbank in Brazil, he decides to organize an expedition upriver to see if he can find the rest of the fossil. The trail leads his expedition to the mysterious Black Lagoon, which all the locals avoid because of its bad reputation, but a living member of the species that produce the fossils lurking the lagoon while it normally doesn't welcome visitors, it does like the one female member of the expedition and decides to claim her for its own. The creature was good monster and the underwater water sequences were impressive by the standards of the 1950s. Overall Grade: A-
Next up is The Invisible Man, which came out in 1933, and this is another of the classic Universal black and white horror movies. Jack Griffin is a scientist who discovered a chemical formula for invisibility. Unfortunately, one of the drugs in his formula causes homicidal insanity, so he becomes a megalomaniac who wants to use his invisibility to rule the world. This causes Griffin to overlook the numerous weaknesses of his invisibility, which allow the police to hunt him down. The Invisible Man's special effects were state of the art at the time and definitely hold up nearly a hundred years later. It's worth watching as another classic of the genre. Claude Rains plays Griffin, and as with The Wolf Man, his performance as Griffin descends into homicidal insanity is one of the strengths of the movie. Overall Grade: A-
Next up is The Mummy, which came out in 1932, and this is another of the original Universal black and white horror movies. Boris Karloff plays the Mummy, who is the ancient Egyptian priest Imhotep, who was mummified alive for the crime of desiring the Pharaoh's daughter Ankh-es-en-Amon. After 3,000 years, Imhotep is accidentally brought back to life when an archeologist reads a magical spell and Imhotep sets out immediately to find the reincarnation of his beloved and transform her into a mummy as well so they can live together forever as undead. Edward Van Sloan plays Dr. Mueller, who is basically Edward Van Sloan's Van Helsing from Dracula if Van Helsing specialized in mummy hunting rather than vampire hunting.
This version of the Mummy acts more like a Dungeons and Dragons lich instead of the now classic image of a shambling mummy in dragging bandages. That said, Boris Karloff is an excellent physical actor. As he does with Frankenstein, he brings Imhotep to life. His performance captures the essence of a creature that hasn't been human for a very long time, is trying to pretend to be human, and isn't quite getting there. Of course, the plot was reused for the 1999 version of The Mummy with Brendan Fraser. That was excellent and this is as well. Overall Grade: A-
Next up is The Wedding Singer, which came out in 1998, and this is basically the Adam Sandler version of a Hallmark movie. Adam Sandler plays Robbie, a formerly famous musician whose career has lapsed and has become a wedding singer and a venue singer. He befriends the new waitress Julia at the venue, played by Drew Barrymore. The day after that, Robbie's abandoned at the altar by his fiancée, which is understandably devastating. Meanwhile, Julia's fiancé Glenn proposes to her and Robbie agrees to help her with the wedding planning since he's an expert in the area and knows all the local vendors.
However, in the process, Robbie and Julia fall in love, but are in denial about the fact, a situation made more tense when Robbie realizes Glenn is cheating on Julia and intends to continue to do so after the wedding. So it's basically a Hallmark movie filtered through the comedic sensibilities of Adam Sandler. It was very funny and Steve Buscemi always does great side characters in Adam Sandler movies. Overall Grade: A
Next up is Downton Abbey: The Grand Finale, which came out in 2025. This movie was sort of a self-indulgent victory lap, but it was earned. The writers of the sitcom Community used to joke that they wanted "six seasons and a movie" and Downton Abbey got "six seasons and three movies". Anyway, this movie is about handing off things to the next generation. Lord Grantham is reluctant to fully retire as his daughter goes through a scandal related to her divorce. The next generation of servants take over as the previous ones ease into retirement. What's interesting is both the nobles and the servants are fully aware that they're sort of LARPing a historical relic by this point because by 1930, grand country houses like Downton were increasingly rare in the UK since World War I wiped out most of them and crippling post-war taxes and economic disruption finished off many more. Anyway, if you like Downton Abbey, you like this movie. Overall Grade: A
Next up is Argo, which came out in 2012, a very tense thriller about the Iranian hostage crisis in 1979. During that particular crisis, six Americans escaped the embassy and hid out at the Canadian Ambassador's house in Tehran. For obvious reasons, the Canadian ambassador wanted them out as quickly as possible, so the CIA and the State Department needed to cook up a plan to get the six out while the rest of the government tried to figure out what to do about the larger group of hostages. Finally, the government comes with "Argo." A CIA operative will create a fake film crew, a fake film company, and smuggle the six out of Tehran as part of the production. The movie was very tense and very well constructed, even if you know the outcome in advance if you know a little bit of history. Ben Affleck directed and starred, and this was in my opinion one of his best performances. It did take some liberties with historical accuracy, but nonetheless, a very tense political thriller/heist movie with some moments of very dark comedy. Overall Grade: A
Next up is The Naked Gun, which came out in 2025, and this is a pitch perfect parody of the gritty cop movie with a lot of absurdist humor, which works well because Liam Neeson brings his grim action persona to the movie and it works really well with the comedy. Neeson plays Lieutenant Frank Drebin Jr., the son of the original Frank Drebin from The Naked Gun movies back in the '80s. After stopping a bank robbery, Drebin finds himself investigating the suicide of an engineer for the sinister tech mogul Richard Cane. Naturally, the suicide isn't what it appears and when the engineer's mysterious but seductive sister asks for Drebin's help, he pushes deeper into the case. Richard Cane was a hilarious villain because the writers couldn't decide which tech billionaire to parody with him, so they kind of parodied all the tech billionaires at once, and I kid you not, the original Frank Drebin makes an appearance as a magical owl. It was hilarious. Overall Grade: A
Now for my two favorite things I saw in Autumn 2025. The first is the combination of Frankenstein and Bride of Frankenstein, which came out in 1931 and 1935. These are two separate movies, but Frankenstein leads directly to Bride of Frankenstein, so I'm going to treat them as one movie. Honestly, I think they're two halves of the same story the way that Avengers: Infinity War and Avengers: Endgame would be two halves of the same story 90 years later, so I'll review them as one. Frankenstein by itself on its own will get a B. Colin Clive's performance is Dr. Henry Frankenstein was great, and Boris Karloff gives the Creature a suitable air of menace and uncanny valley. You really feel like he's something that's been brought to life but isn't quite right and still extremely dangerous. The movie does have a very pat ending that implies everyone will live happily ever after, with Dr. Frankenstein's father giving a toast to his son.
But Bride of Frankenstein takes everything from the first movie and improves on it. It's one of those sequels that actually makes the preceding movie better. In Bride, Henry is recovering from his ordeal and swears off his experiments of trying to create artificial humans, but the Creature survived the fire at the windmill at the end of the last movie and is seeking for a new purpose. Meanwhile, Henry receives a visit from his previous mentor, the sinister Dr. Pretorius. Like Henry, Pretorius succeeded in creating artificial life and now he wants to work with Henry to perfect their work, but Henry refuses, horrified by the consequences of his previous experiments. Pretorius, undaunted, makes an alliance with the Creature, who then kidnaps Henry's wife. This will let Pretorius force Henry to work on their ultimate work together-a bride for the Creature.
Bride of Frankenstein is a lot tighter than Frankenstein. It was surprising to see how rapidly filmmaking techniques evolved over just four years. Pretorius is an excellent villain, more evil wizard than mad scientist, and the scene where he calmly and effortlessly persuades the Creature to his side was excellent. One amusing note, Bride was framed as Mary Shelley telling the second half of the story to her friends, and then the actress playing Mary Shelley, Elsa Lancaster, also played the Bride. So that was a funny bit of meta humor. Frankenstein and Bride of Frankenstein combined is one of my two favorite movies of Fall 2025. Overall Grade: A+
And now for my second favorite movie of Autumn 2025, which as it turns out is also Frankenstein, but Guillermo del Toro's version that came out in 2025. And honestly, I think Guillermo del Toro's version of Frankenstein is the best version put to screen so far and even does the rarest of all feats, it improves a little on the original novel. Oscar Isaac plays Victor Frankenstein as a brilliant, driven scientist with something of a sociopathic edge. In other words, he's a man who's utterly inadequate to the task when his experiment succeeds and he actually creates an artificial human that have assembled dead body parts. Jacob Elordi does a good job as the Creature, playing him is essentially a good hearted man who's driven to violence and despair by the cruelty and rejection of the world. The recurring question of the Frankenstein mythos is whether or not Victor Frankenstein is the real monster. In this version, he definitely is, though he gets a chance to repent of his evil by the end. Honestly, everything about this was good. The performances, the cinematography, everything. How good was it? It was so good that I will waive my usual one grade penalty for unnecessary nudity since there were a few brief scenes of it. Overall Grade: A+
So that was the Autumn 2025 Movie Roundup. A lot of good movies this time around. While some movies of course were better than others, I didn't see anything I actively disliked, which is always nice.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we discuss the advantages of digital content ownership for both readers and writers.
This coupon code will get you 50% off the audiobook of Cloak of Ashes, Book #3 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
CLOAK2025
The coupon code is valid through November 24, 2025. So if you need a new audiobook this fall, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 277 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 14th, 2025, and today we are discussing the benefits of owning your own content for both readers and writers. Before we get to our main topic, we will start off with Coupon of the Week and then a progress update on my current writing, publishing, and audiobook projects.
First up is Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Ashes, Book #3 in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. That coupon code is CLOAK2025. And as always, the coupon code and the links to my Payhip store will be available in the show notes. This coupon code is valid through November 24th, 2025, so if you need a new audiobook for your Thanksgiving travels this month, we have got you covered.
Now for an update on my current writing, publishing, and audiobook projects. I'm pleased to report the rough draft of Blade of Shadows is done. This will be the second book in my Blades of Ruin epic fantasy series. Right now, it is just about exactly as long as Blade of Flames. It may be a little longer or a little shorter depending on how editing goes since there's some stuff I'm going to cut out, but there's also some scenes I'm going to add. I also wrote a short story called Elven Arrow. Newsletter subscribers will get a free ebook copy of Elven Arrow when Blade of Shadows comes out, which will hopefully be before American Thanksgiving at the end of the month. I'm about 23% of the way through the first editing pass, so making good progress there and hope to keep up with the good progress.
I am 11,000 words into Wizard-Assassin. That will be my next main project once the Blade of Shadows is published and probably the final book I publish in 2025, because I think the first book I do in 2026 will be Blades of Ruin #3, if all goes well.
In audiobook news, the recording for Blade of Flames is done and it's gradually making its way out into the world (as excellently narrated by Brad Wills). I think as of the time of this recording, the only place where it's actually live is Google Play, but hopefully more stores will come online soon, and it would be cool if the Blade of Flames audiobook was available everywhere before Blade of Shadows came out. Hollis McCarthy is still working on Cloak of Embers and we hope to have that to you before the end of the year, if all goes well. So that's where I'm at with current writing, publishing and audiobook projects.
00:02:25 Main Topic: Digital Content Ownership as a Reader and Writer
Now let's move on to our own topic, the ownership of digital content as both a reader and a writer. As the digital revolution has gone on and on and put more decades behind it, people are increasingly building very large digital content libraries and it's an increasingly tangled point of law what happens to those digital libraries when for example, their account gets suspended, or for example, someone else dies and wants to leave their Steam library of games to their heirs. We're today going to be focusing on digital content ownership for readers and writers, and we'll start with readers. Although the price of an ebook and print book of many traditionally published books are roughly the same at this point (and sometimes bafflingly, the ebook versions cost more), the rights you have as the owner of the ebook copy are substantially less powerful. In fact, technically speaking, you aren't actually the owner of an ebook purchased from Amazon or other retailers. It's more accurate to say that you purchased a long-term conditional lease.
As a side note, I'm talking about this from the perspective of United States Copyright law and ebook/audiobook stores there. The laws and standards in your own country may be different. Also, I am not a lawyer and nothing in this episode should be taken as legal advice. You obtain legal advice by hiring a lawyer licensed to practice in your jurisdiction. But now back to the main argument.
In America, there is something known as the First Sale Doctrine. This section of the US Copyright Act allows physical media to be lent out and resold, among other things. For example, someone who purchases a physical book is considered its owner and the publisher can't take it back from them. The physical version of books can be used in libraries or as classroom materials until they literally fall apart, unlike their electronic equivalents, which face complicated licensing agreements that generally offer far less favorable terms of use for a much larger cost (especially for libraries and academic institutions).
In the US, electronic content ownership is covered by contract law instead of the First Sale Doctrine. Although each seller has their own licenses and standards, a few things tend to remain consistent across those licenses: the inability to lend or resell the content, the inability to remove DRM from the content, and the right of the seller to alter or even remove the content. Ownership is not a right guaranteed for digital content.
There is an American lawsuit currently challenging Amazon Prime Video and its use of words like "purchase" and "buy" for its video content. The lawsuit accuses Amazon of misrepresenting a heavily conditional license as a purchase, giving the average customer the impression that they own the content in perpetuity. Amazon lawyers argue that the average customer understands the difference, but frequent outrages over content being removed from users' libraries suggests otherwise.
Here are four reasons owning your ebook content is important.
#1: Keeping access to the content if the company closes or gets bought out. One of the early leaders in the US ebook store market way back at the start of the indie revolution was Sony. When their Sony Reader store closed, they gave readers the option to migrate their libraries to Kobo. Books that were not available through Kobo were not able to be transferred, so some purchased content was lost for readers.
A more egregious example comes from, as you might expect, Microsoft with the closing of the Microsoft ebook store in 2019. When the store closed, they offered refunds instead of giving readers an opportunity to self-archive or transfer their purchases. Any margin notes taken by readers were lost, and they were given a $25 credit for the inconvenience. Although refunding customers was a good gesture, it's not a guarantee that readers are able to repurchase the ebooks elsewhere or even that the price would be the same when they did. As an aside, I spent a good chunk of time in 2018 trying to figure out how to get into the Microsoft ebook store and then finally gave up because it was too complicated, which in hindsight turned out to be a good decision. Owning your ebooks outright gives them independence from the store that you bought them from.
#2: Keeping content from being altered. Ebooks can be altered anytime. Most of the time these changes are harmless, such as updating a cover, fixing a typo, or adding a preview chapter. I do that myself all the time. Every time I get typo corrections, I upload a new version. Yet there is a potential for books to be edited or censored from the original copy that you purchased. Chapters could be removed, scenes altered, or in extreme cases, the entire book could be removed. Owning a hard copy means that you have a version that cannot be changed without your knowledge.
#3: The ability to self-archive. Most ebook stores use a form of digital rights management (DRM) that makes it difficult to transfer or permanently store your collection outside of their collection or library. Trying to do so is a violation of the license you purchased from the store, so I won't discuss how to do that. Amazon recently made self-archiving more difficult by discontinuing the feature to download and transfer Kindle books via USB.
Finding DRM-free ebook stores is important if you want to organize and store your ebook collection as you see fit. Two examples of stores with DRM-free ebooks are Smashwords and direct [sales] sites like My Payhip store. Other stores like Kobo have a dedicated section devoted to DRM-free ebooks.
#4: Keeping your reading habits private. Companies like Amazon track reading data, mostly out of a desire to sell you similar books or ad space. They track what you're reading, the amount of time you spend reading, your reading speed, and the highlights that you make in a book. Now, most of the time this is generally pretty harmless. It's mostly used for…you look on Amazon, you see that the section "customers who enjoyed this book also enjoyed this". Then if you use the Kindle app on your phone a lot, it has a lot of badges and achievements and it tends to be used for that kind of thing. However, there could be sinister undertones to this, especially if you're reading things you would prefer other people not know about. So if this concerns you, if there are some settings that you can adjust, but if you want complete privacy, outright ownership of your ebooks is the way to go.
So what is the easiest way to own your own ebooks as a reader? The easiest way and perhaps the safest way to own your content outright is to buy print copies of books. That said, buying direct from authors or finding ebooks that have more favorable license terms is easiest way to own your ebook purchases. One of the reasons that opening a Payhip store was important to me was I gave my readers a chance to outright own purchased copies of my work and self-archive them in the way that they saw fit, if that was important to them. The price is the same on my Payhip store as other ebook or audiobook stores (and sometimes even cheaper if you're using Coupon of the Week). The ebooks and audiobooks there are DRM-free and untethered from specific stores and companies. You have the option to download files in a variety of file formats and store them in a way that makes the most sense to you. Buying direct also gives a greater share of the sale price to the authors, especially in the case of audiobooks.
In conclusion, ebooks lag behind print books in terms of ownership rights for purchasers here in the United States (at the time of this recording). That said, you can be an informed consumer by reading terms of use carefully and educating yourself to make sure that you have the most possible access to your purchased content.
Now, we've covered that from the reader side, and let's look at it from the side of the content creators, specifically writers. This can also apply to other content creators such as musicians, and we're going to use a very famous example for that, Taylor Swift. The general public learned about the importance of fully owning your content as a creator during the long and very public battle between musician Taylor Swift and the record company that sold her work to a private equity firm associated with someone she personally disliked. She owned the copyrights to the works (along with her various collaborators), but not the masters, the specific recordings of each song.
As long as she didn't own her masters, she didn't have control over song choices for her public performances, the label releasing older content against her wishes, or how her music would be licensed out for commercial use. Swift reasserted control by rerecording old albums (a strategy previously used by the musician Prince), which gave her ownership of these new masters and devalued the original masters to the point where she could later afford to buy them outright. Many artists, including Olivia Rodrigo, credit Swift for helping them to negotiate adding the ownership of their masters into their contracts. As predatory as the publishing industry can be, the music industry tends to make them look like rank amateurs in terms of sheer evil. So it is a testament to her popularity and business success that she was able to convince them to do this. The world's most famous pop star taught millions of fans that owning your work is the ultimate goal of a creative.
Why is ownership of your work important for writers specifically and not just American pop stars? We'll discuss six reasons why it's important for content creators and specifically writers in this episode. And as a reminder yet again, I'm talking about this from the perspective of United States law. Laws and standards in your own country may be different. Also, I am not a lawyer and nothing in this episode should be taken as legal advice. You obtain proper legal advice by contacting a lawyer licensed to practice in your jurisdiction. So with that in mind, let's get into the topic. What is ownership as a writer? Writers generally keep the copyrights to works they sell to publishers. Writers are essentially selling the right or a license to produce and distribute their book in a certain format, language, and geographic area. Most of the time, geographic area rights are sold separately. For example, rights for the Harry Potter books are owned by Scholastic in the United States and Bloomsbury in the United Kingdom. Sometimes writers will keep the rights in a specific format, like when I signed with Tantor to give them the audio rights to the first five Frostborn books while keeping the rights to my print and ebook formats.
What writers lose in the process of selling to publishers is the ability to control how their work is marketed, packaged, and sold. They do not have the freedom to make major decisions such as when a book is released or where it is marketed. Today I am going to share six reasons that retaining ownership is important for writers and what things you generally sacrifice when you sign with a traditional publisher instead of self-publishing or indie publishing.
#1: Creative control. It is not standard to have complete control over your book's cover design. Often an artist is able to submit suggestions to the designer, but the publisher has ultimate authority over the book's cover. Sometimes covers end up being wildly inappropriate for the book, but the author has no recourse. The same is usually true with the ability to pick an audiobook narrator or change anything about the narration. At times, writers (especially new ones) are pressured into changes they do not want by editors.
The surest way to completely lose all creative control is signed with a book packager like Alloy Entertainment. If you want to hear the story of how L.J. Smith was fired from her own series due to a plot dispute with that publisher, YouTuber Jenny Nicholson covers it in her epic length summary of The Vampire Diaries show. Although a certain paycheck from a book packager is tempting, you'd be wisest not to create any fictional characters or worlds for this type of publisher for that reason.
#2: Dead Series Syndrome. If the first book in a series does not sell well, the publisher tends to abandon the series. The next book in the series might be ready for publication, but they're not obligated to publish it if they suspect it will not be profitable. Unfinished series are extremely common in traditional publishing, unfortunately. Writers who are locked into a contract for a series are generally out of luck putting out the books on their own. Even if they put out later books on their own, not having the rights to the first book in the series makes it difficult for a writer to sell and market subsequent books.
I had a series (Demonsouled) that I wanted to continue even though the first book was released by my publisher. I was able to get the rights back for it and then was able to self-publish this rest of the series. This was much easier to do 14 years ago than it is now. Modern contracts, especially from larger publishers, are not so generous in letting authors do this. It would be much easier to start as a self-published author and have full control over the trajectory of your series and make sure readers are able to finish it instead of waiting for a contract to elapse or fighting a difficult, hard to win battle to get the rights back.
#3: The ability to change. One of the perks of owning your book is the ability to make quick changes that react to data. For example, I was able to retitle the Stealth and Spells series fairly quickly when it became immediately clear upon release that some found the original title confusing. A traditional publisher would likely not have bothered to make the effort unless there was a legal reason for doing so.
The ability to change covers, repackaging books in different ways (like omnibus editions), and to make quick changes to the book on the fly (such as fixing typos or continuity errors), is the unique privilege that comes with owning your own work. Publishers are slow to make these types of changes, if they do it at all.
#4: Profit. Writers typically only receive an advance (an initial lump sum) when working with a traditional publisher. The complexities of publisher accounting usually ensure that only great successes receive royalties, and often even those that do can take a while to reach that benchmark. Royalties are typically doled out quarterly or semi-annually, for those who make enough to receive them. The earning statements are fairly byzantine. It's hard for the average person to understand them fully to make sure they're being paid exactly what is owed to them. Owning your own work and publishing yourself means that you keep all of the profit after the cut taken by the ebook store and whatever you pay cover designers, editors, and so on.
You can see all of the sales as they come in and don't have to wait for those two to four royalty checks each year in order to get paid. It's much easier to make a living as a writer and to feel confident that you can pay others when you have more accurate data on the money coming in. Indie publishing sacrifices the certainty of an advance for a far, far greater share of the profits in the long run. Additionally, agents typically take a 15 to 20% commission on author earnings, and they are an essential part of the process in traditional publishing. It's just about impossible to get foot in the door with traditional publishing without one. Most self-published writers don't bother with an agent, which means they're able to keep that cut of the money and don't have to shape their work around the preferences and whims of an agent. They also spared the stress and hassle of working with an unethical or bad agent (of which they're unfortunately far too many).
#5: Professional freedom. The publisher decides when the books are released or if they're released at all. Are you ready to publish a book two months after the first one is released? Too bad. A publisher is not going to put out the next one that quickly. The traditional wisdom of publishing schedules seems wildly out of date in the content-heavy modern world, where algorithms reward recent titles and frequent publishing. Publishing more often also helps fans stay connected to your work, and frankly, it's much easier to make a living as a writer putting out several books a year instead of just one. Additionally, traditionally published writers do not control how a book is marketed. Are you upset that your book is being marketed as a romance when you think it's complex literary fiction? Too bad. It's not your call. In fact, writers may be contractually obligated to post content to their social media pages written or approved in advance by the marketing department at the publisher. You might have to put your name publicly to marketing copy you dislike or disagree with in order to not violate your contract.
In a related vein, you might find that if you post heavily on your social media pages about political or controversial topics, you may be reprimanded by the publisher or in some cases, have your contract canceled entirely. Although indie authors aren't immune from social consequences of what they post, no publisher is holding them back from posting what they want just because they're writers and the publisher is scared of what the shareholders might think.
#6: The publisher being sold. One of the biggest problems for traditionally published writers is when their publisher is sold to another one. This may mean restructuring that takes away staff they worked with a long time (like a favorite editor being replaced by an inexperienced one). As smaller publishers are eaten up by the larger ones, you might find that your books become an afterthought and you don't have any power to fix that.
You might even have to fight to get paid what you're owed in your own contracts, which writers of Star Wars books found out when Disney acquired Lucasfilm. Apparently when Disney bought Lucasfilm, it decided it no longer owed royalties to several writers of Star Wars tie-in novels that Lucasfilm had published and weren't going to pay them until it went public and caused a bit of controversy. Finally, a settlement was reached. This is sort of the shifty behavior that Disney is well known for in certain circles, and it is something you have to watch out for with large publishers and media conglomerates. The easiest way to keep this from happening is, once again, to publish yourself and keep ownership of your work.
In conclusion, when traditional publishing was the only way to become a writer, their restrictions and control were something you had to live with because you had no other option. Now that self-publishing is extremely accessible and traditional publishing is shrinking, it's no longer worth making the trade-offs that authors once had to in order to gain readers of their work.
Although I never actually listened to a Taylor Swift song all the way through, her career and business ventures are proof that owning your work as a creative is the best way forward. Ownership should be the starting point, not the end goal of anyone who values creative control and fair, transparent payment for their creative work.
So that is it for this week. I hope that illuminated the importance of owning your own work, especially if you are a writer or other creative. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at my direct sales for 2025, and consider six lessons for improving direct sales. I also answer a reader question about Kobo Plus.
This coupon code will get you 50% off the audiobook of Shield of Battle, Book #5 in The Shield War series, (as excellently narrated by Brad Wills) at my Payhip store:
SHIELD2025
The coupon code is valid through November 17, 2025. So if you need a new audiobook this fall, we've got you covered!
TRANSCRIPT
00:00:00
Hello, everyone. Welcome to Episode 276 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 7, 2025, and today we are discussing how I had a 300% increase in direct sales for 2025 so far, and the challenges that might pose. We'll also have Coupon of the Week, an update on my current writing progress, and a reader question about Kobo Plus.
First up is Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Shield of Battle, Book #5 in The Shield War series (as excellently narrated by Brad Wills) at my Payhip store, which seems appropriate because we're talking about direct sales. That coupon code is SHIELD2025 and as always, links to my store and the coupon code will be in the show notes for this episode. This coupon code is valid through November 17th 2025. So if you need a new audiobook for this fall, we have got you covered.
Now for an update on my current writing progress. As of this recording, I am 70,000 words [into] Blade of Shadows, the second book in my Blades of Ruin epic fantasy series. That puts me on chapter 16 of 20, so I'm about three quarters of the way through. I think the rough draft is going to land at about 85 to 90,000 words. So if all goes well, I'm hoping to finish that rough draft next week and hopefully get the book out before Thanksgiving, but we'll see how the rest of this month goes. I'm also 8,000 words into Wizard-Assassin, which will be the fifth book of my Half-Elven Thief series. If all goes well, I want to have that out in December, which will make it the final book I publish in 2025.
In audiobook news, Brad Wills is working on recording Blade of Flames, the previous book in the Blades of Ruin series and good progress is being made there. And Hollis McCarthy is also working on the audiobook of Cloak of Embers, which was Book 10 in the Cloak Mage series. So if all goes well, we should have both of those audiobooks to you before the end of the year. So that is where I'm at with my current writing and publishing and audiobook projects.
00:02:00 Thoughts on Kobo Plus
Let's talk a little bit about Kobo Plus before we move on to our main topic. A reader recently asked if I made more money from sales on Kobo from direct sales on the Kobo platform or through Kobo Plus, which is Kobo's subscription service. And the answer is, well, it depends. My primary answer always is that readers should read my books on whatever platform they prefer and which is most convenient for them (with the exception of piracy).
As for the specific details, it gets a little bit more complicated. I suspect at this point more Kobo readers use Kobo Plus than actually buy ebooks off Kobo. Like in September alone (which is the last month I have complete figures for), 75% of my Kobo revenue came from Kobo Plus. So very clearly not having my books in Kobo Plus is a non-starter of an idea. That said, Kobo Plus (unlike Kindle Unlimited) runs off minutes read rather than pages read that KU uses, which makes it a lot harder to game the way some people do with Kindle Unlimited because the system is more opaque. So obviously longer books do a lot better with Kobo Plus and I have a lot of longer books in the form of various omnibus editions. Even a fast reader is going to take a while to get through Frostborn: Omnibus One, so I know for a fact those do quite well on Kobo Plus.
So I suspect with individual novels I make less with Kobo Plus than I do with ebook sales, but for the omnibus editions, I make more from Kobo Plus than I do with the individual sales. Overall, I would say if you're a Kobo user and you want to read a book just once, Kobo Plus is probably the economical choice, but if you want to reread the book many times, you're better off buying it outright. For an interesting bit of data, here are my 10 most read Kobo Plus books for 2025 so far. Thanks for reading them, everyone!
1.) Shield of Deception 2.) Cloak Mage Omnibus One 3.) Shield of Battle 4.) Ghost in the Assembly. 5.) Cloak of Illusion 6.) Ghost in the Corruption 7.) Cloak of Embers 8.) Dragontiarna Omnibus One 9.) Dragonskull Omnibus One 10.) Cloak of Masks
So as you can see, there were three different omnibus editions in that Top 10 list, so those do quite well on Kobo Plus.
00:04:00 Main Topic: Six Lessons Learned from a 300% Increase in Direct Sales
Now onto our main topic, six lessons learned from a 300% increase in direct sales for 2025. By means of some background, in 2021 I started a direct sales site for my books and audiobooks using the Payhip platform. I'd been thinking about this for some time and the instigation was that at the time I was about to publish Ghost in the Vision. The Barnes and Noble site had problems with a ransomware attack that made it impossible to upload new books to the Barnes and Noble site for about three weeks (if I remember correctly). And obviously this was concerning because I had Ghost in the Vision coming out during that time and I wanted to be able to get it to Barnes and Noble readers, but I couldn't because the Barnes and Noble site was having technical difficulties.
So that's when I started using Payhip and mentioned that hey, Barnes and Noble readers, I know I can't upload it to the Barnes Noble site right now, but you can get it from Payhip and obviously Barnes Noble restored the website and I was able to upload a book again, but I kept going with the Payhip site. Why did I do that? Well, as I've said before for direct sales, it makes sense for me to have a place that I could fully control since (barring technical difficulties that we talked about) the main ebook platforms can take a day or two before the books are ready to be sold. And as we mentioned before, sometimes oddities happen and a book can get delisted on a site like Amazon or a site could suffer a cybercrime attack like Barnes and Noble did in 2021. Direct sales also give authors a greater percentage of the profits, especially for audiobooks. The highest rate of royalty I get for any audiobook sales is definitely through direct sales.
Progress was slow for getting people to use the Payhip site for obvious reasons. People are locked into the platforms where they feel the most comfortable (the Kindle Library, for example). It takes a lot to get people to change their buying behaviors, but over the last year, I've seen a 300% increase in sales at my Payhip store over what I had made in 2024. And there are six reasons why I think that happened that I'd like to share with you in this week's episode.
#1: The first reason is it gives people an alternative. For a variety of reasons, many people are frustrated with Amazon or Google and the other big tech companies and are boycotting them for a number of reasons. If you've paid attention to the news at all over the last five years, you can probably guess what a few of those reasons might be. Others are concerned with the amount of tracking data on these sites and having their browsing data sold as advertising info. Having a direct sales platform gives readers who have these concerns a way to support you. Payhip is great for those with privacy concerns because it provides us with very, very little user data and there's no way to put ads on the site or even sell ad space there. The only customer data I get from a transaction through Payhip is the email address, which is obviously necessary since there needs to be a place to send the ebooks and the audiobooks. I don't sell or share that data with other companies or even other authors, so that is a good way to buy my books while leaving a minimal data footprint that can't be used for any kind of tracking.
#2: The second reason and one that I think is about 50% of the sales growth this year, is new releases. And that is because my Payhip site is always the first place to find any of my new releases since I have complete control over the uploads there. How fast books appear on other sites is out of my control and can sometimes take a day or two (or in extreme cases, even longer than that). But I have complete control on Payhip of upload time (so long as Payhip is working and my internet connection is working). Consistently having the new releases available on my Payhip site right away also makes people feel like they're not missing out by shopping there. Having someone to help me with my Payhip store has made that a lot easier to do that consistently over the past couple of years. I did hire someone to help me out with that and it's been light years forward in having all my ebooks and audiobooks available on the Payhip store.
#3: Number three, which I think is the other 50% of the reason I had a direct sales increase this year, is Coupon of the Week, which we already listened to on this episode. Coupon of the Week only takes about a minute to set up, but it has been an effective way to get people to buy ebooks and audiobooks at my Payhip site. The discount amounts I use means I'm still getting paid roughly the same amount that I would from a sale on Audible or Amazon, but the reader is getting a pretty substantial discount. Discount amounts are usually 25% off for an ebook or 50% off for an audiobook. It's enough of a discount to make it worthwhile for my readers. I've also been experimenting with discounting entire series in a Coupon of the Week instead of only one book. This change has been good for sales. It lets readers stock up on a whole series for a fraction of the price.
That kind of whole series discount is also a good response to (only a few) readers who want omnibus editions that cover every single book in the series, which frankly isn't profitable to me for a couple of reasons. One is that if it's on Amazon, a file that size would incur a significant delivery fee from Amazon, which would cut into the profits. Another reason is that the file size for that just gets to be unwieldy. Frostborn is 15 books and 15 fairly long novels combined into a single ebook file does get pretty unwieldy.
#4: The fourth reason and one that has consistently been helpful is the free short stories. Switching ebook platforms is a big change for many readers and it's best to give them a good incentive to do that. The old saying that it's easier to draw someone in with a carrot instead of a stick is true in ebook sales, as is in every other facet of life.
Free items are a low-pressure way for someone to try out the site and test out the experience of downloading a book through my direct sales page. Direct sales pages are the best way to have control of free content that you're giving out to readers since price changes on other sites can vary wildly in when they occur, which makes setting up promotions very difficult if you're not sure when the price change will be live on all platforms. It's also a lot easier than what people used to do in the early 2010s for this kind of thing, which is directly email ebook files to readers, whereas having them nicely delivered through Payhip and then the Book Funnel backend is much more convenient. Coupon codes can be too much of a hassle for some readers, and setting up coupon codes on multiple platforms is definitely a massive hassle and can't be done on some platforms as frequently as I would like, so giving away free short stories via Payhip is an effective use.
#5: The fifth reason is my direct sales page [content] is DRM free. This winter, Amazon removed the option to download and transfer Kindle books via USB for any books purchased through Amazon, which created a stir on social media even though most readers weren't using the feature and weren't even aware that it existed. What the outrage over the change did was make many people aware that they weren't truly owners of the content they bought from Amazon. It might be your instinct as a writer to put DRM in your ebooks and audiobooks in the belief that doing so prevents piracy. As anyone in the music industry can tell you, people will always find a way around DRM. All it does is punish the honest people who are supporting you by buying your content legally and making it more difficult for them to use in the ways to make the most sense to them.
Selling books without DRM gives people a chance to truly own the content and archive it the way that works best for them. Everything on my Payhip store is DRM free for those reasons. Because the books can be downloaded and stored without restrictions, they can't be removed from your collection like a book in a Kindle Library can. A book purchased from Payhip is one that you can truly and completely own.
#6: The sixth reason that has been helpful I think is honestly simple patience. Direct selling ebooks is a lot harder than just putting them on Amazon because Amazon is very well optimized for getting people to buy things and direct sales are often not. The very first year I did direct sales in 2021, by the end of the year I made a grand total of $10. This year I am probably going to make high three figures (if all goes well), which still is not a lot compared to some of the sales people can report off platforms like Amazon. But if you go from $10 in 2021 to high three figures in 2025, that is quite a growth trajectory. So again, if you were to start using direct sales, be patient and bear in mind it might take a long time of using things like free short stories and Coupon of the Week to gradually build up interest in the site.
I also want to talk a little bit about what I think will be future challenges with direct sales and a big one that will happen if my direct sales continue to grow at this rate will be US sales tax. In 2018, the US Supreme Court ruled that states can charge sales tax for any purchases online. Previously they had not been able to do so and the law has been changed and challenged and tweaked a little bit since then, but it's boiled down to that for most of the states (it varies by states, and this is not legal advice), the rule is if you are selling more than $100,000 worth of product in their state or more than 200 individual transactions in that state, then you're obliged to pay sales tax on those sales to that individual US state.
For me, obviously that is not a problem right now. I believe as of this recording, I have had a total of 95 individual transactions for direct sales. If you divide that out among the 50 US states and UK and several EU countries, I'm nowhere near the reporting thresholds for any individual US state, even the most restrictive ones. That said, it could happen if direct sales continue to grow, that will be a problem I need to address in the future. Payhip collects a VAT for EU countries, but it doesn't do any sales tax collecting for the US.
So if my direct sales continue to grow to the point where I'm hitting sales tax thresholds for the individual states, I would probably have to change platforms from Payhip to something like Shopify where there are a number of plugins on Shopify (like Tax Jar for example) that will take care of the sales tax reporting and filing and paying for you. But that is obviously not a problem right now unless my direct sales grow a good bit. But that is something to keep in mind for future endeavors.
So in conclusion, Payhip has been a growing source of income for me (although still far from my primary one) because of these strategies. Payhip has been a great platform for direct sales and has given my readers another choice in where to buy my books and audiobooks. And as always, I would like to thank everyone who has bought and read my books from either Payhip or any other platform. And even though I have this direct sales platform, a reminder that my preferred answer to the question "where should I get your books?" is "wherever is most convenient for you" (with the exception of piracy, of course).
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting by form of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at the Praetorian Guard of the Roman Empire, and consider how ancient history can inspire fantasy novels.
This coupon code will get you 25% off the ebooks in the Silent Order series at my Payhip store:
SILENT2025
The coupon code is valid through November 10, 2025. So if you need a new ebook this fall, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 275 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October 31st, 2025, and today we're talking about the Praetorian Guard of Ancient Rome and how that can inspire fantasy novels. Also, Happy Halloween (or Happy Protestant Reformation Day, if you prefer). Before we get into all that, we will have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
First up, Coupon of the Week. This week's coupon code will get you 25% off the ebooks in my Silent Order series at my Payhip store: SILENT2025. And as always, both the coupon code and the links to my store will be in the show notes. This coupon code will be valid through November 10th, 2025. So if you need a new ebook for this fall as we come into winter, we have got you covered.
And now for an update on my current writing and publishing projects. As I mentioned last week, Cloak of Worlds is now out and you get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and at my Payhip store. The initial response has been very strong and very positive, so thank you for that and I'm glad that people are enjoying and reading the book. Now that Cloak of Worlds is done, my next main project is Blade of Shadows, which will be the second book in my Blades of Ruin epic fantasy series. I'm currently 44,000 words into it, which puts me on chapter 9 of 20, though I'll probably have more chapters in the final draft than I will in the first draft. I found people really do tend to prefer shorter punchier, shorter chapters. Anyway, I'm about 44,000 words into it. I think I'll be about 109,000 words, when all is said and done. So hopefully that will be out in November.
I'm also 4,500 words into the next Rivah book, which is Wizard-Assassin. It'd originally been entitled Elven-Assassin, but I decided Wizard-Assassin sounded punchier, so we went with that instead. I'm about 4,500 words into that and if all goes well, it will come out in December, which will make it the final book I'll publish in 2025, though hopefully I'll be publishing more books in 2026 before too much longer.
In audiobook news, Brad Wills is currently recording Blade of Flames and we've been listening to some proof chapters of it and are very excited about what we're hearing. Hollis McCarthy is starting work on recording Cloak of Embers. That'll be the 10th book in Cloak Mage, and hopefully we will have both of those audiobooks out before the end of the year, if all goes well. So that is where I'm at with my current writing and publishing projects.
00:02:33 Main Topic: Praetorian Guard of the Ancient Roman Empire
Now let's move on to our main topic this week, which is the Praetorian Guard of the Ancient Roman Empire, and they were very bad at their jobs, but we'll get into that more very shortly. One of the fascinating (if occasionally depressing) aspects of history is how often institutions end up having the exact opposite outcome of what they were intended to do. The late science fiction writer Jerry Pournelle had something called Pournelle's Iron Law of Bureaucracy, which once the bureaucracy got large enough, it will inevitably start turning its main focus to perpetuating the bureaucracy rather than carrying out its actual mission. And we can see examples of that time and time again, and no doubt you yourself can think of many examples: schools that make their students dumber, military organizations that fail to defend, hospitals that make people sicker, bureaucracies that exacerbate the problems that they are created to solve, and so forth.
This can also apply to social movements as well. My favorite example of this is Prohibition in America. The Temperance movement of the late 19th and early 20th century achieved its goal of banning alcohol sales in the United States during the Prohibition period, but the backlash and the consequences made it unpopular. And today, while alcohol is much more heavily restricted than it was at the end of the 19th century, the idea of banning alcohol in the United States is utterly implausible.
The Praetorian Guard of Ancient Rome, the personal bodyguards of the Emperor, might be another example of such an institution that utterly failed at its primary goal. For over a thousand years, people have been asking why the Roman Empire fell, and I think that might actually be the wrong question. The better question is why did the Roman Empire last as long as it did, because it sure almost didn't.
At the height of its power, the Empire controlled land on three different continents in an area larger than many modern states, and it had to maintain that control without anything resembling modern technology and organization. Think of the difficulties involved in governing a large multi-ethnic state in the 21st Century with modern technology and communications and imagine how much harder it was in the first century AD. Travel was difficult and dangerous even with the Roman road system. The account of St. Paul's shipwreck in the book of Acts must've been an all too common experience in the Roman Empire, given the number of Roman wrecks on the bottom of the Mediterranean Sea.
Messages could take weeks to reach their recipients, and there was no division between civilian and military authority. That meant if the Emperors wanted to do anything, they had to use the army to do it because the army was the only pool of skilled men loyal to the state. Since the Empire never really solved the problem of succession and the transfer of power, it didn't take long before ambitious men figured out that the man with the largest army could declare himself Emperor and the Roman Empire actually broke apart into three competing mini empires and almost fell apart entirely in the middle of the 200s AD.
So as we can see, there were a lot of reasons the Roman Empire fell apart and the Praetorian Guard, the bodyguard of the emperors, was one of them. The Praetorian Guard certainly wasn't the sole reason the Roman Empire collapsed, but the guard most definitely didn't help. In the last century of the Roman Republic, one of the growing problems was that the armies were less loyal to Rome and more loyal to their general, who made sure they got paid and received grants of land upon discharge. To show their prestige and to guard against the danger of assassination from rivals, generals began collecting personal bodyguards. Since the Roman generals commanded from a tent in a legionary camp called a "praetorium," the general's private guards became called "praetorians." Obviously, the general wanted his best troops as his bodyguards so becoming a praetorian was a privileged position with higher pay and perks. This practice continued as the Roman Republic split apart into civil wars between the ambitious generals of the First and Second Triumvirates.
The civil wars of the Roman Republic ended with Octavian, later known as Caesar Augustus, as the last man standing with sole control of what we now think of as the Roman Empire. Augustus is remembered as the first Roman emperor, but the office of Emperor didn't really exist at the time, not the way we think of it now. Rather, Augustus was essentially a military dictator, but after he won, he went to great lengths to conceal his power under cloak of legality by having the Senate invest him with various official powers and offices. In modern terms, it'd be like if the United States was ruled by a military dictator who simultaneously held the offices of President, Chief Justice of the Supreme Court, Speaker of the House, Senate Majority Leader, the governorships of the five most populous states, all while claiming to be only the first citizen among equals. Essentially, Augustus invented the powers of the Roman emperor on the fly while being a military dictator and his successors followed suit.
Julius Caesar famously pardoned his enemies and went around without a bodyguard to show his courage, which ended up getting him assassinated. Augustus, by contrast, was determined not to repeat that mistake. So after annihilating his enemies, he founded a personal bodyguard in what we know today as the Praetorian Guard. That's a modern term. The praetorians never called themselves the Praetorian Guard, and they always refer to themselves as the praetorian of whichever emperor they happen to be serving like the Praetorians of Augustus or the Praetorians of Claudius and so forth. Augustus seems to have seen some of the potential danger in the institution of the Praetorian Guard, and during his reign, they were scattered around Italy with ones guarding him rotated out every so often. The Praetorians in Italy, when not guarding the Emperor, tended to do odd jobs for the government that needed doing like policing, construction, surveying, settling boundary disputes, and so forth. However, Augustus's successor Tiberius concentrated the Guard in Rome, which made it even more dangerous.
It also tied into another problem with the Roman Empire, one that it never quite managed to solve, which was the succession problem. Augustus was a military dictator who assembled a sort of ad hoc legality around his position with various offices and powers. But how would he pass that onto a successor or what if someone else decided they were the proper successor? Augustus had taken his office by force, so why shouldn't anyone else? The Praetorian Guard exacerbated this problem further. Was their loyalty to the office of the Emperor (which was tricky because that office didn't technically exist)? Was it to the man himself or to his heirs?
Perhaps unsurprisingly, the Praetorian Guard eventually settled on the most practical answer to this question. Their loyalty belonged to whoever paid them the most money. There's a very high chance that Tiberius was murdered by the prefect of the Praetorian Guard, which means that the imperial bodyguard made it only two emperors [repeated for dramatic emphasis] before it started killing them. Tiberius's successor Caligula was famously insane and the Guard eventually got sick of him and participated in his murder. After Caligula's death, the guard declared Claudius as the new Emperor, who repaid them by giving them lavish donatives. That meant the Guard had gone from protecting the emperors to killing ones that didn't like, and then installing new ones.
After the Senate turned against Nero and he committed suicide in 69 AD, the Roman Empire had its year of four emperors: Galba, Otho, Vitellius, and finally Vespasian, who won the civil war and became the new emperor.
Each of the potential claimants had their own praetorians who fought against other praetorians. The original Praetorian Guard of Nero did not cover itself in glory, as their comfortable life in Rome did not make them effective as field soldiers and they lost against the toughened legionaries from the frontier armies who came to fight in the civil war.
That said, during the reigns of the Five Good Emperors (Nerva, Trajan, Hadrian, Antoninus Pius, and Marcus Aurelius) from 96 to 180 AD, we don't hear much about the Praetorian Guard. The most likely explanation is that these emperors were strong and capable rulers, so the guard had no reason to turn against them, and therefore any potential conspiracies that would've involved the Guard just didn't get off the ground.
However, part of the reason the 100s AD were the apex of the Roman Empire is that Nerva, Trajan, Hadrian, and Antoninus Pius did not have sons, so they adopted a capable leader as their son and heir, thereby creating continuity of rule. Marcus Aurelius unfortunately had a natural son named Commodus, and after he died, Commodus became Emperor. Commodus was a spectacularly incompetent narcissist, nowadays famously known as the villain from the movie Gladiator. If anything, Gladiator toned down Commodus' brutality, though to be fair to Commodus, he didn't murder his father like the fictional version did in the movie.
Commodus was eventually assassinated, and the Praetorian Guard hit its lowest point soon after. Pertinax became Emperor after Commodus, and there was hope he would be a Nerva-type figure, a respected elderly Senator who would adopt a capable heir the way Nerva did with Trajan. However, Commodus had used the Guard as his privileged force of personal thugs, and Pertinax tried to impose discipline upon them. The Guard most definitely did not care for that, so they murdered Pertinax and then auctioned off the title of Emperor to whoever would pay them the most. Soon after Septimius Severus seized control of the Empire and he summarily fired all the Praetorian and put his own veteran legionaries in their place. So the Praetorian Guard, which had been intended to guard the emperors, ended up murdering the Emperor on a regular basis and sometimes choosing a successor and even auctioning off the title of Emperor to the highest bidder.
Septimius Severus was a brutal ruler and held the Empire together long enough to die of natural causes. His sons Caracalla and Geta were his successors, and Caracalla murdered Geta before he was assassinated himself by yet another plot from disgruntled praetorians.
After that, both the Empire and the Guard declined precipitously. This was the period later historians would call the Crisis of the Third Century, when the Roman Empire fractured into the three competing mini empires I mentioned earlier. A depressing pattern rapidly took hold. The Praetorian Guard or the army would kill an Emperor and proclaim a new one. The Emperor would last until he tried to do something the army didn't like, such as imposing discipline and then the pattern would repeat.
The Praetorian Guard was never really reformed, but like so many failed institutions, it gradually became obsolete. Part of the reason was that the Empire was subject to frequent barbarian invasions throughout the 200s. The Emperor was required constantly on the frontiers to supervise the defense with the field armies. The emperors developed a different kind of bodyguard called the "scholae palatinae", a mounted group of soldiers that would accompany him in the field as he moved about the Empire.
The constant defensive warfare also resulted in a subtle shift within the Empire. Rome was no longer the center of power within the Empire. The center of power was actually wherever the Emperor happened to be at the moment. The city of Rome itself had become in many ways an expensive vestigial relic of another age.
Some of the emperors only visited Rome once. Some of the shorter-lived ones never made it there at all, and the Emperors certainly did not rule from Rome. Because of these changes, the idea of the Praetorian Guard, a permanent bodyguard force based in Rome, had become obsolete.
The actual end of the Praetorian Guard came after the Battle of the Milvian Bridge in 312 AD, the battle where the Emperor Constantine famously had the vision that led him to convert to Christianity. The Praetorian Guard sided with Constantine's opponent Maxentius, and since Constantine had no use for the Praetorian Guard and indeed would move his capital to the new city of Constantinople, he simply had the Guard disbanded and continued to rely on mounted cavalry units for his personal bodyguard.
So the Praetorian Guard, after three centuries of frequent treachery and corruption, had come to an end. Amusingly, while the Guard was gone, the title of "praetorian prefect" remained in use in the Empire for the rest of its history, which came to show just how powerful the commander of the Guard could become.
In the end, the Praetorian Guard was yet another example of institution that became a hindrance to the very goals it was founded to advance. This seems to be a curse of any organization, and the only cure is constant vigilance and strong leadership, two qualities, alas, that are all too rare at any age of history. Yet you can definitely see why I say history is the best source of material for fantasy writers. You could get like 20 different novels out of the events I discussed above.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe, stay healthy, and see you all next week.
In this week's episode, we take a look at the Continuity Lockout Syndrome that can sometimes happen with long series like the Marvel Cinematic Universe, and how to avoid it.
This coupon code will get you 50% off the audiobook of Shield of Deception, Book #4 in The Shield War series, (as excellently narrated by Brad Wills) at my Payhip store:
HALLOWEEN2025
The coupon code is valid through November 3, 2025. So if you need a new audiobook this fall, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 274 of the Pulp Writer Show. My name is Jonathan Moeller. Today is October 24th, 2025, and today we are talking about continuity lockout in long series and how to avoid that. Before we get to our main topic, we will start with Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects.
First up is Coupon of the Week. This week's coupon code we'll get you 50% off the audiobook of Shield of Deception, Book #4 in The Shield War series (as excellently narrated by Brad Wills) at my Payhip store. And that coupon code is HALLOWEEN2025. As always, the coupon code and the link to my Payhip store will be available in the show notes and this coupon code is valid through November 3, 2025. So if you need new audiobook for this fall, we've got you covered.
Now for an update on my current writing and publishing projects. I'm pleased to report that as of this recording, Cloak of World, the 13th book in my Cloak Mage series, is now available and you can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my own Payhip Store. It's already selling quite well and I've gotten several nice comments about it, so thank you everyone for that.
Now that Cloak of Worlds is out, my next main project will be Blade of Shadows, the second book in my Blades of Ruin epic fantasy series, and I am 18,000 words into that and I think probably on Monday, I will start full speed ahead with that. My secondary project will be the fifth Rivah book, which I am working on the outline today and tomorrow. Originally it was going to be called Elven-Assassin, but I think I'm going to change the title as I write the outline to Wizard-Assassin. If all goes well, Blade of Shadow should be out in November and Wizard-Assassin will be out in December for the final book of 2025.
In audiobook news, Brad Wills is currently recording Blade of Flames, which will be the first audiobook in that series and hopefully we'll have more news for that for you soon. And Hollis McCarthy, who you might remember we interviewed last week, is working on Cloak of Embers and that should hopefully be out before the end of the year, so that's what we're working on for audiobooks right now.
00:02:18 Avoiding Continuity Lockout in a Long Series: Lessons from the Marvel Cinematic Universe
Now onto our main topic this week: Avoiding Continuity Lockout in a Long Series: Lessons from The Marvel Cinematic Universe, as that is the most famous example of I think of continuity lockout available in the public eye right now.
Mild spoiler warning: although there aren't going to be any specific spoilers for movies in the Marvel Cinematic Universe, I will talk broadly about the series and some of the major themes and trends in it. If you're extremely sensitive to spoilers or haven't seen Avengers Endgame yet, proceed with extreme caution.
Now over the course of a long series, there's a tendency for readership or viewership to drop off. Not everyone who starts a series will finish it. One of the reasons for that is called continuity lockout. What is continuity lockout? Continuity lockout describes when a series has reached a point where new readers or viewers can't understand what is happening, especially when the amount of older material in a series that's essential for understanding new plots becomes too much of a burden. It can also describe when casual fans of series begin to drop off and turn to other kinds of entertainment.
A good example of that from my own life is earlier this year the Marvel movie Thunderbolts came out and I thought that was a pretty good movie and I gave it an A in my movie roundup for the summer. Some relatives of mine went to see Thunderbolts and their reaction was, well, we didn't know who any of these people were, so we weren't sure what was happening, but it was a hot day and the air conditioning was nice. So while I'm glad they enjoyed the nice air conditioning, you can see the problem we are demonstrating because the main characters of Thunderbolts were Bucky Barnes-the Winter Soldier, Yelena, Red Guardian, the former Captain America (what was his name…John Walker?), Taskmaster, and Ghost. All of these people are introduced in previous Marvel projects, and if you didn't know who they were, it would be hard to connect with these characters.
Now, some series like Doctor Who and James Bond are designed to have new entry points every few years and don't take a lot of pains to keep consistent canon across the decades. For example, you think about how many different actors have played James Bond and all of Bond's various supporting characters like M and Q and Moneypenny. There tends to be a consistent canon within each iteration of James Bond, but then they start over with a new Bond. Now that Amazon is having Denis Villeneuve do the new Bond, no doubt we will have a completely new Bond continuity for the 21st century. And although a series like James Bond will have a lot of recurring characters, like as I said, M, Q, and Moneypenny, knowing their entire history beyond what's happening in the current production usually is not important for following the plot or a brief Google search will quickly explain what's needed.
Other series like Star Trek or Star Wars rely heavily on decades of established canon, even when starting a new series, making them intimidating to begin with. Another good example of this is when the Star Wars TV show Ahsoka came out in 2023, the creators were at pains to explain that, no, you don't need to see anything else to watch this and you just jump right in. In practice, however, a lot of news sites ran articles like "34 Essential Episodes of Star Wars Rebels To Watch Before You Watch Ahsoka", which kind of belies the point.
The Marvel Cinematic Universe (which we will refer to as MCU in this episode to save time) is certainly one of those series that relies heavily on older content to drive its plots. Like the many comic series it draws from, the MCU requires a great deal of prior knowledge from its viewers that in the later installments can start to feel like homework.
Now, how did continuity lockout happen in the Marvel Cinematic Universe? The people who initially enjoyed the first Ironman and Avengers movies will most likely find themselves very confused if they try to watch the latest Marvel movies without catching up first. The full MCU canon to date would take well over a week to watch at this point, assuming you did nothing else that week. The MCU is over 16 years old now and still producing new content at a fairly brisk pace, though it has slowed down a bit after the end of the peak streaming era when Disney was pushing them to make as many shows and movies as possible to draw subscribers to their Disney Plus streaming service. The multiverse arc of the last few years (with multiple alternate realities for the characters) has only added to viewer confusion. As longtime listeners might know, I am not a big fan of the multiverse as a storytelling concept.
There's also a debate about what content is official MCU since there are older shows from ABC and Netflix and movies filmed before Ironman, which increases that confusion. A good example of continuity lockout in the MCU was the 2023 movie The Marvels, which I thought was an enjoyable (if perfectly straightforward) science fiction flick that felt like it was something from the '70s (in a good way). But to fully know who all the characters are and to understand their abilities, the viewer would need at the minimum, to watch Captain Marvel, Avengers Endgame, the Ms. Marvel series, and the WandaVision series, and that is over 10 hours of content to watch as homework before watching a movie with characters that are fairly new to the MCU and a plot that is a one-off that doesn't tie into subsequent films. In the age of Disney Plus, access to the prior films and TV shows is easier than it would've been in the pre-streaming era, but it's still a major time commitment, especially for a film like The Marvels that did not have strong enough reviews to motivate viewers to make the trip to the theater. Additionally, streaming itself is getting more and more expensive, which in these troubled economic times can get to be something of a pinch.
I've found in my own writing career that people tend to be completionist and want to read everything in a series before they move on to the next one. And many people feel they have to rewatch movies or catch up on Disney Plus before they go see a Marvel movie in theaters, which makes the impulse to wait until the newest movie hits the streaming service instead of seeing it in theaters all the stronger.
Anecdotally, I know of many people who fell off watching the MCU movies after Endgame and never watched any of the Disney Plus series. I mean, logically that makes sense because if you saw Endgame, it felt like a very epic and cinematic end to the saga and the story's over, why tell more? The reasons they gave were because they didn't have Disney Plus, as I mentioned, because of cost. They didn't have time to rewatch the older movies before watching the new ones, or they found the newer movies confusing. The drop in viewership in the MCU over the course of its 16 year run can teach us writers some valuable lessons. So now we will go into five lessons from the MCU you can apply to your book series, especially if like me, you tend to write longer book series.
#1: Tell a complete story. Although it's nice to believe that all your readers are exactly following your intended order (believe me, as I know from many reader emails, that's not always what happens), someone will start mid-series if given the book as a gift or pick up a later book in the series if it goes on sale. They might not even realize they're not starting with the first book when they pick up a book.
Although you don't have to explain everything that happened in previous books in your current one, it does have to stand on its own. A book ultimately needs to tell a complete story, even if it is part of a series. It needs to have a clear beginning, middle, and end that belong entirely to that book. Ending or starting on a cliffhanger is one example of something that upsets readers and viewers. Some people who went to the Infinity War movie in theaters were not aware that the movie was a part one and were confused when the movie ended abruptly, which amusingly ties into one of my rules with cliffhangers is that I'll only really do a proper cliffhanger in the second to last book in a series. Ghost in the Pact was definitely a cliffhanger because that was right before the final Ghost in the Winds. In Cloak Games, Sky Hammer ended on cliffhanger because that was right before the final book of Cloak Games, Mage Fall. So cliffhangers are generally best avoided and you should tell a complete story whenever possible.
#2: Don't run forward too fast. Post Endgame, the MCU lost some of its core characters and the next set of films largely focused on new characters who sometimes only appeared once and didn't connect together. Although introducing new characters is important, it needs to be done in a deliberate way and they need to connect well into your established world and its characters. An example of this in the MCU is the character Shang-Chi. Although his standalone movie was popular and I thought it was pretty good, he has not appeared in the MCU for four years. Any momentum or interest in that character has dissipated in that near half decade. Many, many, many new characters were introduced in the MCU after Shang-Chi and have suffered a similar fate.
Those new characters all are going to be crammed into the next Avengers movie where most of them will meet for the first time, and that movie has to also fit in characters from previous phases of the MCU who also largely don't know the new characters. This upcoming movie, Avengers: Doomsday, will carry the burden of all these non-interlocking continuities and unrelated characters. Prior phases of the MCU did some of that work ahead of the big team up movies and made the movies feel purposeful and easier to understand like they were bigger events. Although new characters breathe life into a series, they need to be introduced slowly and meaningfully and need to connect well into what you have already established in your series. Having an anchor character from prior parts of the series goes a long way to help the readers gain a connection to the new one.
#3: Focus on key themes. There is a temptation with worldbuilding in a series to feature every possible aspect of that world and use everything you have developed when working on the series. A good series knows that you can't possibly feature it all. Instead, it focuses on what serves the plot and your key themes in a story. For example, in the first phase of the MCU, viewers didn't know the complete history of every character or have full access to every aspect of something like the SHIELD Organization. The MCU writers chose to focus on what built up the central plot of bringing the group together to fight evil and to confront aspects of their characters that made them reluctant to do that. It was extremely effective and made the first group of movies feel cohesive and like they were leading up to something important.
Having key themes front and center of the story helps readers feel connected to the story as it spreads across many books. This also helps characters from straying from their core values and goals as the series continues, which is something that greatly annoys readers and can make them stop this series. For myself, I found that I generally do just enough worldbuilding as I need and too little world building is bad, but getting too lost in the weeds with the worldbuilding is a bad idea and it's generally best to focus on what you need for that particular story.
#4: Help your readers remember. There is a brisk market on YouTube for recap or explanation videos to help people catch up on MCU content, which Disney at one point attempted to recreate on their service as shorts called Marvel Studio Legends, but has since apparently given up on that as streaming content budgets have been trimmed. The more you can help your readers with continuity like recaps, guides, or even short form video about previous books, the more likely they are to be willing to start or restart a series. People are busy and some people have better memories than others. Giving readers this content outside of the text also prevents awkward infodumps about past books that could stop the plot dead in its tracks. Above all, keep your readers from feeling confused or frustrated.
#5: Know when to retire a character (or at least rest them). Although it's tempting to continue with a popular character forever, there comes a point when that character's arc has logically concluded, and they have matured and achieved all their goals. Continuing with that character might force them to act in ways that don't make sense for the character, plots that don't feel right for the character, or plots that feel repetitive.
The MCU retired several popular characters during the movie Endgame. The way they did it showed that they thought carefully about the character's emotional journeys and what their goals were. It wasn't done for shock value or the sole purpose of hiring new, cheaper actors (though, to be honest, that was probably part of the motivation). A satisfying ending for a character is a crucial part of any series, even if the series continues on without them.
It's good to know when to stop. I mean, to be fair, I've written a lot of Ridmark books and a lot of Caina books, but there also comes a time when you need to try something new, which is why I'm writing the Rivah Half-Elven series and why I started the Blades of Ruin series. Eventually, as I said with the previous lesson, there comes a time when you need to do something new, when the previous characters' arcs and stories have reached their logical end.
Sherlock Holmes has a great quote about this in the story of The Adventure of the Norwood Builder, where he's almost defeated by the villain, but the villain has made a perfect trap but wants to improve it just a little bit, and that blows up in his face.
The quote goes like this: "It was a masterpiece of villainy, and he carried it out like a master. The idea of the will, which would give an obvious motive for the crime, the secret visit unknown to his own parents, the retention of the stick, the blood and the animal remains and buttons in the wood pile, all were admirable. It was a net from which that seemed to me a few hours ago, there was no possible escape, but he had not that supreme gift of the artist, the knowledge of when to stop. He wished to improve that which was already perfect to draw the rope tighter yet around the neck of his unfortunate victim, and so he ruined all."
Now, I think I read that particular Sherlock Holmes story for the first time over 25 years ago, but that quote has remained with me ever since about how the supreme gift of the artist is the knowledge of when to stop. I think that might be true of a long series as well. I mean, the temptation is if you have a series that is selling well is to keep writing books in it forever and ever, but eventually you do have to take the risk and try something new.
In conclusion, it's important to be deliberate about how a series evolves, whether it's a multi-billion dollar movie franchise or a book series that you're just starting to write. Looking at the ups and downs of the MCU post Endgame shows the importance of plotting a series well, not overcomplicating it, staying close to what makes fans enjoy it, and maybe avoiding plots to do with the multiverse concept.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/.
This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store:
DRAGONSKULL25
The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered!
TRANSCRIPT
Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects.
This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes.
Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series.
In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now.
00:03:56 Interview With Hollis McCarthy
Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today.
Hollis: My pleasure.
Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing?
Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved.
Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way.
Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies.
Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that?
Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love.
And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now.
Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while.
Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it.
Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said).
He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do.
Jonathan: Oh, building a recording booth out of swords. That's very Caina.
Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day.
Jonathan: Sounds like very practical cardio.
Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know.
Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook?
Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record.
You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently.
If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier.
Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced.
Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that.
Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like.
Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming.
Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory.
Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight.
Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV?
Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater.
And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up.
Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out.
Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time?
Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense?
Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously.
Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, "done is good" is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep.
Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with.
Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term?
Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that.
And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator.
Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks.
Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever.
Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs]
Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before.
Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too.
Jonathan: Well, that's just exciting. I learned something new today.
Hollis: That's always good. Always learning from your books too about Medieval combat.
Jonathan: We always want to learn something new every day, whether we like it or not.
Hollis: Right.
Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time?
Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you.
But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them.
But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: "I love you, darling," he said in his beautiful French accent.
Jonathan: It explicitly shows up there for the first time.
Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate.
You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful?
Jonathan: It does. New authors, if you're listening to this, listen to that advice.
Hollis: Yeah.
Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series?
Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me.
She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back.
And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point.
We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters.
And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too.
Jonathan: Will you stop with eight or keep going after eight?
Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords.
Jonathan: Well, they say write what you know.
Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do.
Jonathan: Well, I suppose if people want to know more, they will have to read and find out.
Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there.
Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them?
Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized.
Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there.
Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it.
Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things.
Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show.
Hollis: My pleasure.
Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most?
Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun.
Jonathan: It almost seems like the soundtrack could have been "I Shot the Sheriff."
Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun.
Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show.
Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here?
Jonathan: Oh, I think we'll save it for the Real Thing.
Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure.
Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10.
Hollis: Alright.
So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, we warn against six different scams targeting indie authors. I also take a look at my advertising results for September 2025.
This coupon code will get you 50% off the audiobook of Cloak of Wolves, Book #2 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
WOLVESAUDIO
The coupon code is valid through October 20, 2025. So if you need a new audiobook this fall, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Update
Hello, everyone. Welcome to Episode 272 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October 10th, 2025, and today we are looking at six common scams that target indie authors. We'll also look at my advertising results for September 2025 and some changes I will make because of that. But first, let's start with Coupon of the Week and a progress update on my current writing projects.
First up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Wolves, Book #2 in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. That coupon code is WOLVESAUDIO, and as always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. This coupon code is valid through October 20th, 2025. So if you need a new audiobook for this fall, we have got you covered.
Now an update on my current writing and audiobook projects, I'm pleased to report the rough draft of Cloak of Worlds is done at 107,500 words. I think it's going to end up being about 30 chapters or so once I finish editing and I'm going to start editing very shortly. Before I start editing, I am going to write a short story called False Iron set in the world of Nadia and newsletter subscribers will get a free ebook copy of False Iron when Cloak of Worlds comes out, hopefully before the end of the month (if all goes well). I am also 11,000 words into Blade of Shadows, the second book in my Blades of Ruin epic fantasy series that will be my next main project after Cloak of World is published.
In audiobook news, Ghosts in the Siege (as excellently narrated by Hollis McCarthy) is done and it's processing through the various platforms. I believe as of right now you can get it at Payhip, Kobo, and Google Play and then hopefully it should be available at the other stores within a few weeks. Brad Wills is starting work on the audiobook of Blade of Flames. In early 2026, I believe we should have the final audiobook from the Stealth and Spells series from C.J. McAllister. So that is where I'm at with my current writing and publishing projects.
00:02:18 Ad Results for September 2025 [Amounts Mentioned Are in USD]
Now let's take a look back at some of my ad results for September 2025. First, the big changes. I am going to either give Facebook ads a rest for a while or more likely continue them in a very more limited way with a more focused strategy. As I've mentioned before, Meta has been shoving all this Advantage Plus AI stuff into Facebook ads and it just doesn't work. The key for online advertising, especially with books, is to narrow your target audience as much as possible and the Advantage Plus AI stuff all goes for a broad audience.
To test that out, I did a couple of experiments. I didn't advertise Frostborn with Facebook ads in August, but I did advertise them with Facebook ads in September. The end result was I actually made $20 less from Frostborn in September than I did in August, but I also had the advertising expense for the month of September, so I made less overall.
I also tried the reverse of that experiment. I advertised Cloak Games and Cloak Mage in August with Facebook, but not in September. The end result was that Cloak Games and Cloak Mage made about $200 less in September, but without the cost of advertising, that meant the profit was substantially higher. So I'm not sure if Facebook ads are effective or as effective as they used to be any longer (thanks generative AI), but in the [interest of] full testing, it'll experiment with it a bit more.
I did try one ad campaign entirely with Advantage Plus this month and it was objectively terrible. I do not recommend using Advantage Plus for anything if you are advertising anything on Facebook. I probably will end up doing Facebook ads in a more focused way, similar to the way I do my BookBub ads, where I will set a time limited ad for one of my permafree books for four days or so and then shut it off when it's done because BookBub ads tend to work well the first three days and then lose their punch after. So I might end up doing something similar with Facebook ads, but we will report more on that in November once we finish with October's advertisement results.
Meanwhile, Amazon ads did a lot better. Here are some of the campaigns I ran. Remember, for an Amazon ad to be successful, it needs to generate a sale or complete Kindle Unlimited read through for every six through eight clicks.
For Demonsouled Omnibus One, I got back $2.44 for every dollar spent, with one sale for every 1.41 clicks.
For Half-Elven Thief, I got back $1.31 for every dollar spent, with one sale for every 2.48 clicks.
For Half-Elven Thief Omnibus One, 48% of the profit came from the audiobook for that one. I got back $10.13 for every dollar spent, with one sale for every 1.26 clicks.
For Stealth and Spells Online: Creation, it did really well, with $24.01 for every dollar spent, with one sale for every 0.66 clicks. That was still enjoying the halo result from the release of Final Quest earlier this year.
For Cloak Mage Omnibus One, I got back $3.64 for every dollar spent, with 65% of the profit coming from the audiobook and one sale for every 0.61 clicks.
For Sevenfold Sword Omnibus One, I got back $3.47 for every $1 spent and one sale for every 2.42 clicks.
For Dragontiarna Omnibus One, I got back $13.40 for every dollar spent and one sale for every 1.2 clicks.
Out of all my campaigns. I only had one campaign that lost money, but it lost a grand total of $1.48, so that was good. So we can also see that omnibus editions definitely do very well with Amazon ads, especially if they have attached audiobooks. It turns out finishing Stealth and Spells Online made it a lot easier to advertise. A finished series is a lot easier to advertise than an incomplete one (who knew?). Though if I really want to kick up Half-Elven Thief, I need to write another book in the series, which I plan to do later this year. Once Cloak of Worlds is published, I will start on that.
As I mentioned earlier, I'm also [doing] a variety of BookBub ads for my permafree books on Barnes & Noble, Kobo, Google Play, and Apple; these consistently do very well since it's a lot cheaper to get clicks through the non-Amazon stores for books when you're advertising them on BookBub.
So that's where my ads are for September 2025. As I mentioned, I'm going to experiment a bit more with Facebook ads in October and November, but the end result (even if I have good results) is I'm going to use them a lot less than I used to moving forward because targeting is somewhat harder. That means it's time to start thinking about other marketing ideas. There is precedent. I resisted using Facebook ads for four years before I started experimenting with them in early 2020, so maybe it's time (after dragging my feet on the idea for five years) to start playing with short form video in 2026. That seems to be where all the growth and all the eyeballs seem to be.
You may have noticed that the previous episode of this podcast, Episode 271 was the first one that was on YouTube, and it seems to have been a good idea since that doubled the amount of views an episode usually gets. So I may have more video experiments coming soon, but we'll see, and as always, thank you for reading, everyone and it would be pointless to advertise the books if people didn't want to read them, and that is a fact for which I am very grateful.
00:07:26 Main Topic of the Week: Six Scams Targeting Indie Authors
Now on to our main (and to be honest, somewhat less enjoyable) main topic this week, six scams that are targeting indie authors. The old saying was, "there's a sucker born every minute", but in the year of our Lord 2025, I think it's more accurate to say there's an AI powered scammer born every minute. As you might've gathered from my tone about this, I admit to being pretty annoyed by how many scam emails I get related to writing and indie publishing. These days it's pretty constant and they tend to cluster around when I have a new release. Some bot (or more realistically, a whole bunch of bots) is presumably scanning all new releases and then turns out a bunch of scammy emails when it detects a new book.
I despise these people because they prey upon the vulnerable for money, which is wrong. Imagine a 75-year-old who just self-published the novel he or she has been working on for the last 30 years and finally decided to finish in retirement. Then they get a ChatGPT generated email from "John Grisham" praising their book in detail and asking for some money for marketing services. A lot of people would have absolutely no mental defense against this kind of scam, like someone from modern earth encountering a wizard who can cast illusion spells.
Unfortunately, scamming is endemic everywhere these days. It is a constant debate how much the [US] federal program Medicare gets scammed out of every year. One of the local drug stores where I live has numerous signs warning about gift cards after so many local seniors were getting scammed into buying gift cards. Then there were a recent chain of text messages telling me I owed money for driving on toll roads in the state of Illinois, which was amusing because one, I haven't been to Illinois since 2022. Two, I was a passenger in someone else's car at the time, and three, the last time I was on a toll road in Illinois in a vehicle I actually owned was in 2017. As an amusing aside, when I mentioned this on Facebook, a frequent commenter and reader mentioned that he lives in the UK and he still got a bunch of text messages about toll roads in Illinois, even though A, he lives in the UK and B, he doesn't actually have a driver's license.
Unfortunately, it is the truth that the internet makes scamming so easy, that constant vigilance is required these days, and with that in mind, here are six different kinds of scammy emails writers (and indie publishers) can expect to get.
#1: ChatGPT. One of the reasons (you know if you've listened to the show before) that I'm very down on generative AI is that generative AI is a scammer's paradise.
Lately, a new trend is that a scammer will feed a pirated copy of a book into ChatGPT and then use it to generate personalized pitch letters. These personalized pitch letters will also be littered with emojis and the tone will vary from warm and sycophantic to encouraging and edgy. Here's a quote from a recent one I got for Blade of Flames:
"Talembur wakes in a forgotten catacomb, sword in hand, memory shredded, enemies sniffing blood in the dark. That's a hook so sharp it could flense an orc. Blade of Flames reads like classic, grim-and-gorgeous sword-and-sorcery with a hunger for blood, mystery, and very satisfying blade choreography."
In fact, I got two more just like that this morning before I started recording. This is an effective illusion for a scam because it seems like the scammer read the book and liked it and is making personalized compliments about it, even though that's the result of a ChatGPT or a similar bot.
However, the rest of the email is a hard pitch for various marketing services that don't actually exist. I admit I fell halfway for this one the first time. I got one of those very detailed emails and I thought it would respond with a polite refusal since it seemed like a lot of work had gone into it. However, after responding, I think I then got five more emails in rapid succession, all of them pushing for the purchase of dubious marketing services, and I realized the whole thing was a ChatGPT powered bot. So watch out for these very personalized emails, especially the ones that appear instantaneously or very quickly after you publish a book.
#2: Fake book clubs. This one is sometimes tied in with the ChatGPT scams. Sometimes the book club people use ChatGPT to generate their emails. The way this works is you'll get an email for someone claiming they run a large book club or reader group on Goodreads (or Facebook or whatever) and they think your book would be a good fit for their reader group and have a few questions about it.
However, if you respond to this email, you'll start getting pressure for payment. Turns out the reader group or the book club doesn't actually exist and this is yet another scam, so watch out for emails that talk about the "5,000 member reader group" or something along those lines. By good luck, one of these emails arrived while I was writing the notes for this episode, so I thought it would quote it here.
"I'm Jason, and I organize Book Club NYC, a community of more than 3,300 readers across New York who gather to read, reflect, and connect through books that challenge perception and spark deep conversation.
When I discovered Ghost in the Siege, I was immediately struck by its layered power, a story that confronts truth and deception, morality and survival, within a world both haunting and familiar. It's the kind of book that doesn't just entertain; it lingers, asking questions about justice, humanity, and what it means to stand alone in the face of decay. That blend of atmosphere and insight makes it exactly the kind of story our members love to explore together. We'd love to feature Ghost in the Siege as part of our upcoming event on Wednesday, October 15th.
Here's what that experience will look like:
Quiet Reading & Reflection: members immersing themselves in your world, letting its tension and themes unfold in silence.
Open Discussion: exploring the moral and psychological dimensions of corruption, redemption, and resistance."
And blah, blah, blah. It goes on in this vein quite a bit. You notice that if you actually read Ghost in the Siege (and I'm actually quite fond of Ghost in the Siege as a book), I don't think it would be fair to say that Ghost in the Siege "isn't just the kind of book that entertains, it lingers, asking questions about justice, humanity, and what it means to stand alone in the face of decay."
That is the kind of generic nonsense you can expect ChatGPT to spit out for this kind of thing. Now, as we mentioned, of course this book club doesn't actually exist, and if any of these good Goodreads or Facebook groups or whatever even exists, they'll be full of bots under the control of the scammer, and if you respond, the book club organizer will start talking about fees for having your book read before the group. As ever, if you pay, the scammer will either immediately disappear or continue to pressure you for more money.
#3: "John Grisham" wants to promote my book. This type of email is just a straight up catfishing or identity theft attempt. You'll get an email allegedly from a famous author (for myself, I've gotten emails from "John Grisham" and "Colleen Hoover", among others), and they'll offer to help you promote your books. Obviously, this is very fake. The actual John Grisham and Colleen Hoover (among other famous authors) have better things to do with their time than emailing random indie authors like me for marketing collaborations. If you respond to these emails, you'll get a request for payment, and if you pay, the scammer will promptly disappear and stop responding, or of course, ask for more money.
#4: Meta Ads has a new dashboard. I've gotten this one quite a bit this year, allegedly from Meta. This email claims that Facebook is rolling out either a new ads dashboard or a new mobile app for managing ads, and you've been invited to participate in the beta test for the new dashboard or the new app. Just click on the link and start installation. I admit I ignored these at first because there's no way I'm ever installing any Meta apps on my phone because they're so intrusive and halfway to being spyware. Also, the current version of the Facebook ads dashboard is annoying enough and complicated enough to use it as it is, and I don't want to play with any half-baked beta features.
So I ignored these emails, but then I realized I was getting surprisingly a lot of them. So I checked the senders and realized they weren't coming from an actual Meta address, but from a variety of different Gmail addresses, which meant they were in fact phishing attempts. Facebook ad phishing, alas, is a serious problem. The basic scam is that a hacker finds a way to gain control of your ads account and then uses it to advertise various scam projects, usually involving cryptocurrency. Since Facebook's customer support is so notoriously bad, it's very difficult to get this kind of situation resolved. So if you are using Facebook ads, be wary of any emails you get from Meta since they could be phishing attempts.
#5: Bad tax news or payment failure. This one tends to be common around tax time or the end of the year. You'll get an email allegedly from one of the publishing platforms claiming that there's a problem with your tax information or that one of your payments failed.
The email will include a link you can click to resolve the situation, which is of course fake so the scammers can capture your account and personal information. I've gotten a couple of these lately and some of them, to be honest, were quite good. I got one from Spotify claiming that my tax information was out of date, which was baffling because my tax information hasn't changed in the entire time I've had audiobooks with Spotify. I was suspicious, so I logged into my Spotify dashboard and checked that everything was in fact, okay. Then I realized the scam: the email had actually come to a different email account than the one I actually used for my Spotify dashboard. It was an exceptionally well done phishing email, but thankfully, years of ingrained caution against clicking email links served me well.
So if you do get one of these, don't click on any links. Instead go directly to the dashboard of the platform in question and see for yourself. If there actually is a tax or a payment problem, there will probably be a notification of some kind on the dashboard, and of course if the notification email comes to a different email account than the one you actually use for that platform or service, it will obviously be fake.
#6: Fake publishing services. There are a variety of fake publishing services out there offering a range of alleged benefits like more Facebook followers, more readers, more email subscribers, et cetera, or someone will offer to get your book into Publishers Weekly or something like that in exchange for a payment. Some of these blend over with the scammy sort of vanity publishers. Granted, I think that all vanity publishing (which is "you pay us and we publish your book") is a scam, but some of them are worse than others.
At best, if you engage with these kinds of services, you'll get some new followers from bots or so forth, which is useless for selling books. At worst, nothing will happen at all. The scammers will take your money and disappear. At the absolute worst, they'll pester you forever for more money or find a way to steal more personal information from you.
Generally, if you get an unsolicited email from book marketers, it is almost surely a scam. If you're unsure, asking about the company in question in a Facebook group like 20BooksTo50K or Wide For The Win will help identify whether or not they're legit, but they're probably not legit.
In conclusion, I'm afraid one has no choice but to exercise constant vigilance in the Internet world these days, especially if you're a self-publisher. Be extremely wary of any unsolicited emails. Never click on a link in an email. If a message claims there's a problem with one of your publishing platforms, don't click on the link. Go to the platform directly in a different browser tab or a different browser and see for yourself. Before spending money on anything, do some research and check that it is legitimate and not a scam. It's easy to fake legitimacy these days, so it's worthwhile to do a little investigating before spending money on anything.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful and a helpful guide against some of the scams you might encounter in the wild. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at creating good backstories for characters and how that can advance the plot. We also discuss two articles about the problems of generative AI.
This coupon code will get you 25% off the ebook versions of books in the Sevenfold Sword series at my Payhip store:
SEVENBOOKS
The coupon code is valid through October 13, 2025. So if you need a new ebook this fall, we’ve got you covered!
Here are links to the articles mentioned in the episode.
Writer Beware:
https://writerbeware.blog/2025/08/01/return-of-the-nigerian-prince-a-new-twist-on-book-marketing-scams/
Ed Zitron:
https://www.wheresyoured.at/the-haters-gui/
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 271 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October 3, 2025, and today we are looking at how to create character backstories. We'll also look at some good articles about the problems created by generative AI technology. If you hear occasional drumming noise in the background, it seems like the elementary school a few blocks from here is practicing their marching band. Hopefully it won't be too disruptive.
First off, let's start with Coupon of the Week. This week's coupon code will get you 25% off the ebook versions of books in the Sevenfold Sword Series in my Payhip store, and that coupon code is SEVENBOOKS. And as always, the coupon code and the link to my Payhip store will be available in the show notes. This coupon code will be valid through October the 13th, 2025. If you need a new ebook for this fall, we have got you covered.
Now let's have a progress update on my current writing projects. As of this recording, I am 83,000 words into Cloak of Worlds, which will be the 13th book in the Cloak Mage series. I'm thinking the book will end up about 110,000 words, so hopefully I will finish up the rough draft next week. We'll see how things go. I'm also 8,000 words into Blade of Shadows, which will be the sequel to Blade of Flames from last month, and that will be my main project once Cloak of Worlds is published (hopefully by the end of October, if all goes well).
In audiobook news, I'm very pleased to report that recording and all the work is done on Ghost in the Siege (as excellently narrated by Hollis McCarthy) and we will actually close out this episode with a preview from that audiobook. It's currently up on my Payhip store and probably Google Play as of this recording, but it should be showing up on all the other stores before too much longer.
00:01:52 Generative AI
Now onto our next topic, which is two very good articles about the problems of generative AI I read recently. The first (and I'll have the links to both articles in the show notes) is from Writer Beware, which talks about how generative AI is causing a new round of super targeted scammers. These scammers feed your book into the chatbot, which then generates a highly personalized email praising the book and offering marketing services. I got a ton of these scam emails after Stealth and Spells Online, Ghost in the Siege, and Blade of Flames came out in the past couple months and a bunch more after Malison: The Complete Series did well on BookBub at the end of August. So if you are a writer and you publish a book and a few days later or perhaps even the very same day, you get a very detailed email praising the book with very specific plot points and offering marketing services, beware, it's probably a scam that will give you no value whatsoever for your money.
Journalist Edward Zitron wrote a great article explaining in extensive detail why generative AI is a bad idea that's probably going to cause a serious market crash in the next few years. I admit I started out with a mildly negative opinion of LLM based generative AI tools in 2022 and 2023, but I wanted my opinion to be an informed one. I've experimented with them on and off and read a good bit about them and as I've experimented with them, my opinion has moved from mildly negative to highly negative and finally arriving at completely anti-AI this year.
I never used AI for any of my books, short stories, or cover images. I experimented a bit with using AI images for Facebook ads, but people generally hated them, so I stopped entirely with that. In fact, Facebook ads have become far less effective this year because of all the AI stuff Meta has crammed into them, but more on that later.
So why did I arrive at a highly negative opinion of AI? It's because these tools do not actually do what their advocates promise, they're hideously expensive to run, and the enormous costs and downsides significantly outweigh any benefits. In addition to the problems mentioned in the Zitron article like cost, false promises, economic bubbles, and the companies blatantly lying about their capabilities, I think the fundamental difficulty with generative AI is that it's essentially a cognitive mirror for its users, like a Narcissus Machine like I've called it before.
What do I mean by this? In Greek myth Narcissus was enraptured by the beauty of his own reflection. LLM based AI is essentially very fancy autocomplete, which means it guesses the most likely response to your prompt based on a statistical likelihood. In other words, it ends up mirroring your own thoughts back at you. So I think LLMs are highly prone to inducing an unconscious confirmation bias in the user. Confirmation bias is a logical fallacy where one interprets new information as confirming one's preexisting beliefs. It's healthier to reevaluate one's beliefs based on new information that comes in, but with confirmation bias, you warp any incoming information to fit a preexisting belief.
For example, let's say you have the preexisting belief that you're immortal and nothing can kill you, and then you accidentally shoot yourself in the arm with a nail gun and you bleed. The correct interpretation of this is no, you are not in fact immortal and you can in fact die. Someone suffering under confirmation bias would say the fact that they accidentally shot themselves in the nail gun in the arm with a nail gun and didn't die is proof that they're immortal. That's obviously a logical fallacy, but you see why it's called a confirmation bias.
I think even highly intelligent people using LLMS are prone to this kind of confirmation bias because the AI model settles on what is the most statistically likely response to the prompt, which means that consciously or not, you are guiding the LLM to give you the responses that please you. This is why you see on the tragically hilarious side, people who are convinced they've invented a new level of physics with the LLM or taught it to become self-aware or think that the LLM has fallen in love with them. And on the outright tragic side, people who have serious mental breakdowns or blow up their lives in destructive ways because of their interaction with the LLM.
Grimly enough, I suppose the problem is going to sort itself out when the AI bubble crashes, whether in a few months or a few years. As one of the linked articles mentioned, AI companies have no clear path to profitability, save for chaining together infinite NVIDIA graphics cards and hoping they magically stumble into an artificial general intelligence or a super intelligence. They're not going to and it's all going to fall apart. The downside is that this is going to cause a lot of economic disruption when it crashes.
I know I'm very negative about AI, but in the end I see hardly any good results or actual benefits from the technology. Lots of technology products are becoming worse from having AI stuffed into them (like Windows 11 and Microsoft Office) and what a few good results have come about will not last because the data centers are burning cash like there's no tomorrow. So again, you can see the links to these articles in the show notes and those are my thoughts on generative AI at the moment.
00:07:04 Writing Backstory for Characters [Note: Contains some mild spoilers for early books in the Frostborn, Half-Elven Thief, The Ghosts, and Cloak Games series]
Now let's move on to a happier and frankly more interesting topic and that is writing backstory for characters. I will define it, talk about why backstory is important, give three tips about writing effective backstories, and share examples of good backstories from my own work and other media.
First of all, what is a backstory? It's what happens to a character before the story begins or details of situation that happens before the story begins. Very often you'll have characters who have preexisting pasts before the story begins. It's very rare the story will begin when the main character is born and go from there. Even if that is the case, then some of the supporting characters obviously will have backstories.
One example of a backstory could be a detective who had a twin sister who is kidnapped, which explains why he gets overly invested when a similar case happens. An example of a location's backstory would be knowing that a particular country was once part of another one and split off after revolution or war. That detail influences how people in that country currently treat people in the other nation. And you can see that a backstory is also an important component of world building as well, especially for fantasy and science fiction novels, though even novels set in in the contemporary world like mysteries and contemporary romance will often have backstories as well that require world building, because the location is very often fictional or will have fictional elements to it.
Now, why is backstory important? For one thing, it makes a story feel more realistic and “lived in”, for lack of a better word. It’s not realistic that absolutely nothing of interest happened to the protagonist before the story begins, or that nothing from their past would influence their current beliefs, behavior, and decisions.
Backstory also gives characters clearer reasons for doing things. Returning to the earlier example of detective who had a younger sister who was kidnapped. What if the detective was a very procedural and by the book until a sudden similar case happened? Backstory can explain his unorthodox methods and willingness to solve the case at any cost.
Backstory can also drive the plot in many ways. Continuing with the detective example, the detective's knowledge of his little sister's case leads him to find similar patterns in the new case and sends him on a search to prove that the cases are connected. As we can see from that, backstory is also a good way to set up plot hooks for later characters, such as we could have our detective here with his twin sister who disappeared in circumstances similar to his current case. It could be a fantasy hero who had previous battles with orcs and explains why he doesn't like seeing orcs. It could be a contemporary romance heroine who is reencountering her old flame, in which case the backstory would be central towards the plot, essentially.
And now for three tips for writing backstory. First, it's important to not stop the plot to reveal backstory. Infodumping is generally something to be avoided when you are writing a novel. A little bit of it is unavoidable, but you want to avoid infodumping as much as possible and to reveal only as much information as necessary, partly because that creates a less cumbersome read for the reader and partly because that can also inspire a sense of mystery that sort of helps hook the reader and propels them forward into the story.
It's also good to only reveal backstory that serves the plot or provides key information. For example, you could have in your detective's backstory that he went to high school and he was only a mediocre student and graduated with a GPA of 2.9 while doing well in athletics. Unless that's actually relevant to the story or has some significance to the plot, it's probably best to not include that. You can always tell when a writer has done a lot of research on a particular topic like firearms or travel or the history of a particular country because they are going to put that information in the book whether you want it or not. And if you're inventing an elaborate backstory for your character, it's best to avoid that impulse and only bring in details from the backstory as necessary.
It's also important not to have the characters tell each other backstory that they would already know. For example, if you have two characters who've been married for 20 years, it would not be good to have them appear in dialogue as, “As you know, beloved wife, we have been married for 20 years this Tuesday.” It would be better if it's important to the plot to reveal that information like they're going out to a 20th anniversary party or their friends are throwing them a 20th anniversary party, that kind of thing, rather than having it come out in sort of a cumbersome conversation like that.
Additionally, it's also important to only do as much backstory as necessary. For your main character, you may need a good deal of backstory or for the antagonist, but for supporting characters, it's less important to have a fully realized background. You need just enough so that they feel realistic and can contribute to the plot without overburdening the plot with too many details.
Now, a few examples from my own books, mild spoilers here, nothing major but mild spoilers. I have written characters who have one key backstory element that influenced the plot. Ridmark Arban from Frostborn would be one and his major backstory point is that he was unable to save his wife Aelia from being killed five years before the story starts. Later on, there would be additional backstory that comes out for him in relation to his father and his brothers, but that is the main backstory point that defines his character for easily the first half of the series.
Another example would be Morigna, whose parents were killed by the dvargir and then she was raised by a mysterious sorcerer who called himself the old man. And that is a major defining part of her character, that backstory that happened before we meet her in the narrative.
I've also written characters with a lot of backstory, and the chief example of that would be Calliande from Frostborn as well, where she wakes up in the first book with no memory of her past and discovering what her backstory actually is a major driving force in the first eight books of the series. So that is a good example. Not to toot my own horn or anything, but that is a good example of using backstory as a mysterious narrative hook to pull the characters forward.
Rivah from Half-Elven Thief is another character of mine who has a lot of backstory. In the backstory, she was raised in a noble household, her mother died, her father was about to sell her into slavery, so she fled into the streets and then she met Tobell and became part of his thieving crew. Tobell suffered a serious injury, and the thieving crew broke up and Rivah had to sort of strike out on her own while coming under debt to the procurator Marandis. So there is a lot of backstory there and all of it is important to Rivah’s character and I think I've done my best to sort of feed that into the story as necessary to drive the plot rather than hopefully unloading it all in a massive infodump.
And I have written characters with very little backstory, and the prime example of those would be Caina and Nadia. In Caina’s series, the series starts when she's 11 years old and living with her parents and we develop Caina as she goes along and follow her she grows to adulthood and then increasing prominence in her world. With Nadia, the very first scene in the book is her first day of kindergarten pledging allegiance to the flag, the United States, and the High Queen of the Elves, which is the first indicator that Nadia's world, while very similar as to ours, is nonetheless very different. Like Caina, the book’s narrative starts when Nadia is very young and then we see her develop along the course of the books.
In a good example of backstory used well from another book would be Aragorn from J.R.R. Tolkien's Lord of the Rings, where Aragorn's backstory is extremely important because when the hobbits first meet him at The Prancing Pony in Bree, he's just this mysterious wanderer known as Strider. But later on, we learn that he's actually the last heir of Gondor and Arnor and the rightful king of Gondor. His desire to reclaim his heritage and fulfill the role destiny has prepared for him is a major part of his character and that actually grows organically out of his backstory.
I'm not usually fond of prequels, but a good example of a prequel using backstory effectively would be the combination of the Andor TV show and the Rogue One movie, where they create this excellent backstory for the Star Wars movie [Episode IV]. They do it through good characterization so you can see all the motivations of the characters as they go about their various missions and errands. So hopefully that gives you a good look into the process of creating backstory and how best to use it for writing your own stories.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found this show useful. A reminder that you can listen to all the back episodes of the show at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
And now let's close out with a preview of the audiobook of Ghosts in the Siege, as excellently narrated by Hollis McCarthy [audiobook excerpt follows].
In this week's episode, we take a look at six marketing lessons writers can learn from TikTok. I also answer questions about my new book BLADE OF FLAMES.
This coupon code will get you 50% off the audiobook of Shield of Storms, Book #1 in the Shield War series, (as excellently narrated by Brad Wills) at my Payhip store:
FALLSHIELD50
The coupon code is valid through October 6, 2025. So if you need a new audiobook this fall, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 270 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September 26th, 2025, and today we are looking at six trends from TikTok that help with marketing books (even if you're not on TikTok). We'll also answer some questions about my new book, Blade of Flames. Before we get to our main topics, we will do Coupon of the Week and a progress update on my current writing projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Shield of Storms, Book One in the Shield War series (as excellently narrated by Brad Wills), at my Payhip store and that is FALLSHIELD50. And as always, the coupon code and the links to my store will be available in the show notes. This coupon code is valid through October 6, 2025. So if you need a new audiobook to listen to this fall, we have got you covered.
Now here is where I'm at with my current writing projects. As I mentioned last week, Blade of Flames is now out and you get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, and My Payhip store. Now that it is out and published, my new main project is I'm finally returning to the Nadia series. I am 50,000 words into Cloak of Worlds, which I believe puts me on chapter 10 of 28, though I'll probably split up some of the longer chapters in editing to make them punchier. So hopefully that will be out in October, probably towards the end of October (if all goes well).
My secondary project is now Blade of Shadows, which will be the sequel to Blade of Flames and the second book in my Blades of Ruin epic fantasy series. And as of this recording, I'm about 4,000 words into it and I'm hoping that'll be out towards the end of November, maybe right before or right after Thanksgiving, depending on how the next couple of weeks go.
In audiobook news, Shield of Power is now finally out at all audiobook stores: Audible, Amazon, Apple, Google Play, Kobo, Chirp, Spotify, and all the others. You can listen to that on a platform of your choosing. Recording is almost done on Ghost in the Siege and I should have some audiobook files to proof for that soon. So that is where I'm at with my current writing, audiobook, and publishing projects.
Now, Blade of Flames is the first book in a new epic fantasy series with the first new protagonist I've had since I wrote Rivah in Half-Elven Thief back in 2023. So as you might expect, it has generated more than the usual amount of reader questions. So for convenience, I will answer them all right here on the show.
Question #1: Is Blade of Flame set in the world of Andomhaim/Owyllain (from Frostborn Sevenfold Sword, Dragontiarna, Dragonskull, and The Shield War)? Yes, it is set in Owyllain, specifically in the Year of Our Lord 1588, so 88 years after the end of The Shield War. Question #2: Is Ridmark the main character? No, the main character is named Talembur. I've written 43 books with Ridmark as either the protagonist or one of the protagonists, and across those books, Ridmark has gone from an angry young man to a grandfather, so it was time to do something different. The poor man deserves a break after 43 books.
Question #3: Is Talembur secretly Ridmark in disguise? No.
Question #4: Is Talembur secretly…(various character theories)? No, Talembur's a new character.
Question #5: Do you need to read any other books before starting Blade of Flames? No. That was one of my intentions in writing it. You can read Blade of Flames without having bred any of the other Andomhaim books, since all the major characters in Blade of Flames are new and we're in a part of Owyllain we've never visited before.
Question #6: Are there any recurring characters in Blade of Flames? Exactly one and that character only has, like three lines. Well, two (technically, depending on how you look at it).
Question #7: Will other recurring characters return in future Blades of Ruin books? Yes, but we shall have to read and find out after I write them.
Question #8: The opening is very similar to Frostborn: The Gray Knight, isn't it? Yes, for reasons that will become clear. Without any spoilers, let's say that this similarity is a significant plot point.
Question #9: Is there a dog in this book? Yes. People like dogs, so there is a dog in the book.
Question #10: Does the dog die? He does not.
Question #11: Seriously, truly, does the dog die? I promise the dog does not die.
Question #12: How many Blades of Ruin books will there be? I'm planning for 12, though that might change if I have a good idea that requires an extra book or if I think I can consolidate it down.
Question #13: Will there be Blades of Ruin audiobooks? That is the plan, if all goes well. Brad Wills has signed up to narrate the series.
Question #14: Are you still going to write Rivah books? Yes. After I publish Cloak of Worlds, which as I mentioned will hopefully be sometime in October, I will start writing the next Rivah book, Elven-Assassin.
Question #15: Are you still going to write Caina books? Eventually. I need some time to think about where they're going to go next. I have done this before. There is a two year gap between Ghost in the Sun (the end of the Ghost Night series) and Ghost and the Serpent because I wanted to think about what to do next. At this point in my life, I don't want to have any more than three unfinished series at any one time, so we'll see what I want to do next when either Blades of Ruin, Cloak Mage, or Half-Elven Thief are completed.
Question #16: Seriously, Talembur is secretly Ridmark, isn't he? In 1884, retired Civil War General William T. Sherman was approached about running for president. He point blank refused, famously stating, “I will not accept if nominated. I will not serve if elected. Though this usually gets paraphrased to “If nominated, I will not run. If elected, I will not serve.” He really meant it and refused to get involved in politics for the remaining years of his life. I'm not sure if writers of fiction have the equivalent of a Sherman statement, but if there is, this is it. Talembur is a new character and not secretly a character who has appeared before in the Andomhaim/Owyllain books and I cannot be blunter about it than that.
So hopefully that will answer any questions you may have had about the Blades of Ruin series and Blade of Flames in particular.
00:05:50 Main Topic: 6 Things BookTok Trends Can Teach You About Marketing Books
Now on to our main topic this week, which is six things BookTok trends can teach you about marketing books (even if you don't use TikTok). One thing is clear though, is that books are thriving on the TikTok social media video platform.
Readers (very often in the romance, young adult, and fantasy genres) are excited to show off their trips to bookstore and their “hauls” of the latest books in videos. BookTok influencers are even paid to promote new releases in videos in the same way Beauty Gurus have been paid to promote mascara. Some traditional examples of bestselling BookTok books are the Fourth Wing series by Rebecca Yaros, A Court of Thorns and Roses by Sarah J. Maas, It Ends With Us by Colleen Hoover, and the works of Emily Henry.
Anecdotes are not the same as data of course, but the last couple of times I've been to a Barnes & Noble, I've been surprised by how young most of the customers there are. Obviously that might be attributed to my own advancing age, where I'm very often the oldest person when I go someplace. But nonetheless, I do think this is a real thing where BookTok and TikTok in particular are drawing more young people into reading because they see it's a trendy thing on TikTok, so they get into it.
The BookTok effect can make even an otherwise obscure book the latest bestseller, even one that isn't a new release. Many authors have found success marketing their books on the platform and have seen an increase in their sales from BookTok.
Using TikTok as an author is hardly a requirement, though. In fact, I haven't used it in my marketing because I would rather focus on something like my newsletter that I have control over and that isn't vulnerable to bans. TikTok has been threatened with a US ban several times, but it hasn't ultimately been banned (at this time of this recording), and it doesn't look like that's going to happen since in the past few days, it looks like the US government has managed to finalize the sale of the company to an American investor. Now, as I just mentioned, using TikTok as an author is hardly requirement though, but nonetheless, there are lessons to be learned from the success of BookTok when marketing your books. We'll talk about six of those lessons today.
#1: Have your highlight-worthy quotes and pitch ready. TikTok is full of action-packed book trailers or short, dramatic reenactments of scenes from books. The most popular of these book-based clips are very short, sometimes even just a single quote or sentence. Some writers write page-length book blurbs, wanting to fit in every detail about their books. In the words of many Internet posters, “too long; didn't read.” You need to be able to explain your book in less than three sentences, to clearly explain the main character and the stakes they face. Having a few snappy or interesting quotes from the book itself as a teaser can also be useful aid in marketing. BookTok is a place to learn that art, as many successful authors and BookTok creators have perfected the short summary and attention-getting clips.
#2: Finding Your Readalikes Libraries and bookstores have long championed “readalikes” in their displays, which are books with similar settings, topics, or themes. For example, fans of suspense writer JD Robb might enjoy books by Patricia Briggs, Karin Slaughter, or Louise Penny. You can find authors that might be similar to you by using the “also read” section of your book's Amazon page. You can also think about themes that may connect your books to others such as “cozy mystery set in Wisconsin”, or “friends to lovers romance set in a theme park”. These themes can be broken down into something called tropes.
#3: Acknowledging Tropes Acknowledging tropes (such as plot or character types that frequently appear) used to be a sign of creative weakness, which I honestly always thought was misguided because we're all obviously inspired by previous writers, and so there's nothing wrong with acknowledging that inspiration. Now in the BookTok era, it's how many readers search for books, especially in the romance genres, they try to find “enemies to lovers” or “fake dating” titles. If you can break down two or three tropes that match your series, that will give you an advantage in marketing. There are sites and books with lists of tropes if you're not familiar with the ones for your genres.
#4 Finding Your Market Segment (You're not for everyone.)
My podcast transcriptionist once encountered a new author who insisted they wanted to market their book to all readers and wanted to advertise in every single category Amazon offered since they believed everyone needed to read their gritty memoir about surviving abuse and alcoholism. Whether or not someone believes that everyone needs to read their book, that's a pretty quick way to overspend on advertising while receiving extremely poor results.
The key to understanding online advertising is that the basic principle is the narrower you can target your audience, the more effective your ads are likely to be. Advertising that memoir so broadly that it’s in the same category as say, children picture books or German language cookbooks is a quick way to disappoint (or even annoy) potential readers. It's okay that your book isn't a match for every category or type of reader. In fact, it's expected.
There's a reason that the TikTok algorithm quickly pinpoints what viewers are most interested in and brings them similar content, because it's the quickest and easiest way to engage the user. People watching video game themed videos on endless loop probably aren't going to become suddenly interested in the videos about the benefits of living without electricity, for example. It's more profitable to keep showing variations of what they've already seen, with a little bit of new content mixed in. That's true in book advertising, too.
The most effective way to find the readers who are most excited to read your book is to segment your advertising by your subgenres, authors whose books are most similar to yours, and keywords that match your tropes or important features in your book. With enough time and data, you will even be able to segment by a geographic location based on what countries your book sells in the most. The more that you can get specific when creating ads, the more likely you are to limit your spending and find the group of readers who wants to find you the most. And the more you work at marketing, the more you'll realize that the answer is definitely not “everyone.”
#5: Don't give up on your backlist. One of the most surprising parts of TikTok is how often something that's decades old suddenly becomes popular for seemingly no reason at all. For example, 1962 Song “Pretty Little Baby” by Connie Francis was one of the top trending songs of this spring after became ubiquitous in TikTok videos. Books have seen the same phenomenon occur on TikTok. Classics by Jane Austen or Stephen King frequently end up in popular recommendation videos, while slightly older bestsellers by Sally Rooney or Susanna Clarke can get surprising second rounds of attention, too.
The rules of retiring or even abandoning your backlist books may not apply in a social media-based attention cycle where people are constantly discovering books. You can try to rotate your ads to periodically give your older books attention, or if you see a sudden spike in sales on an older title, check through your sales data and social media to understand if there is a specific reason why that's happening and maybe give it some extra advertising funds during that window of opportunity.
I've been an indie author for 14 years now, which means I've built up quite the backlist and I've noticed that very often the backlist will outsell new books. For example, this month (so far as of this recording), Blade of Flames is my new book for the month, and that has been 10% of my revenue for September 2025 so far, which is obviously a significant amount, but 90% of it comes from things I've previously written and I've noticed in previous years as well that for total yearly revenue, the revenue from new books tends to be around 22 to 25% (with the rest of it coming from my accumulated backlist).
#6: (To Use Some Internet Vernacular) Don’t Give Readers “the Ick” by Being “Cringe” Social media requires at least the appearance of ease and authenticity. People talk about something overly manufactured or awkward as being “cringe” or giving them “the ick.” How does that apply to marketing your books?
Simply put, don't try to be what you're not. If you're absolutely terrible at being in front of the camera, don't force yourself to make videos. If you're skilled at explaining the historical or cultural influences behind your books, maybe a newsletter or a Substack would be a better use of your marketing time and effort. You shouldn't have to try every possible form of marketing and you probably shouldn't in order to succeed as an author. Just because someone else in your genre is making good money from TikTok or Instagram doesn't mean that it's what's right for you or that it would work if you tried it.
Likewise, be aware of the spaces you're entering and the dynamics of a group when you're entering an online space. Writers who show up in a writing forum, hashtag, or subreddit meant for other writers in order to promote their book aren't in the right spot. In fact, that's why many of those places have a rule against self-promotion. Their time would be better spent in an online space related to their sub-genre where there are readers who are specifically looking for what they have to offer.
Begging or using some sort of pity-based story in your social marketing is not a good plan. Approach your marketing from a place of confidence about your book because desperation is not attractive to potential readers who are surrounded with options. At best, it only leads to short-term results, whereas finding the readers interested in your book will be a better use of your time in the long run. Be confident. Very few people are able to finish a book (much less must publish one), and there's at least a few people out there who will enjoy your book without being guilted into doing so.
I suppose the best rule of thumb overall for social media is don't beg, don't be needy, and perhaps most importantly of all, be as authentic as possible. By that I mean, I don't mean oversharing details about your personal life or personal opinions and beliefs and so forth, but just simply being authentic and not putting on airs or pretending to be something you're not.
So much of what we see on the internet now is fake. Since I published Blade of Flames last week, I've gotten dozens of emails allegedly from “readers” who are interested in helping promote the book, but are actually generated by ChatGPT as a front for various scam services. So the best way to combat that kind of AI generated slop, I think, might just being as authentic as you can without resorting to lies or other fakery.
In conclusion, BookTok has changed many of the old rules about book marketing and brought a new, more diverse, and younger group of readers into the market. Even if you don't plan on using the platform yourself for marketing (and I still don't), there’s still many lessons you can learn from BookTok and how it has shifted how readers find books and share recommendations. So I hope that has given you some food for thought about how to approach future marketing efforts.
So thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at the "personal curriculum" social media trend and look at how it can be useful for writers.
This coupon code will get you 50% off the audiobook of Cloak of Dragons, Book #1 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
FALLMAGIC50
The coupon code is valid through September 29, 2025. So if you need a new audiobook this fall, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 269 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September 19th, 2025, and today I am looking at the idea of a personal curriculum for writers. We also have Coupon of the Week and a progress update on my current writing projects.
So let's start things off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Dragons, Book Number One in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. And that coupon code is FALLMAGIC50. And as always, the coupon code and the links to my Payhip store will be available in the show notes of this episode. This coupon code will be valid through September the 29th, 2025. So if you need a new audiobook to listen to as we head into fall, we have got you covered.
And now for an update on my current writing projects. I'm pleased to report that Blade of Flames is finished and by the time this episode goes live on what should be the 22nd, it should be available at all ebook stores. Initial impressions have been positive so far, so I hope you'll check that out and enjoy it. Now that Blade of Flames is finished and out in the world, my next main project will be Cloak of Worlds. After a year, I am finally getting back to Cloak Mage. I am now 21,000 words into it, and I'm hoping it will be out in October, though it might slip to November because I think this one might be a bit on the longer side. My secondary project is now Blade of Shadows, which is the second book in the Blades of Ruin series and the direct sequel to Blade of Flames. I'm a thousand words into that.
In audiobook news, Shield of Power is still in processing and quality assurance at most of the audiobook stores. It is now available at, I think Google Play, Kobo, my own Payhip store, and a few others, but it's still not up on Audible, Apple, or Amazon yet, though hopefully that should be fixed soon. Recording on Ghost in the Siege is finished and we're just waiting on files so we can proof-listen to them. So some new audiobooks will be available before too much longer. So that's where I'm at with my current writing projects.
00:02:18 Personal Curriculum for Writers
So let's move on to our main topic this week, the personal curriculum trend for writers. What is a personal curriculum? The trend of creating a personal curriculum has been going around social media for the past month or two. Basically, a personal curriculum uses a structure of an imaginary class to reframe your personal and professional development goals. It can be as simple as creating a set of reading to do in a month or as complex as creating a major project that will take many steps and months to complete.
How does this work? Instead of having an undefined goal of wanting to learn how to learn more about how to market your books, you make yourself a course called Marketing Literature with Social Media, with a list of related books, videos, and tasks divided into blocks of time, just like the class would have things that are connected in each session. The key to the personal curriculum trend is having weekly goals and projects just like homework (and of course keeping up with it). Some people create monthly personal curriculum while others keep the more academic framework of quarters, terms, or semesters. Some people create multiple classes, while others focus on one at a time. The amount of detail in the curriculum's development ranges from scrawling a plan on a sheet of notebook paper to creating intricate Notion boards that are essentially a prettier version of an online course system used at universities.
The personal curriculum trend is fueled by many things, including nostalgia for the structure of school and its relatively clear paths to success, the desire to spend less time doom scrolling on social media, and the desire to make goal setting more whimsical. Having clear and specific deadlines for completing tasks is one of the most important parts of goal setting, and that is at the center of the trend of creating personal curriculums. Most people spend 14 to 19 years in school (depending on the individual), so it's a structure that's familiar. It also takes an overwhelming and broad goal, such as learning about marketing and gives it focus by defining what is actually being learned and determining how to apply that to real tasks in a manageable way. It transforms the nebulous goal of learning something specific and also gives a clearer path on how to apply the learning into action. By design, it also emphasizes goals that can be done in weeks instead of years, which makes starting much less intimidating.
Many people also need some outside accountability in order to work well, and this is a way of creating it for yourself. Being able to give yourself an “A” if you're completing your homework each week is a simple and free motivator for many. Since this is mostly a writing podcast, I want to discuss how the personal curriculum trend can be applied to writing goals and professional development for writers. To that end, I will share five ways that I think the trend can help you grow as a writer and make more specific and actionable goals.
#1: Defining your priorities. There are endless things to learn both in life and as a writer, especially in the world of self-publishing. Therefore, it can be tempting to chase after every trend or every new thing that's working for other people. The problem with that is that it's impossible to do that in any meaningful or focused way.
It's better to pick a focus for every month or every few months and gain as much proficiency as you can instead of dabbling at things without taking the time to understand them well and then bemoaning that they don't work. A month or a fake semester is still a narrow enough timeframe to pivot if you want to change your goals, instead of being locked into yearly goals.
For example, I set specific goals for getting books out, and then each month is pretty well defined into writing, editing, cover design, layout, publishing, and marketing tasks for me based on each book. Other things I want to try, such as creating videos, doesn't fit within those specific goals because they're not the priority. Other things that are lesser priorities (like trying new effects in Photoshop for my book covers and ad images) are things that I know I can work on after finishing the primary goals I've set for myself each week.
#2: Trying something new. The structure of a personal curriculum makes trying something new feel less intimidating. For example, “making my own book cover” is something of a massive and undefined goal. You know that's important and you want to do it, but you can never seem to get past watching a TikTok video or two on Photoshop when they come into your feed. By creating a course for yourself on learning how to use Photoshop and the best techniques for creating book covers and giving yourself homework of different things from your readings or viewings to try out, you give the goal a specific plan and tie what you're learning into actual tasks that will help you move forward and then make your learning stick by applying it in the right way.
For example, what I did for myself to learn Photoshop well enough to do a book cover was during early COVID in 2020, I bought a couple of courses on it and took the courses. Now, I suppose that's something of more of an actual structured curriculum since someone set up that course, but you could do it for yourself with the same thing by getting The Beginner's Guide to Photoshop or (the some unfortunately titled) The Complete Idiot's Guide to Photoshop from your library, reading that, and then watching a few longer focused YouTube videos on the process of creating a book cover. And then that would give you enough to go on in terms of starting your own personal curriculum and then developing your own book covers.
#3: Managing your time. With endless distractions, it's too easy to look at a week or even a month and wonder where the time went with little to show for it. In contrast, the school environment has a rigid time structure, even at the university level. There is never a question of where the time went there. Work must be done at a specific time, and you have to show up multiple times a week to learn more and prove you understand what you've learned already.
People often struggle without that structure after graduation, especially people who thrived in the school environment. But there's no harm in recreating it for yourself, especially if you are one of those people who thrived in the academic world. For example, if you want to do research on a specific time period for your next book, creating a course defines what that means.
Instead of endless scrolling and watching videos online, you define what the scope of needed research is before you begin, so you're spending your time more efficiently. If you pick out the books, videos, and what you specifically need to research for the plot in advance and give yourself a set amount of time to learn the material, you're spending your time more wisely and freeing up time for other tasks.
For example, in my most recent book, Blade of Flames, part of one of the subplots is inspired by a period in English history called The Anarchy, which was the civil war in the early 12th century between Empress Maude and King Stephen for the throne of England. Now, I knew a fair bit about this period already because of other reading I've done, but if I wanted to learn more about it, the best way to do it would be to read a few books and some of the more accessible books by popular historians. Like for example, maybe the best way to learn enough about The Anarchy to base a book on it would be read some of the books by Dan Jones, who has written many excellent popular history books about the medieval and early modern English time period.
#4: Professional development. Most professions have professional development where you have to keep your skills updated, whether you're a teacher who has to get re-certified, a doctor who has to learn new procedures, a system admin who has to learn the latest bugs Microsoft has baked into their software, and so forth. Writing is no different (especially if you're a self-published writer) because there's so many side skills like layout and web design and so forth that it's kind of helpful to keep up on.
It's hard to carve time out for professional development because as a writer, it's time away from the task that actually gets you paid, which is writing new stuff. Learning or trying new things becomes something that either feels insurmountable or happens in a haphazard way that doesn't actually move things forward for you. A personal curriculum gives you the permission to carve out time to learn new things. It's easy to hyperfocus on writing and feel like anything else is less productive, but there are many parts to being a writer, especially for the self-published, so it's important to give yourself a structured way to explore new software, marketing strategies, and social media channels as they emerge.
For example, to use something of a negative example, I rather notoriously have a very low opinion of the AI tools currently flooding the market like ChatGPT and Midjourney. That wasn't an opinion I arrived at haphazardly. I did thoroughly investigate each of these tools. I tried Adobe Firefly, I tried Midjourney, I tried Microsoft's ones, Bing Chat and Bing Image Create. I tried ChatGPT, I tried one other, I can't think of off the top of my head, and I just did not come away impressed with these tools or the capabilities.
So I suppose that was a negative example of something I'm talking about, whereas a positive example would be in 2018, I started using a Mac program called Vellum to format my paper books. It was a lot easier and more useful than the method that I'd been using previously, and I was so impressed with that that I eventually switched over into using Vellum for my ebook formatting as well, and learned how to do that as well, and I've been using it ever since. So that'd be a positive example of professional development.
#5: Holding Yourself Accountable. One of the most difficult things about writing is that it lacks the structure of a traditional job or school environment. For that reason, many high achievers tend to struggle with starting or completing tasks when they leave school. Creating specific goals and making a clear timeframe for completing them helps with that tendency. For that reason, some personal curriculum devotees will even assign class times on a certain day of the week or a certain time of the night to make sure they're on track with their goals or homework for the week. National Novel Writing Month has kind of crashed and burned from its scandals over the past year, but the principle of accountability in giving yourself a set period of time to do something is helpful there.
In the same way, your homework for each day for writing could be a set number of words or a certain percentage of progress in editing. Did you spend that day looking at social media instead of getting words done? There is a grade for that and it's not a good one. “A” students complete their work and turn it in, and that's the core of writing, putting down words consistently and publishing them.
Now, I suppose you could think that the personal curriculum thing seems like a silly social media trend, but for some people, especially people who really thrived in and enjoyed the academic environment in school, it might work in a way that average yearly goals do not. Studies show time and time again that the happiest adults are those with defined priorities who make time to learn new things and enjoy hobbies. A personal curriculum provides a way to emphasize those important things in your life in a more whimsical way than say, the various yearly evaluation goals of the corporate world.
For writers, it can be a much-needed way to add structure to an unstructured work environment and make sure that they're spending their time in the best way possible. And it all boils down to essentially one of the oldest dictums: know thyself. If this kind of thing would not be helpful for you, then there's no point in pursuing it. But if you know yourself and know that you have the kind of personality and mental inclination that would respond well to structure like this (even if it's structure you're creating for yourself), then a personal curriculum might be a good idea to pursue.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. I reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, we take a look at permafree as a marketing strategy for indie authors, and examine if it still works. I also take a look at advertising results for August 2025.
This coupon code will get you 25% off the ebooks in my Cloak Mage series at my Payhip store:
FALLMAGE25
The coupon code is valid through September 22, 2025. So if you need a new ebook this fall, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 268 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September 12th, 2025, and today I'm looking at whether or not Permafree is still an effective strategy for indie authors. As a related topic, we'll also take a look at how my ads performed in [August] 2025, and we'll also have a Question of the Week this week.
But first, let's start with Coupon of the Week. So for Coupon of the Week to celebrate the fact that I'm working on Cloak Mage again, this coupon code will get you 25% off the ebooks in the Cloak Mage series at my Payhip store, and that is FALLMAGE25. And as always, the coupon code and links to my store will be available in the show notes. This coupon code is valid through September 22nd, 2025. So if you need a new ebook for this fall, we have got you covered.
Now for an update on my current writing and audiobook projects. I'm about 82% of the way through the first round of edits for Blade of Flames, the first book in my new epic fantasy series called Blades of Ruin. If all goes well, that will be out before the end of September, and if you want to see what the cover art will look like, it's on my website and my social pages right now. I'm also 12,000 words into Cloak of Worlds, the aforementioned return to the Cloak Mage series, and that will be my main project once Blade of Flames comes out.
In audiobook news, recording is done for both Shield of Power (as narrated by Brad Wills) and Ghost in the Siege (as narrated by Hollis McCarthy). They're both going through processing right now. As of this recording, I believe you can get Shield of Power on Google Play, Kobo, and my Payhip Store. The other links and the other links for Ghost in the Siege should be coming up before too much longer, hopefully before the end of the month. So that is where I'm at with my current writing and publishing projects.
00:02:00 Question of the Week [Question of the Week was posted on September 10, 2025]
Now It's time for Question of the Week, which is intended for enjoyable discussions of interesting topics. This week's question, do you dislike guns showing up in fantasy novels? No wrong answers for opinions, obviously. The inspiration for this question was a blog post I saw where the writer was complaining about the increased number of guns in modern fantasy novels and how it shatters her suspension of disbelief, and she also found it an unpleasant topic because the ownership and regulation of firearms in the United States is a contentious topic and has been so for decades.
And as you might expect, readers had a variety of opinions on this question.
Adrian says: Nope. Fantasy is basically, in my humble opinion, the swords and sorcery type of genre. Yes to old fashioned weapons like bows and arrows, javelins, and trebuchets, et cetera, but definite no to guns (of any type), tanks, airplanes, et cetera. Jonathan D. says: In the right setting, firearms are fine in fantasy books. Men in Arms by Terry Pratchett and the Rigante Series by David Gemmell are great examples of firearms in fantasy done well.
Wilson says: It depends on your definition of a gun because an energy rifle powered by a soulstone would be something that would fit into Andomhaim.
Though I have to say that is not something I will ever write in an Andomhaim book.
Mary says: Steampunk and suchlike genres are developing how to work with technology and fantasy, and I approve when it's done right. I particularly like what Moe Lane's doing in The Fermi Resolution. If you start with the first published book, Frozen Dreams, which is a post-apocalyptic North America high fantasy, hard boiled detective novel, it goes into how every wizard can make your own ammo blow up on you and the consequences.
Ioana says: Mrs. World Burner should have lots of guns. #HailToTheHighQueen #SingularitySucks
Jason says: Handheld firearms were first used in the West in the 1330s, so they actually predate full plate armor by about a hundred years. That said, the gun shape we're used to came about in the late 1400s. I'm perfectly fine with firearms and fantasy novels provided they’re (more or less) what we expect in a medieval setting.
Jesse says: Never bothers me as long as long as the stage of weapon development reasonably lines up with the field of the science in said fantasy world. Someone walking around with laser sights in a medieval hamlet would break it for me a bit.
Michael says: I remember much of video games (and at least one famous Dungeons and Dragons scenario, possibly two) back in the ‘80s had the “players stumble across a crashed starship trope” where you could end up with power armor and ray guns in a fantasy settings, which would be perceived as magic. I like that kind of cross genre gun introduction more than gunpowder becoming commonplace, I think.
The video games he's referring to are Heroes of Might and Magic 6 and 7, both of which I played back in the day and are quite good.
Juana says: My suspension of disbelief gets knocked out more by dialogue than guns.
Jenny says: Guns aren't as bad as cell phones, in my opinion, or the magical equivalent of a cell phone that is not even trying to be anything but a cell phone.
What's interesting is if you read a book that is determinedly set in the 1980s, like the Kinsey Millhone Mysteries by Sue Grafton are all determinedly set in Los Angeles in the 1980s, which is way pre-cellphone and how much extra work the protagonist has to do in investigating since Google doesn't immediately bring everything to her fingertips.
Jimmy says: Fantasy doesn't require medieval setting, nor does it require swords. If you study medieval warfare, then you'll notice two things. One, only the rich have swords. Two, it is a secondary or tertiary weapon. Swords are notoriously weak. They break often. The use of guns really depends more on the story's background than it does on the genre.
Bonnie says: I agree, they're okay, depending on the time period/environment involved. There's no way that they would be okay with Caina or Ridmark!
Cheryl says: Nadia needs guns. I guess it depends on the fantasy topic being written.
John says, I'm kind of into Flintlock fantasy, e.g. Powdermage series, et cetera. Urban fantasy also requires firearms. My favorite historical European period is really the “Knights and Guns” era, which would be the early modern period.
Todd says: A deeper question is how do guns fit into the culture? In the Cloak Games/Cloak Mage universe, there are ongoing wars, so gun use and safety is taught in schools and veterans are expected to maintain proficiency against the Shadowlands incursion. There's a balance there, and the punishment for criminal misuse includes slogging and loss of freedom, if not execution. So while I think the amount of firearms in Nadia's world is a bit over the top, I can see it making sense culturally and contextually. In a different culture, it may or may not make sense. In a classic medieval setting, it wouldn't make sense. Conversely, in early 1800s Western America, a limited amount of firearms were to be expected. Every little house on the prairie would be expected to have a few rifles and perhaps a pistol or two. Setting, culture, and context all determine what the reader will find appropriate.
And finally, Randy says: Depends on how they get there. Guardians of the Flame series had college kids reinvent them, which made sense, and their opponents figured out their own version. When one side has them and the other is too dumb to steal/capture some and figure them out, then yes, it doesn't work.
So as you can see, we had quite a range of opinions there. For myself, I really have no strong feelings about it one way or the other. I do think guns are best suited to urban fantasy environments. In Cloak Games and Cloak Mage, as several commentaries mentioned, Nadia goes through a lot of guns.
Granted, my favorite type of fantasy is what it's called basic fantasy or generic fantasy where a barbarian, a dwarf, an elf, and a wizard go to a dungeon and kill orcs and monsters. Firearms would definitely be out of place in that sort of setting. That said, I think guns and fantasy is like any other story trope and just needs to be done well to be enjoyable. I suppose it's a matter of properly setting the table for reader expectations. Like if you have a medieval style of fantasy world like Half-Elven Thief, it'd be weird to have guns suddenly show up. But if you create a setting that's an analog for 1880s America, but with wizards, then guns wouldn't be out of place. So that is it for Question of the Week. Thanks to everyone who commented and left insightful and interesting comments.
00:07:40 Advertising Results for August 2025 [Prices mentioned are USD]
Now let's go on to the first of our interrelated main topics, my advertising results for last month, which would be August 2025. I haven't done an ad results roundup for a couple months, partly because it's been a really busy summer and partly because I've been adjusting some things and waiting to see the results. I'll explain more later, but the short version is that I'm losing confidence in the effectiveness of Facebook ads for selling books. But first, let's see some advertising results for August 2025.
Let's start with Facebook ads where I advertise the Ghosts, Cloak Games/Cloak Mage, and the Frostborn series.
The Ghosts, I got back $8.40 for every dollar spent, with 6% of the profit coming from the audiobooks, which was really nice. This one was a bit of anomaly because Ghost in the Siege did a lot of heavy lifting for this.
For Cloak Games/Cloak Mage, I got back $2.70 for every dollar spent, with 12% of the revenue coming from the audiobooks.
And for Frostborn, I got back $2.83 for every dollar spent, with 30% of the revenue coming from the audiobooks.
Now on to Amazon ads. Remember, for an Amazon ad to be profitable, it needs to generate at least one sale/complete KU readthrough every six to eight clicks.
So for Demonsouled Omnibus One, I got $5 back for every $1 spent, with a sale for every 0.82 clicks, which was really good.
For Half-Elven Thief, I got back $1.22 for every dollar spent, with a sale for every 2.47 clicks.
And for Dragonskull Omnibus One, I got back $28.75 for every dollar spent, with 65% of the profit coming from the audiobook, with a sale for every 0.11 clicks.
Now, obviously these numbers require some explanation. The profit margin on Half-Elven Thief was narrow, but the entire series made up for it, so that's okay and it will improve when I start writing more books in the series later this year. In fact, I think I’m going to start writing the fifth one in October, if all goes well. The numbers for Dragonskull Omnibus One were so high because the ebook is $0.99, but the audiobook brings in a lot more than the ebook, something like 10 times, no, 20 times more than the ebook.
BookBub ads do quite well with Google Play and Barnes and Noble. The numbers are too long to quote here, but they did quite well.
All that said, the reason I'm losing confidence in Facebook ads is a combination of the loss of granular targeting and over-reliance on AI targeting. One of the paradoxes of online advertising is that the smaller and more granular your audience, the more likely your ad is to convert to sales.
Narrow, targeted advertising is so much better than broad targeting. Unfortunately, Facebook has been slowly removing the more granular targeting options in favor of broader categories that don't work as well. Like you used to be able to target dozens of fantasy authors as interests for Facebook users. Now, you can only target epic fantasy and maybe J.R.R. Tolkien. In fact, I confirmed this just this morning, but you can't even target Brandon Sanderson as an interest, and he's probably the most popular epic fantasy author publishing today.
To take the place of more granular targeting, Facebook has introduced AI assisted targeting, which they call Advantage Plus. Now, there's no beating around the bush. Advantage Plus isn't very good. It can garner a reasonable number of clicks on an ad, but those clicks don't convert to sales. Even with ads that don't use Advantage, Facebook still sneaks it in.
So the effectiveness of Facebook ads has been in decline. Like I turned off the Facebook ads for the Demonsouled series entirely in August, and my results actually improved a good bit. So I'm going to test another series with no Facebook ads for September, and we'll see how much the results vary. Specifically, I think I'll turn off Facebook ads for Cloak Games/Cloak Mage, leave them on for Frostborn, and see if it makes any difference, and if it does make a difference, it will be time to reevaluate some advertising strategies. On the plus side, I didn't lose any money at any of my ads this month and they all turned a profit, and as always, thank you to everyone who was reading and listening to ebooks and audiobooks.
00:11:41 Does Permafree Still Work For Indie Authors?
Now on to the other half of our main topic: Does Permafree still work for indie authors?
One of the perennial debates in Indie Author Land is whether or not making the first book in your series free still works as a marketing tactic or not. Now, at this point, I've been doing this for over 14 years, and I have a lot of different series and quite a few different ones with free first books in the series. I thought it might be interesting to dig into the sales data and see what percentage of people who downloaded the first book went onto the second book and then the final book in the series.
A few caveats and conditions: first, this is only for 2024 and the first half of 2025, since I wanted a set time sample for the data. Additionally, this is also useful for showing the conversion rate on a finished series that hasn't had a new book in years, since the final book in the Frostborn series came out in 2017, which was eight years ago at this point.
Second, it will only apply to a series whose first books were free for that entire time period. Third, when I talk about conversion rates, I mean what percentage of free downloads translated into sales. For example, if Book One had a hundred free downloads and then 12 sales of Book Two and nine sales of the final book, that means 12% of people went onto the second book and then 9% on to the final book. So we had a conversion rate of 12% from the first free book to the paid second book, and then a conversion rate of 9% from the free first book to the final book in the series. So with all that in mind, let's take a look at permafree conversion rates for some of my series in 2024 and 2025.
For The Ghosts, 13.47% went to the second book, and 12.72% went on to the final book.
For Frostborn, 13% went to the second book and 12.93% to the final book.
For Sevenfold Sword, 22.93% went to the second book and 22.81% on to the final book.
For Cloak Games, 11.85% went on to the second book, and 11.67% to the final book.
Silent Order, 14.64% went on to the second book, and 14.54% went to the final book.
For The Tower of Endless Worlds, 17.46% went to the second book, and 17.46% went onto the final book.
So I think there are a couple of conclusions we can draw from this. First, making the first book in a series permafree remains a viable marketing strategy. It doesn't usually result in dramatic spikes of sales, but instead it is good at generating more of a steady trickle.
Second, anything you can do to increase the number of downloads of your free books will likely increase the sales of the paid books later in the series. That said, there are caveats. You want methods to increase the free downloads to people that might conceivably be interested in buying the books. Targeted advertising can be an effective way to do this. What's not effective is using bot farms or help from a bunch of scammers to generate a big download in free books. At best, you'll generate a bunch of downloads that won't convert, and at worst ebook platforms will detect suspicious activity and either delist your free ebook or suspend your account.
Third, this strategy works even with books you don't promote very often. For example, I don't bash on the Tower of Endless Worlds because for some people it's their favorite book of mine. But in all candor, I do think it's one of my weaker books. I was trying to do something with urban fantasy I don't think I had the skills to do until Cloak Games, which was like 12 years later. So I don't really promote it, save that I made the first book in the series free a long time ago and kept it that way. It's still 17% of the people who downloaded the first book continued onto the final one.
Fourth, this strategy does require some patience. It can take a while for people to read through a series. It can also take a while for a free book to get traction. Fifth, I at times hesitate to recommend this because saying write five books and make the first one free is easy to say, but it's a lot of work to do. For many new writers, getting the first book done and out into the world is a monumental challenge, then telling them to do it three or four more times and then to make the first book free does seem like a big ask, but it does work (sometimes slowly), but it does work.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe, stay healthy, and see you all next week.
In this week's episode, I take a look back at the movies and streaming shows I watched in Summer 2025.
This coupon code will get you 50% off the audiobook of Ghost in the Serpent, Book #1 in the Ghost Armor series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
FALLSERPENT50
The coupon code is valid through September 15, 2025 (please note the shorter expiration date). So if you need a new audiobook this fall, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 267 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September 5, 2025 and today I'm doing a review roundup of the movies and streaming shows I saw in Summer 2025. Before we do that, we will have Coupon of the Week and a progress update on my current writing and audiobook projects.
First up, this week's coupon code will get you 50% off the audiobook of Ghost in the Serpent, Book One in the Ghost Armor series (as excellently narrated by Hollis McCarthy) at my Payhip store. That is FALLSERPENT50. This coupon code will be valid through September 15th, 2025 (exactly one week). So if you need a new audiobook to listen to as we head into fall, we have got you covered.
Now for an update on my current writing and audiobook projects. I am pleased to report that the rough draft of Blade of Flames, which will be the first book in my new Blades of Ruin epic fantasy series is finished. The rough draft came at about 90,000 words long, which was what I was aiming for. Next up, I will be writing a short story set as sort of a bonus in that plot line called Thunder Hammer and that will be the backstory of one of the characters in Blade of Flames. And when Blade of Flames comes out (which will hopefully be later this September), newsletter subscribers will get a free ebook copy of Thunder Hammer. So this is an excellent time to subscribe to my newsletter.
I am also 8,000 words into Cloak of Worlds. At long last, I am coming back to the Cloak Mage series after nearly a year's absence. Longtime listeners will know the reason was that I had five unfinished series and I wanted to spend the summer of 2025 finishing the unfinished ones and focusing up so I will only have three ongoing series at any given time. I'm hoping Blade of Flames will come out before the end of September and Cloak of Worlds before the end of October, and after that I will be able to return to the Rivah series at long last.
In audiobook news, recording is finished on Shield of Power. That will be excellently narrated by Brad Wills and hopefully once it gets through processing and quality assurance and everything, it should be showing up on the various audiobook stores before too much longer. Hollis McCarthy is about halfway through the recording of Ghost in the Siege, which was, as you know, the last book in the Ghost Armor series that just came out. And if all goes well, the audiobook should be coming out probably in October once everything is done with recording and quality assurance and all that. So that is where I'm at with my current writing and audiobook projects.
00:02:34 Main Topic: Summer 2025 Movie/TV Roundup
So without further ado, let's head into our main topic. The end of summer is nigh, which means this time for my summer movie review roundup. As is usual for the summer, I saw a lot of movies, so this will be one of the longer episodes. For some reason I ended up watching a bunch of westerns. As always, the movies are ranked from least favorite to most favorite. The grades of course are totally subjective and based on nothing more than my own opinions, impressions, and interpretations. Now on to the movies.
First up is the Austin Powers trilogy, the three movies of which came out in 1997, 1999, and 2002. The Austin Powers movies came out just as the Internet really got going in terms of mass adoption, which is likewise why so many Austin Powers and Dr. Evil memes are embedded in online culture. Despite that, I had never really seen any of them all the way through. They've been on in the background on TBS or whatever quite a bit when I visited people, but I've never seen them all. But I happened upon a DVD of the trilogy for $0.25 (USD), so I decided for 25 cents I would give it a go.
I would say the movies were funny, albeit not particularly good. Obviously the Austin Powers movies are a parody of the James Bond movies. The movies kind of watch like an extended series of Saturday Night Live skits, only loosely connected, like the skit is what if Dr. Evil had a son named Scott who wasn't impressed with him or another skit was what if a British agent from the ‘60s arrives in the ‘90s and experiences culture clash? What if Dr. Evil didn't understand the concept of inflation and demanded only a million dollars from the United Nations? What if Dr. Evil was actually Austin's brother and they went to school together at Spy Academy? Michael Caine was pretty great as Austin's father. Overall, funny but fairly incoherent.
Overall grade: C-
Next up is Horrible Bosses, a very dark and very raunchy comedy from about 14 years ago. It came out in 2011. Interestingly, this movie reflects what I think is one of the major crises of the contemporary era, frequent failures of leadership at all levels of society. In the movie Nick, Dale, and Kurt are lifelong friends living in LA and all three of them have truly horrible bosses in their place of employment, ranging from a sociopathic finance director, the company founder's cokehead son, and a boorish dentist with a tendency to sexual harassment. At the bar, they fantasize about killing their horrible bosses and then mutually decide to do something about it. Obviously, they'd all be prime suspects in the murder of their own bosses, but if they killed each other's bosses, that would allow them to establish airtight alibis.
However, since Nick, Dale and Kurt are not as bright as they think they are, it all goes hilariously wrong very quickly. Bob Hope has a hilarious cameo. If the best “crude comedies” I've seen are Anchorman, Zoolander, Tropic Thunder, and Dodgeball, and the worst one was MacGruber, I'd say Horrible Bosses lands about in the middle.
Overall grade: C
Next up is Cowboys and Aliens, which came out in 2011. Now I almost saw this in 2011 when it came out, but I was too busy to go to the theater in July of 2011, so I finally saw it here in 2025 and I would say this was almost a great movie, like the performances were great, the concept was great, the scenery was great, the special effects were great, and the story was packed full of really interesting ideas, but somehow they just didn't coalesce. I'm not entirely sure why. I think upon reflection, it was that the movie is just too overcrowded with too many characters and too many subplots.
Anyway, Daniel Craig portrays a man who wakes up with no memory in the Old West, with a mysterious bracelet locked around his wrist. He makes his way to the town of Atonement, and promptly gets arrested because he is apparently a notorious outlaw (which he doesn’t remember). While he is locked in jail, space aliens attack the town. The aliens, for unknown reasons, abduct many of the townspeople, and Daniel Craig’s character, who is named Jake even if he doesn’t remember it, must lead the town’s effort to recover their abducted citizens.
Harrison’s Ford has an excellent performance as this awful cattle baron who nonetheless has virtues of courage and fortitude that you can’t help but admire. An excellent performance.
That said, the movie was just too packed, and I thought it would work better as a novel. After I watched the movie, it turned out that it was indeed based off a graphic novel. Novels and graphic novels allow for a far more complex story than a movie, and I don’t think this movie quite managed to handle the transition from a graphic novel to a film.
Overall grade: C
Next up is Heads of State, which came out in 2025. This was kind of a stupid movie. However, the fundamental question of any movie, shouted to the audience by Russell Crow in Gladiator is, “are you not entertained?!?” I was thoroughly entertained watching this, so entertained I actually watched it twice. Not everything has to be Shakespeare or a profound meditation on the unresolvable conflicts inherent within human nature. Anyway, John Cena plays Will Derringer, newly elected President of the United States. Idris Elba plays Sam Clark, who has now been the UK Prime Minister for the last six years.
Derringer was an action star who parleyed his celebrity into elected office (in the same way Arnold Schwarzenegger did), while Clarke is an army veteran who worked his way up through the UK’s political system. Needless to say, the cheerful Derringer and the grim Clarke take an immediate dislike to each other. However, they’ll have to team up when Air Force One is shot down, stranding them in eastern Europe. They’ll have to make their way home while evading their enemies to unravel the conspiracy that threatens world peace. So half action thriller, half buddy road trip comedy. The premise really doesn’t work if you think about it too much for more than thirty seconds, but the movie was funny and I enjoyed it. Jack Quaid really stole his scenes as a crazy but hyper-competent CIA officer.
Overall grade: C+
Next up, Captain America: Brave New World, which came out in 2025 and I think this movie ended up on the good side of middling.
You can definitely tell it went through a lot of reshoots and retooling, and I suspect the various film industry strikes hit it like a freight train. But we ended up with a reasonably solid superhero thriller. Sam Wilson is now Captain America. He’s not superhuman the way Steve Rogers was and doesn’t have magic powers or anything, so he kind of fights like the Mandalorian – a very capable fighter who relies on excellent armor. Meanwhile, in the grand American political tradition of failing upward, Thaddeus “Thunderbolt” Ross, who spent years persecuting The Hulk and whose meddling caused the Avengers to disband right before Thanos attacked, has now been elected President. To Wilson’s surprise, Ross reaches out and wants him to restart the Avengers. But Ross (as we know) did a lot of shady black ops stuff for years, and one of his projects is coming back to haunt him. Wilson finds himself in the middle of a shadowy conspiracy, and it’s up to him to figure out what’s going on before it’s too late. I was amused that lifelong government apparatchik Ross wanted to restart the Avengers, because when the Avengers had their biggest victory in Avengers: Endgame, they were essentially unsanctioned vigilantes bankrolled by a rogue tech billionaire. Overall grade: B-
Next up is Ironheart, which came out in 2025. I'd say Ironheart was about 40% very weird and 60% quite good. It's sort of like the modern version of Dr. Faustus.
The show got some flak on the Internet from the crossfire between the usual culture war people, but the key to understanding it is to realize that Riri Williams AKA Ironheart is in fact an antihero who’s tottering on the edge of becoming a full-blown supervillain. Like Tony Stark, she’s a once-in-a-generation scientific talent, but while she doesn’t have Stark’s alcohol problems, she’s emotionally unstable, immature, ruthless, indifferent to collateral damage and consequences, and suffering from severe PTSD after her best friend and stepfather were killed in a drive-by shooting. This volatile mix gets her thrown out of MIT after her experiments cause too much destruction, and she has to go home to Chicago. To get the funds to keep working on her Iron Man armor, she turns to crime, and falls in with a gang of high-end thieves led by a mysterious figure named Hood. It turns out that Hood has actual magic powers, which both disturbs and fascinates Riri. However, Hood got his magic in a pact with a mysterious dark force. When a job goes bad, Riri gains the enmity of Hood and has to go on the run. It also turns out Hood’s dark master has become very interested in Riri, which might be a lot more dangerous for everyone in the long run. Overall, I’d say this is about in the same vein as Agatha All Along, an interesting show constructed around a very morally questionable protagonist. Overall grade: B
Next up is A Minecraft movie, which came out in 2024. I have to admit, I've never actually played Minecraft, so I know very little about the game and its ecosystem, only what I've generally absorbed by glancing at the news.
That said, I think the movie held together quite well, and wasn’t deserving of the general disdain it got in the press. (No doubt the $950 million box office compensated for any hurt feelings.) One of the many downsides of rapid technological change in the last fifty years is that the Boomers and Gen X and the Millennials and Gen Z and Gen Alpha have had such radically different formative experiences in childhood that it’s harder to relate to each other. Growing up in the 1980s was a wildly different experience than growing up in the 2010s, and growing up in the 2010s was an even more wildly different experience than growing up in the 1960s. Smartphones and social media were dominant in 2020, barely starting in 2010, and implausible science fiction in 2000 and earlier, and so it was like the different generations grew up on different planets, because in some sense they actually did. (A five-year-old relative of mine just started school, and the descriptions of his school compared to what I remember of school really do sound like different planets entirely.) The Minecraft game and A Minecraft Movie might be one of those generation-locked experiences. Anyway, this has gotten very deep digression for what was essentially a portal-based LitRPG movie. A group of people experiencing various life difficulties in a rural Idaho town get sucked into the Minecraft world through a magic portal. There they must combine forces and learn to work together to master the Minecraft world to save it from an evil sorceress. As always, the fundamental question of any movie is the one that Russell Crowe’s character shouted to the audience in Gladiator back in 2000. “Are you not entertained?” I admit I was entertained when watching A Minecraft Movie since it was funny and I recognized a lot of the video game mechanics, even though I’ve never actually played Minecraft. Like, Castlevania II had a night/day cycle the way Minecraft does, and Castlevania II was forty years ago. But that was another digression! I did enjoy A Minecraft Movie. It was kind of crazy, but it committed to the craziness and maintained a consistent creative vision, and I was entertained. Though I did think it was impressive how Jack Black’s agent managed to insist that he sing several different times. Overall grade: B
Next up is Back to School, which came out in 1986 and this is one of the better ‘80s comedies I've seen.
Rodney Dangerfield plays Thornton Melon, who never went to college and is the wealthy owner of a chain of plus-sized clothing stores. His son Jason is attending Great Lakes University, and after Thornton’s unfaithful gold-digging wife leaves him (Thornton is mostly relieved by this development), he decides to go visit his son. He quickly discovers that Jason is flailing at college, and decides to enroll to help out his son. Wacky adventures ensue! I quite enjoyed this. The fictional “Great Lakes University” was largely shot at UW-Madison in Wisconsin, which I found amusing because I spent a lot of time at UW-Madison several decades ago as a temporary IT employee. I liked seeing the characters walk past a place where I’d eat lunch outside when the day was nice, that kind of thing. Also, I’m very familiar with how the sausage gets made in higher ed. There’s a scene where the dean is asking why Thornton is qualified to enter college, and then it cuts to the dean cheerfully overseeing the groundbreaking of the new Thornton Melon Hall which Thornton just donated, and I laughed so hard I almost hurt myself, because that is exactly how higher ed works. The movie had some pointless nudity, but it was only a few seconds and no doubt gets cut in network broadcasts. Overall grade: B Next up is Whiskey Galore, which came out in 1949 and this is a comedy set in Scotland during World War II. The villagers living on an isolated island have no whiskey due to wartime rationing. However, when a government ship carrying 50,000 cases of whiskey runs aground near the island, wacky hijinks ensue. I have to admit the first half of the movie was very slow and deliberate, gradually setting up all the pieces for later. Then, once the shipwreck happens, things pick up and the movie gets much funnier. Definitely worth watching both as a good comedy movie and an artifact of its time. A modicum of historical knowledge is required – if you don’t know what the Home Guard is, you might have to do some Googling to understand the context of some of the scenes. Regrettably, the version I watched did not have captioning, so I had to pay really close attention to understand what the characters were saying, because some of the accents were very strong. Overall grade: B
Next up is Happy Gilmore 2, which came out in 2025.
This was dumb and overstuffed with celebrity cameos but thoroughly hilarious and I say this even though it uses one of my least favorite story tropes, namely “hero of previous movie is now a middle age loser.” However, the movie leads into it for comedy.
When Happy Gilmore accidentally kills his wife with a line drive, he spirals into alcoholism and despair. But his five children still love him, and when his talented daughter needs tuition for school, Happy attempts to shake off his despair and go back to golf to win the money. But Happy soon stumbles onto a sinister conspiracy led by an evil CEO to transform the game of golf into his own personal profit center. Happy must team up with his old nemesis Shooter McGavin to save golf itself from the evil CEO. Amusingly, as I’ve said before, the best Adam Sandler movies are almost medieval. In medieval fables, it was common for a clever peasant to outwit pompous lords, corrupt priests, and greedy merchants. The best Adam Sandler protagonist remains an everyman who outwits the modern equivalent of pompous lords and corrupt priests, in this case an evil CEO. Overall grade: B+
Next up is Superman, which came out in 2025 and I thought this was pretty good and very funny at times.
I think it caught the essential nature of Superman. Like, Superman should be a Lawful Good character. If he was a Dungeons and Dragons character, he would be a paladin. People on the Internet tend to take the characterization of superheroes seriously to perhaps an unhealthy degree, but it seems the best characterization of Superman is as an earnest, slightly dorky Boy Scout who goes around doing good deeds. The contrast of that good-hearted earnestness with his godlike abilities that would allow him to easily conquer and rule the world is what makes for an interesting character. I also appreciated how the movie dispensed with the overused trope of the Origin Story and just got down to business. In this movie, Lex Luthor is obsessed with destroying Superman and is willing to use both super-advanced technology and engineered geopolitical conflict to do it. Superman, because he’s essentially a decent person, doesn’t comprehend just how depraved Luthor is, and how far Luthor is willing to go out of petty spite. (Ironically, a billionaire willing to destroy the world out of petty spite is alas, quite realistic). Guy Gardener (“Jerkish Green Lantern”) and the extremely competent and the extremely exasperated Mr. Terrific definitely stole all their scenes. The director of the movie, James Gunn, was quite famously fired from Disney in 2018 for offensive jokes he had made on Twitter back when he was an edgy young filmmaker with an alcohol problem. I suppose Mr. Gunn can rest content knowing that Superman made more money than any Marvel movie released this year. Overall grade: A-
Next up is Who Framed Roger Rabbit?, which came out in 1988. This was a very strange movie, but nonetheless, one with an ambitious premise, strong performances, and a strong artistic vision. It’s set in post WWII Los Angeles, and “toons” (basically cartoon characters) live and work alongside humans. Private eye Eddie Valiant hates toons since one of them killed his brother five years ago. However, he’s hired by the head of a studio who’s having trouble with one of his toon actors, Roger Rabbit. Roger’s worried his wife Jessica is having an affair, and Valiant obtains pictures of Jessica playing patty cake (not a euphemism, they actually were playing patty cake) with another man.
Roger has an emotional breakdown, and soon the other man winds up dead, and Roger insists he’s innocent. Valiant and Roger find themselves sucked into a dangerous conspiracy overseen by a ruthless mastermind. This movie was such an interesting cultural artifact. It perfectly follows the structure of a ‘40s film noir movie, but with cartoons, and the dissonance between film noir and the cheerfulness of the toons was embraced and used as a frequently source of comedy. In fact, when the grim and dour Valiant uses the toons’ comedy techniques as a tactical improvisation in a moment of mortal peril, it’s both hilarious and awesome. Christopher Lloyd’s performance as the villainous Judge Doom was amazing. (I don’t think it’s a spoiler to say that he’s villainous, because his character is named Judge Doom and he’s literally wearing a black hat.) Like, his performance perfectly captures something monstrous that is trying very hard to pretend to be human and not quite getting it right. And the amount of work it must have taken to make this movie staggers the mind. Nowadays, having live actors interact with cartoon characters is expensive, but not unduly so. It’s a frequent technique. You see it all the time in commercials when a housewife is smiling at an animated roll of paper towels or something, and Marvel’s essentially been doing it for years. But this was 1988! Computer animation was still a ways off. They had to shoot the movie on analog film, and then hand-draw all the animation and successfully match it to the live film. It wouldn’t have worked without the performance of Bob Hoskins as Eddie Valiant, who plays everything perfectly straight in the same way Michael Caine did in A Muppet Christmas Carol. So kind of a strange movie, but definitely worth watching. And it has both Disney and Warner Brothers animated characters in the same movie, which is something we will never, ever see again. Overall grade: A Next up is K-Pop Demon Hunters, which came out in 2025. Like Who framed Roger Rabbit?, this is a very strange movie, but nonetheless with a clear and focused artistic vision. It is a cultural artifact that provides a fascinating look into a world of which I have no knowledge or interest, namely K-pop bands and their dueling fandoms.
Anyway, the plot is that for millennia, female Korean musicians have used the magic of their voices to keep the demons locked away in a demon world. The current incarnation is a three-woman K-Pop group called Huntrix, and they are on the verge of sealing away the demons forever. Naturally, the Demon King doesn’t like this, so one of his cleverer minions comes up with a plan. They’ll start a Demon K-Pop Boy Band! Disguised as humans, the demon K-Pop group will win away Huntrix’s fans, allowing them to breach the barrier and devour the world. However, one of the Huntrix musicians is half-demon, and she starts falling for the lead demon in the boy band, who is handsome and of course has a dark and troubled past. Essentially a musical K-drama follows. I have to admit I know practically nothing about K-Pop groups and their dueling fandoms, other than the fact that they exist. However, this was an interesting movie to watch. The animation was excellent, it did have a focused vision, and there were some funny bits. Overall grade: A
Next up is Clarkson's Farm Season Four, which came out in 2025.
A long time ago in the ‘90s, I watched the episode of Frasier where Frasier and Niles attempt to open a restaurant and it all goes horribly (yet hilariously) wrong. At the time, I had no money, but I promised myself that I would never invest in a restaurant. Nothing I have seen or learned in the subsequent thirty years has ever changed that decision. Season 4 of Clarkson’s Farm is basically Jeremy Clarkson, like Frasier and Niles, attempting to open a restaurant, specifically a British pub. On paper it’s a good idea, since Clarkson can provide the pub with food produced from his own farm and other local farmers. However, it’s an enormous logistical nightmare, and Clarkson must deal with miles of red tape, contractors, and a ballooning budget, all while trying to keep his farm from going under. An excellent and entertaining documentary into the difficulties of both the farming life and food service. I still don’t want to own a restaurant! Overall grade: A Next up is Tombstone, which came out in 1993. The Western genre of fiction is interesting because it’s limited to such a very specific period of time and geographical region. Like the “Wild West” period that characterizes the Western genre really only lasted as a historical period from about 1865 to roughly 1890. The Western genre was at its most popular in movies from the 1940s and the 1960s, and I wonder if it declined because cultural and demographic changes made it unpopular to romanticize the Old West the way someone like Walt Disney did at Disneyland with “Frontierland.” Of course, the genre lives on in different forms in grittier Western movies, neo-Westerns like Yellowstone and Longmire, and a lot of the genre’s conventions apply really well to science fiction. Everyone talks about Firefly being the first Space Western, but The Mandalorian was much more successful and was basically a Western in space (albeit with occasional visits from Space Wizards). Anyway! After that long-winded introduction, let’s talk about Tombstone. When Val Kilmer died earlier this year, the news articles mentioned Tombstone as among his best work, so I decided to give it a watch. The plot centers around Wyatt Earp, played by Kurt Russell, who has decided to give up his career in law enforcement and move to Tombstone, Arizona, a silver mining boomtown, in hopes of making his fortune. However, Tombstone is mostly controlled by the Cowboys outlaw gang, and Earp is inevitably drawn into conflict with them. With the help of his brothers and Doc Holliday (Val Kilmer’s character), Earp sets out to bring some law and order to Tombstone, whether the Cowboys like it or not. Holliday is in the process of dying from tuberculosis, which makes him a formidable fighter since he knows getting shot will be a less painful and protracted death than the one his illness will bring him. Kilmer plays him as a dissolute, scheming warrior-poet who nonetheless is a very loyal friend. Definitely a classic of the Western genre, and so worth watching. Overall grade: A Next up is Mission Impossible: The Final Reckoning, the eighth Mission Impossible movie. Of the eight movies, I think the sixth one was the best one, but this one comes in at a close second. It continues on from Dead Reckoning. Ethan Hunt now possesses the key that will unlock the source code of the Entity, the malicious AI (think ChatGPT, but even more obviously evil) that is actively maneuvering the world’s nuclear powers into destroying each other so the Entity can rule the remnants of humanity. Unfortunately, the Entity’s source code is sitting in a wrecked Russian nuclear sub at the bottom of the Bering Sea. Even more unfortunately, the Entity knows that Hunt has the key and is trying to stop him, even as the Entity’s former minion and Hunt’s bitter enemy Gabriel seeks to seize control of the Entity for himself. A sense of apocalyptic doom hangs over the movie, which works well to build tension. Once again, the world is doomed, unless Ethan Hunt and his allies can save the day. The tension works extremely well during the movie’s underwater sequence, and the final airborne duel between Hunt and Gabriel. I don’t know if they’re going to make any more Mission Impossible movies after this (they are insanely expensive), but if this is the end, it is a satisfying conclusion for the character of Ethan Hunt and the Impossible Mission Force. Overall grade: A Next up is Deep Cover, which came out in 2025. This is described as a comedy thriller, and I didn’t know what to expect when I watched it, but I really enjoyed it. Bryce Dallas Howard plays Kat, a struggling comedy improv teacher living in London. Her best students are Marlon (played by Orlando Bloom), a dedicated character actor who wants to portray gritty realism but keeps getting cast in tacky commercials, and Hugh (played by Nick Mohammed), an awkward IT worker with no social skills whatsoever. One day, the three of them are recruited by Detective Sergeant Billings (played by Sean Bean) of the Metropolitan Police. The Met wants to use improv comedians to do undercover work for minor busts with drug dealers. Since it plays 200 pounds a pop, the trio agrees. Of course, things rapidly spiral out of control, because Kat, Marlon, and Hugh are actually a lot better at improv than they think, and soon they find themselves negotiating with the chief criminals of the London underworld. What follows is a movie that is both very tense and very funny. Kat, Marlon, and Hugh are in way over their heads, and will have to do the best improv of their lives to escape a very grisly fate. Whether Sean Bean dies or not (as is tradition), you will just have to watch the movie and find out. Overall grade: A
Next up is Puss in Boots: The Final Wish, which came out in 2022. I don’t personally know much about the history of Disney as a corporation, and I don’t much care, but I do have several relatives who are very interested in the history of the Disney corporation, and therefore I have picked up some by osmosis. Apparently Disney CEO Michael Eisner forcing out Jeffrey Katzenberg in the 1990s was a very serious mistake, because Katzenberg went on to co-found DreamWorks, which has been Disney’s consistent rival for animation for the last thirty years. That’s like “CIA Regime Change Blowback” levels of creating your own enemy. Anyway, historical ironies aside, Puss in Boots: The Final Wish was a funny and surprisingly thoughtful animated movie. Puss in Boots is a legendary outlaw and folk hero, but he has used up eight of his nine lives. An ominous bounty hunter who looks like a humanoid wolf begins pursuing him, and the Wolf is able to shrug off the best of Puss In Boots’ attacks. Panicked, Puss hides in a retirement home for elderly cats, but then hears rumors of the magical Last Wish. Hoping to use it to get his lives back, Puss In Boots sets off on the quest. It was amusing how Little Jack Horner and Goldilocks and the Three Bears were rival criminal gangs seeking the Last Wish. Overall grade: A Next up is Chicken People, which came out in 2016. A good documentary film gives you a glimpse into an alien world that you would otherwise never visit. In this example, I have absolutely no interest in competitive chicken breeding and will only raise chickens in my backyard if society ever collapses to the level that it becomes necessary for survival. That said, this was a very interesting look into the work of competitive chicken breeding. Apparently, there is an official “American Standard of Perfection” for individual chicken breeds, and the winner of the yearly chicken competition gets the title “Super Grand Champion.” Not Grand Champion, Super Grand Champion! That looks impressive on a resume. It is interesting how chicken breeding is in some sense an elaborate Skinner Box – like you can deliberately set out to breed chickens with the desirable traits on the American Standard of Perfection, but until the chickens are hatched and grow up, you don’t know how they’re going to turn out, so you need to try again and again and again… Overall grade: A Next up is The Mask of Zoro, which came out in 1998. I saw this in the theatre when it came out 27 years ago, but that was 27 years ago, and I don’t have much of a memory of it, save that I liked it. So when I had the chance to watch it again, I did! Anthony Hopkins plays Diego de la Vega, who has the secret identity of Zorro in the final days before Mexico breaks away from the Spanish Empire. With Mexico on the verge of getting its independence, Diego decides to hang up his sword and mask and focus on his beloved wife and daughter. Unfortunately, the military governor Don Montero realizes Diego is Zorro, so has him arrested, kills his wife, and steals his baby daughter to raise as his own. Twenty years later, a bandit named Alejandro loses his brother and best friends to a brutal cavalry commander. It turns out that Montero is returning to California from Spain, and plans to seize control of California as an independent republic (which, of course, will be ruled by him). In the chaos, Diego escapes from prison and encounters a drunken Alejandro, and stops him from a futile attack upon the cavalry commander. He then proposes a pact – Diego will train Alejandro as the next Zorro, and together they can take vengeance upon the men who wronged them. This was a good movie. It was good to see that my taste in movies 27 years ago wasn’t terrible. It manages to cram an entire epic plot into only 2 hours and 20 minutes. In some ways it was like a throwback to a ‘40s movie but with modern (for the ‘90s) production values, and some very good swordfights. Overall grade: A
Next up is Wick is Pain, which came out in 2025. I’ve seen all four John Wick movies and enjoyed them thoroughly, though I’ve never gotten around to any of the spinoffs. Wick is Pain is a documentary about how John Wick went from a doomed indie movie with a $6.5 million hole in its budget to one of the most popular action series of the last few decades. Apparently Keanu Reeves made an offhand joke about how “Wick is pain” and that became the mantra of the cast and crew, because making an action movie that intense really was a painful experience. Definitely worth watching if you enjoyed the John Wick movies or moviemaking in general. Overall grade: A
The last movie I saw this summer was Game Night, which came out in 2016. It was a hilarious, if occasionally dark comedy action thriller. Jason Bateman and Rachel McAdams play Max and Annie Davis, a married couple who are very competitive and enjoy playing games of all kinds. Jason has an unresolved conflict with his brother Brooks, and one night Brooks invites them over for game night, which Max resents. Halfway through the evening, Brooks is kidnapped, with Max and Annie assume is part of the game. However, Brooks really is involved in something shady. Hilarity ensues, and it’s up to Max and Annie to rescue Brooks and stay alive in the process. This was really funny, though a bit dark in places. That said, Max and Annie have a loving and supportive marriage, so it was nice to see something like that portrayed on the screen. Though this also leads to some hilarity, like when Annie accidentally shoots Max in the arm. No spoilers, but the punchline to that particular sequence was one of the funniest things I’ve ever seen. Overall grade: A So no A+ movie this time around, but I still saw a bunch of solid movies I enjoyed.
One final note, I have to admit, I've really come to respect Adam Sandler as an entertainer, even if his movies and comedy are not always to my taste. He makes what he wants, makes a lot of money, ensures that his friends get paid, and then occasionally takes on a serious role in someone else's movie when he wants to flex some acting muscles. I am not surprised that nearly everyone who's in the original Happy Gilmore who was still alive wanted to come back for Happy Gilmore 2.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show enjoyable and perhaps a guide to some good movies to watch. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I look at what goes into a successful theme park, and compare it to the process of creating a compelling story.
This coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store:
FALLDRAGON25
The coupon code is valid through September 8, 2025 (please note the shorter expiration date). So if you need a new ebook this fall, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 266 of The Pulp Writer Show. My name is Jonathan Moeller and today is August 29th, 2025, and today we are considering if theme parks are like writing. Before we get into this topic, we'll have Coupon of the Week and then a progress update on my current writing projects.
This week's coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store, and that coupon code is FALLDRAGON25. And as always, we'll have the coupon code and links in the show notes for this episode. This coupon code is only valid through September 8, 2025. That's only one week, so if you want to use it, act now. And if you need a new ebook for fall, we have got you covered.
Now an update on my current writing projects. I am 63,000 words into Blade of Flames, the first book in my new epic fantasy Blades of Ruin series, and I think 63,000 words puts me about almost two thirds of the way through. I think the book will end up being between 90,000 and 100,000 words, so hopefully we are on track to have that out before the end of September. I'm also 5,000 words into Cloak of Worlds, which will be the 13th book in the Cloak Mage series. And if all goes well, I think that will probably be out in October, towards the end of October, maybe a Halloween book.
In audiobook news, recording is still underway for Shield of Power (that will be excellently narrated by Brad Wills); we're coming up on the end of that, so should have some good news on that before too much longer. Recording is underway for Ghost in the Siege, and that will be excellently narrated by Hollis McCarthy. So that is where I am at with my current writing and audiobook projects. Some good progress this week.
00:01:53 Main Topic: What Epic Universe Can Teach Us About Creating Memorable Characters
Now on to our main topic this week: are theme parks like writing and what theme parks can teach us about creating memorable characters and settings. I have to admit, this is an unusual topic for me because I am not really a theme park person. I have several family members who are interested in the history of Disney Corporation, so I've picked up some through osmosis, but that's essentially it. This topic was suggested by my podcast transcriptionist, and it was an interesting idea, so I thought we would go with it. I don't really know all that much about theme parks. As I mentioned, I'm not really in the target audience and I'm not in the sort of demographic where I would watch, for example, someone's four hour live stream through the latest Disney attraction or whatever.
Though I did watch the video that Jenny Nicholson put out last summer about her experience with the Star Wars “hotel”, and I think that was interesting as a piece of essentially documentary journalism depicting a tale of sort of corporate greed and cost cutting and how that can lead to inevitable failure. But that is a bit of a tangent from our main topic, which is whether or not writers can learn anything from theme parks.
I did pick up enough through osmosis from the history of Disney to know that in the early days before the Disney Corporation became as sort of corporatized and cost cutting as is now, that when they built a new attraction, the attraction had to be able to tell a story, like there was some sort of a story that needed to be told or an essential narrative that needed to be followed through the layout of the attraction so the guests, if they were paying attention, would be told a story.
So apparently the big news in the theme park universe this year is that Universal opened a new theme park called Universal Epic Universe in Florida in May 2025. The park is built on a central hub, which then divides out into five intellectual property based lands like Super Nintendo World with all of the Mario characters. What's interesting is that two of the five lands in the theme park are directly based on content that began as book series, the How to Train Your Island- Isle of Berk (which was originally written by Cressida Cowell) and the Wizarding World of Harry Potter and the Ministry of Magic, which was originally written by J.K. Rowling. One other land, The Dark Universe, draws heavily on the Frankenstein story, which was originally written by Mary Shelley (among other creatures like Dracula, who as a character originated in Bram Stoker's novel in the 19th century).
Now, what does this have to do with writing? I mean, for most writers, the idea of becoming popular enough that people build theme parks based on your characters is probably a bit unrealistic as a career goal. However, I think there are lessons that can be learned there for writers about holding the interest and compelling readers. All three of the intellectual properties we discussed previously were more often known for their movie adaptations than the books they were originally based upon. But we can learn what makes memorable characters and settings in the book series and how a theme park would draw upon a beloved book series to generate ticket, merchandise, and food sales. I think it is both fair to say and a profound understatement that books, movies, and theme parks are wildly different kinds of art forms. However, the fundamental principles of storytelling, of world building do seem to apply across all three. So let's take a look at some of those principles.
Part I: Creating Fictional Worlds Memorably
People like distinct and creative worlds that make them feel immersed in something beyond mundane reality, even if that reality is not safe, easy, or pleasant. In all three stories that inspire these theme parks, the main character faces something that no one has before. Harry Potter readers can imagine that they're an owl delivery letter away from arriving at a new school full of friends, magic, and danger. How to Train Your Dragon lets readers soar through the air while rescuing a lovable dragon from a dark fate. Dragon riders are considered to be a special group of people in this world.
Frankenstein allows us to imagine a world where humans are powerful enough to have power over life and death itself, though in the grand tradition of science fiction and horror, this always goes horribly wrong. After all, creating an artificial life form did not end particularly well for Victor Frankenstein in the first book. And where this comes into theme parks is that readers want to find a way to be included in the fictional world.
In Harry Potter, readers can imagine which house they're sorted into based on personality traits. By choosing a house in the Hogwarts school or magic wands whose components reflect their personalities, they feel more included in the story because they know where they would belong in it. Many, many, many young adult series since then have tried to include some sort of factions or special lands or organizations in their stories for this reason, but it never seems to land quite as well as it did in the Harry Potter series. Though to be honest, Hogwarts School of Witchcraft and Wizardry seems like it would be immediately shut down if any sort of educational authority or ministry of education or department of education ever investigated it because it (laughs) is not a well-run school.
In How to Train Your Dragon, dangerous dragons are not only faced, they're befriended and protected. Something frightening becomes a chance to feel powerful and help others. And readers often enjoy reading about dark creatures or villains like Frankenstein's monster because it makes the real world seem more secure or stable by comparison or because they feel like misfits or outcasts and can sympathize with these characters.
Now, for writers, specific world building details often are very distinct things that readers remember, sometimes even more than the plot. For myself, that's worked advantageously with several of my different settings where some of the distinct details of the Cloak Games settings or the Half-Elven Thief settings stick in people's minds. For the examples we're talking about here, some readers might remember a biting textbook, a flying broomstick, or what's on the Hogwarts banquet table more than they remember the plots of the individual Harry Potter movies or books.
Now for the theme parks, Universal Studios capitalizes on this and makes money by creating merchandise and food items from those moments in the books, and they give visitors an opportunity to buy a nice cold glass of Butterbeer or a t-shirt from their Hogwarts house. And that feels more special than buying a pair of, for example, Mickey Mouse ears because they have a preexisting connection with Harry Potter, and though it's extremely unlikely that any of us will end up owning a theme park, as writers, don't be afraid of adding details like that, very specific details like that to the world building because it does help create a distinctive atmosphere and help the readers connect with the story.
Part II: Investing Audiences in Your Characters
Now onto part two, investing audiences in your characters. It's a good idea to find a way to make the readers root for your characters. Harry Potter and Toothless the dragon both begin as scrawny, unloved, and unimpressive, but they rise in the face of danger to become brave and important.
When characters team up in a structured way, such as Dumbledore's Army or the creation of the Berk Training Academy, it gives the readers a chance to imagine how they could join the main characters and be part of the group.
It's also important to remember a character doesn't have to be likable to be memorable, though obviously this often works better for villains. For example, Dolores Umbridge from Harry Potter is a very memorable character, even though she's totally unsympathetic and unlikable because she represents a sort of bureaucratic, pettiness, and evil that we inevitably all have to deal with at some point in our lives, whether in school or dealing with various bureaucracies (whether government or corporate) as we get older.
Frankenstein's creature likewise isn't always likable, though he is sympathetic because he didn't ask to be created. His creator mistreated him. He tried to fit into human society and totally failed. So while he does many morally reprehensible things like for example, murdering Victor Frankenstein's bride to be, nonetheless he retains an element of sympathy because if he's a monster, it’s because Victor Frankenstein created him to be a monster. Even when his decisions aren't ideal or are quite bad, his loneliness and curiosity are still deeply relatable.
Part III: Adapting To Grow With Your Audience
Now, Part III, adapting to grow with your audience/adding new characters to an existing world or an interconnected series. Don't be afraid to age up your characters and change them across a series. In Harry Potter and How to Train Your Dragons, the characters age through series and face new and more complex challenges. Watching characters change is a great way to make them feel more lifelike and give them new complexities.
I was reminded of that very recently with the publication of Ghost in the Siege, where I believe that is the 34th novel with Caina as the main character. Obviously she has changed and grown quite a bit since that first book all those years ago and some part of the plot was Caina coming to terms with how much she's changed and how much she's changed as a result of what she's had to do to save people she cares about, which is kind of an interesting comparison to the fact that I found it a bit challenging to write the book just because Caina has changed so much from her original start in trying to find a way to write that while remaining true to the character. Given how well the book has been received (thanks, everyone!), I think I might have landed on the mark for that one.
If you want to continue in the world and write another series in the world, it's usually a good idea to include some carryover characters between the series. I've done that a lot with Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, and Shield War, where some characters continue over between the series. In the theme park, for example, in the Dark Universe, Dr. Victoria Frankenstein continues the work of her ancestor, Victor Frankenstein. That can also help to remind readers why they like the series so much by bringing back favorite characters. Returning to favorite locations in the series is a way to keep fans engaged, as long as it makes sense or fits the story.
Give your books emotionally satisfying, not necessarily happy conclusions. Give them a chance to say goodbye to characters in places they've come to care about. Remember, the ending doesn't have to be happy. It doesn't have to be sad. It can be a bit of both. But what is important above all else is that the ending provides emotional resolution to the emotional conflicts and stakes raised within the story. Anything else and the readers will feel cheated.
And now the conclusion. Fortunately, your readers won't have to wait in line for two hours to experience your characters the way that Epic Universe visitors must. But it's a testament to strong writing that people are willing to pay very large sums of money to do that, especially in Florida where the heat and the extreme humidity are constant, especially in summer. It's proof that well-developed settings, memorable characters, and immersive plots are important to readers and go a long way.
Although you and I will probably not ever be theme park owners and I do not plan to ever go to Florida and go to Epic Universe, you can learn from how they build and maintain the relationship between their intellectual properties and their paying guests. Remember that you want compelling characters, a good story, and a satisfying conclusion. So that is it for this week.
Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In the much-delayed final episode of our series on mindset for writers, we take a look at when writers should change course, and talk about the importance of mental flexibility.
This coupon code will get you 25% off the ebooks in the Frostborn series at my Payhip store:
AUGUSTFROST
The coupon code is valid through September 8, 2025. So if you need a new ebook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 265 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August 22nd, 2025, and today we are considering when a writer should change course. This is a new episode. It's the third and final one in the mindset series that I had hoped to finish in June, but it was a very busy summer, and so I ran quite a few reruns of old episodes over the summer, but today I have time to record a full length episode, so we're going to do that and wrap up this series on mindset that we've been doing this summer. We will also do Coupon of the Week and an update on my current writing and audiobook projects.
First up is Coupon of the Week and this week's coupon will get you 25% off ebooks in the Frostborn series at my Payhip store, and that code is AUGUSTFROST. As always, the coupon code and the store links will be available in the show notes for this episode, and this coupon code will be valid through September 8th, 2025. So if you need a new ebook to read as we wrap up summer and head into fall, we have got you covered.
Now let's do an update on my current writing projects. I'm pleased to report to that Ghost in the Siege, the sixth and final book of the Ghost Armor series, is out. You can get it at Amazon, Barnes and Noble, Kobo, Apple Books, Google Play, Smashwords, and my Payhip store. And with that, my Super Summer of Finishing Things is finally complete because I have finished the Shield War series, the Stealth and Spells trilogy, and now the Ghost Armor series.
So now that those three series are done, what is next? Right now my main project is Blade of Flames, the first book in a new epic fantasy series that will be set in the Kingdom of Owyllain from my Sevenfold Sword series and I am 29,000 words into that.
My secondary project right now is Cloak of Worlds, the 13th book in the Cloak Mage series, and I am 1,000 words into that. So hopefully we will have Blade of Flames come out towards the end of September and Cloak of Worlds come out towards the end of October, if all goes well. So my plan now that I have only three unfinished series is that the Blades of Ruin series (of which Blade Flames is the first one) will be my flagship series, and I'll do one of those every other month and then the month in between I will alternate between writing a Cloak Mage book and a Half-Elven Thief book.
I will continue that schedule until one of those series is completed and then I will start a new one because what I learned through 2024 and the first two thirds here of 2025 is that having five unfinished series at the same time is too many. It's hard to keep up in my head and it makes for a really long wait for the readers between the individual entries in the series. So I'm going to stick to just three from now on and as I said, I'll have a flagship series and then two that I will alternate back and forth between in the months between the releases for the flagship series. So that is probably what I'll be doing for the rest of 2025 and hopefully most of 2026, if all goes well. In audiobook news, recording is underway for Shield of Power, which will be excellently narrated by Brad Wills. I've been listening to some chapters from that. Work has just started by Hollis McCarthy on recording Ghost in the Siege, so that will hopefully be an audiobook before too much longer. So that's where I'm at with my current writing and publishing and audiobook projects.
00:03:29 Main Topic: Mindset Series: Changing Course
And now to our main topic, the final episode in our mindset series and we talk about changing course. In previous episodes on this topic, I've talked about some of the practical ways to help with distractions, procrastinating, and managing time wasters. In this episode, I'm going to focus on things that derail writers from a mindset perspective. Today we're going to wrap up this series by talking about mental flexibility, knowing when to change course, and how to make those types of decisions without spiraling out. First, we'll discuss a few reasons why mental flexibility is an important attribute to possess and then provide you with five examples of times it has been important for me in my writing career.
First, why is having mental flexibility and the ability to change course important? With how fast things change in publishing, you have to be willing to change strategies or discard a strategy that's not working for you. An example is that many people who are familiar with Amazon ads swear by using Amazon keyword ads. After much experimentation, I concluded they weren't very helpful for fiction. The reason for that is I found that for most books that are sold off Amazon, people will sit down and type, for example, “Brandon Sanderson latest book” or “J.D. Robb latest book” or “Stephen King latest book” and so on. If you bid high enough, you can get top of search for those where if you pay $2 a click or $2 for the bid and someone types in “Stephen King latest book”, you can get your book to appear at the top of the page with the ad. However, in practice, what actually happens is the person who sat down to look for “Stephen King latest book” isn't looking for your book, he's looking for Stephen King's latest book. So he or she will simply scroll past the ad result with your book and then click on Stephen King's book.
The only way I found that keyword advertising works for fiction is if you write towards very specific tropes and are willing to pay a lot of money for those clicks. For example, you write a romance that's a “slow burn, no spice, enemies to lovers romance”, and there are people who search for exactly those tropes, and if you use keyword ads to bid for that, you could get it, but it's very expensive and it's very difficult to turn a profit. Because of my experiments with this, I saw that although many people say keyword ads are essential, I didn't cling to that piece of advice and switched my Amazon ad focus to having a few more category ads and Audible ads for each title, and that has been pretty nearly profitable most of the time, certainly more profitable than just relying on keyword ads would be.
I should note the one exception for that would be that keywords ads do work very well for nonfiction where, for example, my Linux Command Line book, I can pretty easily run ads to it for search terms like “Linux Command Line” or “Linux Command Prompt.” And because people are looking for a nonfiction book on that topic without looking for a specific author, that can work. In keyword ads, I found that for fiction, people are looking for a specific author and want that specific author, whereas for nonfiction, they're looking for the topic and don't care so much about the author, so long as the book has good reviews and looks like the author knows what he or she is talking about.
Another reason to be mentally flexible is that something new might actually make things easier for you. I used to work in IT support, and so I fairly often encountered someone who stubbornly clings to the way they learn something. I knew numerous people who memorized a specific way to do a task on their computer and then just stuck to that and avoided doing anything easier, such as, for example, not learning to use keyboard shortcuts. And as you know, if you do a lot of office work, learning keyboard shortcuts like Control + C for copy, Control + V for paste, or Control + Z to undo can save you a whole lot of time over compared to very laboriously clicking through the menus with your mouse. People like that very frequently resist a learning curve in favor of a slower approach because it's working for them, but then they lose out on a faster and easier way to do something. Change is not always good, but sometimes change can be good.
And the thing about indie publishing is that change is constant. In a field where change is constant like indie publishing, you can't cling to something that first worked when you started out. Trying new software, learning new skills, and keeping up with changes in ebook platforms is something self-published writers must do. Another reason to retain mental flexibility is you might be missing out on a source of revenue. If you're not willing to change sales strategies when the market changes, you might be missing out on potential readers.
For example, as people are tightening their budgets in these times of economic uncertainty, they might be less likely to buy individual books and focus their book spending on a subscription like Kindle Unlimited or Kobo Plus. If you don't have content on those platforms for readers, you're missing out on readers who have shifted their spending. For myself, I only have some of my books on Kindle Unlimited because of the exclusivity requirement, but everything I have on Kobo should be available through Kobo Plus, and typically on any given month on Kobo, at least 60% of my revenue tends to come from Kobo Plus instead of Kobo direct book sales. So that was a place where it was necessary to have the mental flexibility to make a pivot.
Another good reason to be mentally flexible is that you might be missing out on something important that the data is showing you. One of the big advantages of being self-published is having access to complex and real-time data instead of having to wait for biannual royalty statements that don't provide information. There are some criticisms that can be leveled at Amazon for how much data they show authors. However, this is light years ahead of the kind of sales data that comes out of traditional publishing for writers where royalty statements were often quite arcane and difficult to understand by design, so the publishers could get away with paying the authors as little as possible. And because you have access to this data, you have basis for solid information, solid decision-making.
For example, if one of my series is starting very strong in the UK in its first week of release, I can shift some of my ad spending to UK specific ads. Looking at sales and ad data gives you an opportunity to respond and change your approach. And sales data, even more than reviews, tells you if a book, series, or genre is working for you or if it's time to try something new. It's important not to fall prey to what's called the sunk cost fallacy, where you throw even more time and money on something that isn't profitable in hope of recouping the money that you've already spent. Sometimes it's wise to know when to cut your losses and run. It's probably a better use of your time to focus on the next book or series. Data can tell you which book or series that readers are most excited to see from you.
Now that we've talked about the various good reasons that mental flexibility is important, I thought it'd be helpful to show you five times that I've had to use mental flexibility and change course over the course of my career as a writer.
#1: Self-publishing. For all that I’ve been a proponent of self-publishing for the last 14 years, that wasn't always the case. I started out with the goal in the late ‘90s and early ‘00s of being traditionally published. Demonsouled actually was traditionally published along with some short stories. However, for a variety of reasons that I've talked about before, this turned out to be a dead end. Traditional publishing at that time was not interested in fantasy series like mine. I felt like traditional publishing was a dead end, and then I changed my efforts to blogging on computer-based topics. I'm still quite proud of the fact that in 2010, I made a good bit of money from Google Ad Sense off my tech blog, a feat which was difficult then and would probably be impossible now.
Then I started to hear about self-publishing through Amazon, which at the time was a very new phenomenon. I started hearing about that in 2009/2010, thereabouts, and I initially wasn't very impressed and I wasn't very impressed with the idea of ebooks altogether. At the time, I had a huge collection of paper books and well, I don't have as many now. I still do have a fair bit of paper books, but at the time, I didn't think that ebooks could be a substitute for traditional paper books.
Then at the end of 2010, in fact, the week after Thanksgiving, I bought my first Kindle, a third generation Kindle that was famously called the Kindle Keyboard because they had that little keyboard at the bottom, and I was very impressed with the device. I thought there has got to be a way to make money off this. As I started reading various writers groups, I came across Kindle Direct Publishing, and finally in April of 2011, I decided to give it a go and republished Demonsouled through it, and that's where it all began for me.
#2: Learning new skills and adapting. I think one of the biggest parts of why I've been fortunate enough to be able to do this for as long as I have is the willingness to take the time and effort to learn or try something new. I've had to teach myself how to format ebooks in several different programs, how to start first the LLC and then a S Corp, which finally involved realizing I couldn't do it myself and hiring people familiar with the appropriate documentation to do it for me, how to hire narrators and proof audio, how to file 1099s for narrators (that was a whole experience, lemme tell you), how to create a direct sales platform on Payhip, how to create my own book covers in Photoshop, how to make various 3D images myself for those book covers, how to maintain and update my website, how to do Amazon ads, how to do BookBub ads, how to do Facebook ads.
So in the past 14 years I've been doing this, I think it's fair to say I've acquired quite a few new skills along the way. Each time I weighed out if not having this skill was holding me back. For example, creating my own covers became an absolute necessity for me after a while because even the most experienced cover designers could not create covers at the pace I published. Well, they could, but it's more accurate to say that the cover designers, the really good cover designers, the ones I wanted to hire, worked so far out in advance that you had to book them nine months to maybe a year in advance. And I eventually came to find that very rigid and constraining to my writing process. A couple of my books have titles that are totally unrelated to what the book is about, just because I had to pick the title like nine months, twelve months out in advance.
And while they were very good covers, I did find it a little bit constraining that I had to try and keep the book at least close to what the cover was. If I hadn't changed course and learned how to do it myself, it would've limited how many books I could publish in a year, and likely it would've cost me many thousands a year in lost revenue. Therefore, having the mental flexibility to learn new things is a major skill in self-publishing.
And the thing I'm contemplating learning right now is something with video, because short form video seems to be a good way that many authors are connecting with their readers and their audience. It’s just that I don't personally use short form video a lot, so I'm wondering if it'd be worth the effort to learn. I think it'd probably be worth the effort to learn, but I haven't decided on how to do that and need to do some more reading, which is another aspect of mental flexibility.
#3: Changing pricing strategies. Permafree pricing book for free on ebook platforms was not as common of a strategy when I first started self-publishing in 2011. I mean, people were doing it, but not as many as now. At the time (and to this day, in fact), many people were outraged that thought of giving out an ebook for free and opine that it would devalue their work. The argument was that if you take a year to write a book and then people should at least be willing to pay as much as they would for, for example, a fancy Starbucks coffee. However, this overlooks the reality of economics where that something is only as valuable as people are willing to pay for it. And that in fact is, a good way to get people to pay for your remaining books is if they read the first one for free and then they like it enough that suddenly the remainder of the books in the series will have value for them and hopefully they will buy it.
But back in 2011, I decided to give permafree a try because I had series instead of standalones, and it has been one of the most significant ways that people have found my work. If I listened to the sort of old school traditional thinking about pricing ebooks, I would've missed out on this opportunity.
#4: Doubling down on audio. At one point, towards the end of, actually towards the middle of 2023, I was considering and had almost decided to give up on producing my own audiobooks due to the significant expense and how much time having to proof them was taking away from my writing. Instead, I thought about ways to make the workload easier. I hired someone to proof the audiobooks for me and then found ways to promote them through deals on platforms like BookBub and Chirp. I started to create more Amazon ads for them and focus on making audiobook anthologies because these are very attractive to people trying to get the most out of their Audible credit each month. Although it's still mainly a tax deduction for me at this point in terms of business value, I would've lost out on a growing revenue source and a big piece of the publishing market if I had given up on audiobooks.
#5: And fifth and finally, as I've talked about before, the Stealth and Spells series. This series really challenged me because I had a very specific plan for a multi-book series (I was thinking like seven or eight books originally) and enjoyed writing the first one. However, there were a few problems with it that forced me to take a hard look at the series and change my original plans quite drastically. The series was originally called Sevenfold Sword Online, which confused fans of the original Sevenfold Sword series. I made the choice to change the title to Stealth and Spells Online to make the separation clearer, even though it's a pain to change titles, and that came with some confusion of its own. I also changed the covers to resemble some of the other LitRPG books because it was originally closer in look to some of my epic fantasy covers.
These changes did help, but I had to take a cold hard look at the data. Sales and ad data clearly showed that it was time to cut my losses and focus on more profitable series. So I changed my series plans to wrap everything up in the third and final book rather than a multi-book series as I had originally planned and based on reader reception to the third book, I think it went pretty well.
Ultimately, you can only plan so much as a writer, and you have to accept that those plans might need to change. One of the best gifts you can give yourself as a writer is the ability to be mentally flexible and not stick with plans, books, or attitudes that aren't working for you. Well, I hope you have enjoyed this mindset series and found it useful to your own situation.
So that is it for this week. Thank you for listening to the Pul Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes athttps://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look back at Episode 205, where I talk about finishing my SILENT ORDER science fiction series. I also provide an update on current writing and audiobook projects.
This coupon code will get you 50% off the audiobooks in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store:
SUMMERAUDIO50
The coupon code is valid through September 1, 2025. So if you need a new audiobook this summer, we’ve got you covered!
Last week's episode talked about finishing my STEALTH & SPELLS ONLINE LitRPG trilogy, and in this week's episode we respond to some of the insightful reader comments the prevoius episode generated. We also discuss the mechanics of putting series numbers on book covers.
Once again it is time for Coupon of the Week!
This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store:
DRAGONSUMMER25
The coupon code is valid through August 25, 2025. So if you need a new ebook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 262 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August 8, 2025, and today we are looking at reader comments on my LitRPG trilogy. We will also take a look at why sometimes books do not have the series order number on their front cover. Before we get into that, we'll have Coupon of the Week and then an update on my current writing progress.
First up, Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store. That coupon code is DRAGONSUMMER25. And as always, the coupon code and the links to my store will be available in the show notes. This coupon code is valid through August 25th, 2025. So if you need a new ebook to read this summer, we have got you covered.
And now for a progress update on my current writing projects. I am 83,000 words into the rough draft of Ghost in the Siege, which is the sixth and final book in the Ghost Armor series. I think maybe one or two more good sessions and I will have the rough draft done and then I'll write a bonus short story that newsletter subscribers will get for free when the book comes out and then start editing. I'm also 9,000 words into Blade of Flames, which will be the first book in my new epic fantasy series after I finish Ghost in the Siege and my Super Summer of Finishing Things.
In audiobook news, Brad Wills is currently recording Shield of Power, so we should have some updates on that soon. In addition, the distribution problems I was having with Shield of Battle and Ghost in the Corruption should be cleared up. So all those books should be turning up on all the usual audiobook stores before too much longer. Before, they should have all been available on Audible, Amazon, Apple, Google Play, and Kobo, but they should be showing up on all the other available stores before too much longer now. And of course I should mention that those audiobooks are available on my Payhip store and you can get them anytime (regardless of distribution troubles). So that is where I'm at with my current writing projects.
00:02:07 Question about Series Numbering
And now let's take a look at a question about series numbering. A librarian acquaintance recently asked (with no small exasperation), why can't the series number be in the book title, on the spine, and on the cover? Well, as with so many things, the answer boils down to “it depends”, specifically, it depends on the publisher and the author (but only if the author is indie).
For my books, they always have the series number on the cover. A random example- Orc Hoard, the fourth book in my Half-Elven Thief series, has plainly at the top of the cover “Half-Elven Thief Number Four”. Whether or not the series number will be on the cover depends on the publisher (or the writer, if the writer is indie).
For myself, since I make my own covers, it is a trivial amount of extra work to make sure the series number is also on the cover. A small publisher or an indie author hiring a cover designer has to specifically ask for the series number on the cover, and they don't always think to do that. In terms of the spine of the print edition, it depends whether or not it is included with cover design. Typically for a print book, you need to make a wraparound PDF cover or you can use the automated tools with a platform like KDP Print to create it.
The trouble is that space can be at a premium on a book spine and after you have the book title and the author name, there might not be adequate room left for the series number. For example, a title like Stealth and Spells Online: Final Quest takes up a lot of real estate on the spine and combine that with the author name of Jonathan Moeller, and we really don't exactly have much space left to work with.
However, for ebooks, there's really no good reason for them not to be arranged in series order on the store because all the online platforms now have good series management tools, which is admittedly a relatively new development. For a long time Amazon and the other self-publishing platforms didn't have any series metadata management tools, so we had to take things into our own hands. That's why for a long time you'd see books with titles like Frostborn: The Iron Tower (Frostborn #5), because there was no other way in the metadata to indicate that the book was part of a series.
Obviously this was a problem. So eventually all the self-publishing platforms added series manager tools. So now it's fairly easy to add ebooks to a series, so on the storefront they should show up in the proper series order. But for tradpub print books, I expect traditional publishers are not terribly invested in providing series numbers on the spines of print books because it is a layer of from their perspective, unnecessary work with no return on investment.
Remember, most publishers are owned by big international conglomerates these days, and from the corporate owner's perspective, the publisher's existence boils down to a cell in a spreadsheet. So a series will only get new cover art (potentially numbers on the cover) if doing so might make “number go up” in that particular spreadsheet cell. A series is most likely to get numbers on its cover and its spine if it's one, finished and two, popular enough to be re-released with new covers.
So the “too long, didn't read” answer: it depends if the publisher or the indie author has the resources to add numbers to the cover.
00:05:01 Main Topic of the Week: Comments on my LitRPG Trilogy
Now onto our main topic this week, reader comments on my LitRPG trilogy. You might remember last week I did an episode and a blog post about the experience of finishing up my LitRPG trilogy and some of the misjudgments I made during the process and how I was grateful for the people who did enjoy it. And this inspired many interesting and insightful comments on the topic. So I thought I would read through some of the comments and share my own thoughts on them.
Our first comment is from LEJ who says: “The big problem with virtual reality type LitRPG books is that virtual reality fights have no real stakes or consequences, or if they do, they're being arbitrarily assigned. This makes them dull no matter how well the fight scene is written. The second problem is character. In epic fantasy, the party members are developed characters and the reader learns who they are through the “show, not tell” guideline of writing. The characters are a group of people who have come together to put their lives on the line to do the plot is about. In a virtual reality game book, the party members are fake personas playing a game. There's no way to be sure who they really are and they're not invested. In books and in real life, people who go through grave peril together often forge powerful friendships. A gaming group is a lousy stand in for an actual epic fantasy questing party because they're not facing actual danger together.”
That's an interesting comment and that was something I thought about during the outlining of Stealth and Spells, how essentially so much of the book is about a man sitting in a chair playing in a game, which is inherently not suspenseful. So that's why in Stealth and Spells, I designed it so that the game itself was dangerous and the reason the main character was playing the game so much was to try and find proof that the game was dangerous.
But I think LEJ makes a good larger point about how why LitRPGs with virtual reality MMORPGs aren't as popular as the other subgenres, just because the stakes are so low essentially when you're playing a game. I was playing Wizardry Proving Grounds of the Mad Overlord the other night and had a total party kill, but so what? Just spin out new characters and start the game again. But that doesn't make for a good narrative tension in the story.
Our next comment is from Justin who says: “There are some VR LitRPG books out, but they are a niche market. As LEJ noted (above), there's no real consequences and the character development is minimal. The successful ones (for measures of success) go heavy on humor. I like Stealth and Spells, but I like science fiction and had no problem with the premise. So another attempt at widening your audience has fallen flat. Sorry about that. The mystery market that you tried before is even worse now with AI pastiches flooding Kindle. You could try the superhero section, but there's lot of competition and the big boys have been stinking up that particular room, so I wouldn't recommend it. Well, at least you're a successful writer, able to apply your craft full time. That puts you in the top 1%. Getting any further requires either incredible luck or selling your soul. I look forward to Ghost in the Siege!”
Thanks, Justin. I'm glad you liked the Stealth and Spells trilogy. It is true that I'm very fortunate to be able to do what I do in terms of writing full-time. I should mention I'm not hugely worried about AI books partly because they're generally not very good and partly because you can't legally copyright them. Though we should mention that historically writers often have a difficult time when they try to change a genre. Even 150 years ago, Sir Arthur Conan Doyle decided he wanted to write a historical fiction instead of Sherlock Holmes, so he killed off Sherlock Holmes and wrote historical fiction, which didn't go hugely over well with the public, and eventually he succumbed both to popular demand and large sums of money to start writing Sherlock Holmes again.
Our next comment is from Joe who says: “I have never read a LitRPG book before. I read it because I enjoy your writing. I know I am in the minority, but it turned out to be my favorite series. Even though it shouldn't, it amazes me that Half-Elven Thief has done so much better. I guess I just dance to the beat of my own drummer.”
Well, I suppose everyone dances to the beat of their own drummer in the end. I do think it's important for writers to remember, especially long-term writers like myself, that every book you've written is somebody's favorite book regardless of your personal opinion about it. Like for example, I think in all honesty, Tower of Endless Worlds is one of my weaker series. I was trying to do something in terms of urban fantasy that I don't think I had the writing skills to do until I started writing Cloak Games fourteen years later. But there are several people for whom Tower of Endless Worlds is their favorite book of all the ones I've written. So it's good to always keep that in mind and not trash one's own work unnecessarily because you are then trashing somebody's favorite book, which is just impolite.
In terms of Half-Elven Thief doing better, I think that is because I really narrowed in better on the market for that than I did with Stealth and Spells. We've already talked about how Isekai, portal fantasy, progression fantasy, and System Apocalypse are much more popular genres than virtual reality LitRPG, but with Half-Elven Thief, I think I really narrowed into what the market wants and what my own particular skillset is for writing stories. So it worked pretty well. I'm very happy about that.
Our next comment is from Geoff, who said: “Just went through and finished it and I absolutely loved it. It's a shame it only ended up being three when you had plans for more, but you ended it really well and made it feel like it was always meant to be ended that way. Really love that big reveal at the end about Calliande and Ridmark.”
Thanks, Geoff. I'm very glad you liked the ending. I admit I thought really hard for a really long time about how to properly finish the series with just one book. I typically, as part of my exercise program, do an hour a day on the treadmill in the morning with variable rate cardio and I was thinking about Stealth and Spells a lot while I was doing that, so I'm very grateful that you appreciated the ending.
Our next comment is from Keith who says: “I'm so glad you finished the series. I have avidly read pretty much everything you published almost as soon as you publish it (except the Ghost series finally lost me a year or two ago), and I was starting to wonder if you're going to continue this series. I'm sure I enjoyed Stealth and Spells a bit more because of my own experience with MMORPG games as an adult, no less from 1997 to about 2012 and still dabbled now and then. It was very entertaining reading the series about a game set in Ridmark’s world that I've been so immersed in for the past few years. It's unfortunate that there won't be more Stealth and Spells to read, but I enjoyed the way the series ended as a trilogy, even though you say it was originally supposed to be more books.”
Thanks, Keith. I am glad you enjoyed the ending. I suppose one of my weaknesses as I set out to write this trilogy was that I've never actually seriously played MMORPG. It was just when things like World of Warcraft and its various successors and imitators became popular it was a time in my life when I was both pretty broke and pretty busy, so I couldn't afford to play an MMORPG and even if I could have afforded to play an MMORPG, I wouldn't have had the time to do so.
I think that lacking that experience may have been one of the reasons I had a bit of trouble sort of connecting the series to a wider market. That said, I have tried an MMORPG recently, Elder Scrolls Online. I enjoyed it, but the big problem with that, and the reason I didn't keep playing was that you can't pause it. I think it's fair to say that I'm a pretty busy guy and sometimes I need to pause the game right now and attend to things, but the inability to do that was just a huge deal breaker for me, so I just never really continued with it, though I did have fun with the parts I played and think it's a good game.
Randy says: “I still maintain it's a great SF series and a great setting, but it does have a great ending, even if the hero never gets an encrypted message from Wire again.”
Thanks, Randy. If I ever do return to this setting, it won't be as a LitRPG. It'll be just as a straight science fiction thriller adventure like Silent Order because while I don't particularly want to write another LitRPG series, I would like to write another science fiction series at some point. But as I've mentioned on earlier episodes, I've decided it's probably for the best to limit myself to three ongoing series at any one time, just for keeping the complexity level manageable. So once I finish one of my ongoing series (which currently would be Blades of Ruin, Half-Elven Thief, and Cloak Mage), then I might consider slotting a sci-fi one in as well.
Our next comment is from Mike who says: “Thank you for sharing your thoughts on it. I really enjoyed the series and I'm glad you finished it. I always find it frustrating when an author leaves the story unfinished, but I understand it's a tough balance. At the end of the day, writing needs to be sustainable and that often means the books have to be profitable. So thank you for seeing it through.”
Thanks Mike. I'm glad you enjoyed the ending. In terms of sustainability, Half-Elven Thief by itself across its entire lifetime has sold more than all three books of Stealth and Spells Online put together (which I am very grateful for). And the Half-Elven Thief series and the, let's see, three sequels for it I wrote in 2024 combined, did well enough to pay for my health insurance for that year, which is trust me, no small thing, for which I'm very grateful. But like I said before, I think Half-Elven Thief dialed into the market a bit better than I did with Stealth and Spells Online.
Our next comment comes from Alon who says. “If you try again, you can consider progression fantasy; it is somewhere between regular and LitRPG. The best ones are Dungeon Crawler Carl and Mother of Learning.”
Well, if you want to try some progression fantasy, there are some examples for you. I admit I've only read the first book of Dungeon Crawler Carl. I thought it was pretty good, if definitely a bit on the darker side.
William says: “I think LitRPG/Isekai literature and other media is best understood as a specific kind of fantasy in the literal sense that happens to use fantasy aesthetics because the people in Japan who started writing it all grew up playing Dragon Quest as kids do and still do. Yet the core of said fantasy has nothing to do with the cultural nostalgia that drives a fantasy genre we know and love, but instead reflects a desire for a non-complex world where everything follows easily understood and quantifiable rules, which the authors and the readers found in video games. Anyway, I enjoyed Stealth and Spells Online as a sci-fi thriller. It reminded me of the MMOPG subplot in Tad William’s Outland novels.”
Thanks, William. I'm glad you enjoyed the series. And I think that's a good point about the lack of ambiguity in some LitRPG, because Stealth and Spells has quite a bit of ambiguity to it at times, where the protagonist is trying to figure out if he can trust Hardcase19. He's trying to figure out who is controlling the Calliande NPC and he's trying to determine if he can trust that person or persons as well. So there's a lot of ambiguity in there that I think I probably picked up from how many mystery novels I enjoy and that might clash with the more popular tropes in LitRPG.
Jesse says: “I'm glad you gave us a proper ending and I enjoyed discovering the identity of the Calliande/Ridmark NPCs. Honestly, the bit I will miss is you taking cracks at yourself (“failed historian”, “author secure in the knowledge he would never have to visualize it”), which was hysterical. Well done, sir.”
Thanks. I'm glad you enjoyed the series and like I said before, I really didn't want to leave it unfinished because for a variety of reasons, it is very bad in the fantasy genre to leave things unfinished.
Our next comment is from Jason who says: “Thank you for finishing the series. As you say, it was more of a science fiction thriller than a LitRPG. Nonetheless, I did enjoy it. LitRPGs have the roots in manga with their audience being teens and young adults who play video games and have kind of wish fulfillment of applying their game experience to a quasi-real world, usually like Death March to a Parallel World Rhapsody (a very long web novel, pretty bad anime, ongoing light novels and manga), combined with the cheat/administrator system to break the world in the main character's favor. Often such stories include female characters who throw themselves at the male lead for no discernible reason to be met with obliviousness, terror, or indifference. Fortunately, as authors have gotten older and married their portrayals, male characters and love interests have become more mature as well. The herbivore (a male character with no interest in women) main character still shows up, but not as often.”
Thanks, Jason. I am glad you enjoyed the series and I was thinking about that to the extent that the basis that LitRPG has a strong basis in wish fulfillment and sort of retreating from reality. And I'm more interested in stories where the protagonist tends to actively protagonize and then engage with and grapple with reality. So maybe that was why I chose to write a VR based LitRPG instead of one of the other genres.
And our last comment is from Michael who says: “I'm saddened that it wasn't more popular, but your reasoning makes sense to me. I tried to get into LitRPG years ago when it first appeared, but struggled to find any of the stories interesting despite loving MMORPGs and games in general. It all seemed to be about the kind of dreams that a stereotypical 14-year-old boy might have- being able to hyperfocus on min/maxing statistics, being powerful, being able to forget about the prosaic real world, being a ruler of a village/kingdom, et cetera (oh, and having lots of attractive women adore you). In any case, thanks for finishing the series. I thought it went from strength to strength and Final Quest was really good.”
Thanks, Michael. I'm glad you enjoyed the books. And I have joked several times that maybe what I really needed to do to make Stealth and Spells Online popular was to add a harem of anime monster girls for the protagonist. But that ties into what we were talking about earlier where a lot of LitRPG is about sort of a flight from reality, which I should mention, there's nothing wrong with that in literature, but I'm more interested in writing the kind of stories where the protagonist has to grapple in some way with reality.
So that is all the comments we are going to talk about on the show. I'd like to thank everybody who first, read and enjoyed the Stealth and Spells Online books, and second, took the time to share their thoughts about it. It was a really interesting discussion, I thought. So thank you again for reading Stealth and Spells Online.
So that is it for this week. Thank you for listening to the Pulp Writer Show. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, I take a look back at the challenges of finishing my STEALTH & SPELLS ONLINE LitRPG trilogy.
This coupon code will get you 50% off the audiobooks in the Malison series (as excellently narrated by Brad Wills) at my Payhip store:
MALISONSUMMER50
The coupon code is valid through August 18, 2025. So if you need a new audiobook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 262 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August 1, 2025, and today we are looking at how I finished my LitRPG trilogy at long last. Before we get into that, we will have Coupon of the Week, a progress update on my current writing and audiobook projects, and Question of the Week.
First up is Coupon of the Week. This coupon code will get you 50% off the audiobooks in the Malison series (as excellently narrated by Brad Wills) at my Payhip store: MALISONSUMMER50. And as always, we will include the coupon code and the link to my Payhip store in the show notes. And this coupon code is valid through August 18th, 2025. So if you need a new audiobook this summer, we have got you covered.
Now let's take a look at where I'm at with my current writing projects. As I mentioned in previous episodes, Stealth and Spells Online: Final Quest, the final book in the Stealth and Spells Online trilogy, is finished. You can get that at Amazon and Kindle Unlimited. It is doing slightly better than the previous two in the trilogy, which makes it the bestselling book in the trilogy so far. So thank you all for that.
My next main project is Ghost in the Siege, which will be the sixth and final book in the Ghost Armor series. I am 53,000 words into that as of this recording, which puts me about halfway through, give or take. I'm also 6,000 words into Blade of Flames, which will be the first book in my new epic fantasy series that I will begin once Ghost in the Siege is out.
In audiobook news, Shield of Power--recording for it is underway. That will be excellently narrated by Brad Wills and hopefully that will be out in probably towards the end of September sometime, if all goes well.
00:01:49 Question of the Week
Now let's move on to Question of the Week, which is designed to inspire enjoyable discussions of interesting topics. This week's question: what is your favorite book you've read in 2025 so far? No wrong answers, obviously. The inspiration for this question was that June 30th was the halfway point of the year, which naturally inspires both reflection and some mandatory bookkeeping.
Mary says: Witch Hat Atelier Volume 13 by Kamome Shirahama (which I probably mispronounced). After having read the rest of the series, of course.
Juana says: Hidden Nature by Nora Roberts.
Jonathan T. says: The Genesis Enigma: Why the Bible is Scientifically Accurate. This book is like my favorite nonfiction book so far of the year, while my favorite in the fiction category is likely Hardy Boys Casefiles: Dead On Target.
Roger says: Just finished the latest in the Magelands Series, The Lost Ascendant. Really good, but a long series-even longer than yours, Jonathan.
Gary says: It wasn't published in 2025 (I'm tragically behind the times) but Murtaugh by Christopher Paolini.
Lynda says: Sunset by Sharon Sala.
Denny says: Not sure if Brandon Sanderson’s Stormlight Archives: Wind and Truth counts. It was released in December of 2024, but it's the newest book I've read.
John K. says: My favorite book so far is by new indie author, J.L. Odom, By Blood By Salt. It's in line with apparently my favorite genre of MC called (I can’t tell if this is disparaging or not) “competency porn” where the main character is well, uber competent.
For myself, I think my favorite book of the year so far for 2025 would be The Icarus Coda by Timothy Zahn, which wraps up his excellent Icarus sci-fi mystery series after 25 years. So I definitely recommend you check out the Icarus series if you get a chance and if you're looking for other interesting things to read, apparently we have a few recommendations for you as well.
00:03:29 Main Topic: How I Finally Finished the Stealth and Spells Online Trilogy
Now let's move on to our main topic this week. How I finally finished the Stealth and Spells Online trilogy with the last book, Stealth and Spells Online: Final Quest. I'm very grateful to everyone who read the trilogy and enjoyed it. All told, it took about 10 months to write Stealth and Spells Online: Final Quest, from September of 2024 to July 2025, when I finally published it. So that's a lot longer than it takes for me to usually write a book. So what took so long?
Well, a lot of things went wrong. Let's look back. Towards the end of 2022, I decided I wanted to try something a little different, so I settled on LitRPG, which seemed promising because it's pretty popular. For the story, I had an idea of a software developer who was fired from a virtual reality MMORPG once he realized it was dangerous and how he starts playing the game to uncover the proof he needs of the corporation's evil plans.
I also had why I thought would be a clever idea. The game would be based on my Frostborn books. Like, it’s set 700 years in the future and some interstellar scout discovered the Frostborn books on a wrecked colony ship, and then the evil corporation built the game around them. I decided the game would be called Sevenfold Sword Online, which meant it was the logical name for the series.
So I wrote Sevenfold Sword Online: Creation and published it in February of 2023. And alas, it didn't do particularly well. A couple of problems became immediately apparent.
First, and perhaps foremost, the title was causing confusion. People assumed it was connected to my Sevenfold Sword series and was in some way a sequel to that series, which it wasn't. Second, people were confused and wondered if the Ridmark Arban and Calliande Arban NPCs in the game were the actual characters from the Frostborn, Sevenfold Sword, and Dragontiarna books. They weren't. But in comedy, there's a saying that if you have to explain the joke you've already lost. I suppose a parallel conclusion would be that if you have to explain the characters are NPCs in the game world based on your books 700 years in the future, then the concept of the book is probably a bit too abstract.
Second, the book didn't really appeal to a majority of my regular readers who prefer epic fantasy from me. Case in point- when I published Half-Elven Thief in December 2023, in its first month it did 66% of what Stealth and Spells Online: Creation has done in the entire three and a half years it has been available, and I'm recording this on August 1st, 2025. So in its first month, Half-Elven Thief did two thirds of what Creation did the entire three and a half years it’s been published. In its lifetime, Half-Elven Thief has sold 250% more than Stealth and Spells Online: Creation, and it's been out for ten and a half fewer months than Creation. Clearly, the majority of my regular readers prefer epic fantasy over LitRPG.
Despite these setbacks, I continued onward and published Sevenfold Sword Online: Leveling in February of 2024. It did slightly worse than Creation. So for the rest of 2024, I on and off tried a bunch of things to improve how the series fared. To avoid confusion, I changed the title from Sevenfold Sword Online to Stealth and Spells Online, which it currently is. I redid the cover art, I changed the description, all the usual things for improving a series, and none of it ever really worked. I could never quite turn a profit when advertising the book. During these experiments, I realized I had fundamentally misread the LitRPG market because the three most popular kinds of LitRPG are:
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Portal fantasy, when the protagonist falls through a portal and ends up in another world that runs on MMORPG style rules for whatever reason.
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Isekai. The character dies and is reborn in a world that runs on MMORPG style rules. You'll see this in books with titles like I Died and was Reborn as a Level One Healer, something like that.
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System Apocalypse. The world ends and is recreated as a living MMORPG, usually overseen by an all powerful “game system” (hence the name). The system can be created by gods or incomprehensibly powerful space aliens and is often malevolent. Dungeon Crawler Carl, where Earth is destroyed and remade into an MMORPG system as part of a sadistic alien game show is probably the most well-known example of this particular subgenre.
The problem is that Stealth and Spells Online fits into none of these popular subgenres. I joke that I tried to write a LitRPG, but it ended up as a sci-fi thriller. I mean “software developer fighting sinister corporation’s evil plans” is a sci-fi cyberpunk story, not a LitRPG. So I was trying to tell a story ill-suited for that particular genre, like attempting to write a cozy contemporary mystery in the format of an epic Arthurian fantasy quest. Like that idea could potentially work, but it probably wouldn't. With that realization, I had three choices about how to proceed.
- Leave Stealth and Spells Online unfinished and never speak of it again. 2. Unpublish Stealth and Spells Online and never speak of it again. 3. Find a way to finish Stealth and Spells Online in a satisfactory fashion with a single book because I didn't want to write a long series that sold poorly.
I disliked Options One and Two, partly for reasons of professional pride and partly because it's bad to get a reputation in the fantasy genre for leaving series unfinished. You don't want to leave readers hanging longer than is necessary. The tricky part for Option Three was I had originally planned Stealth and Spells Online to be like seven or eight books, and I was only two books into what I had outlined for the story.
An additional, potentially major real life problem was that the Stealth and Spells Online books sold badly enough to seriously tank book sales in the month they were released. Like both February 2023 and February 2024 were some of my weakest sales months in the past decade. So that meant I needed an outline for the final book that would discard all the planned subplots and focus entirely on the main plot. I also needed to write the book as a side project and not a main project because I knew it probably would not sell well. Ideally, it would come out in the same month as a much stronger seller like one of the Shield War books.
So in October of 2024, I started chipping away at what would become Stealth and Spells Online: Final Quest at 500 words a day. I would write 250 words before going to the gym in the morning and then 250 more words after dinner.
During the normal workday, my main focus was on whatever book in the Shield War, Ghost Armor, Cloak Mage, and Half-Elven Thief series I was writing at the time. (As I've said before, having five unfinished series at the time is way too many, which is why I spent summer 2025 trying to get that number down.) But I did my 250 words in the morning and my 250 words after dinner almost every day. I just kept chipping away at it.
Finally, in July of 2025, I was very nearly to the end of the book. After I published Shield of Power, I decided I was far enough along to make Final Quest my main project. Turns out I actually was pretty far along, since I only needed to write 3,000 more words to finish the book. Two rounds of editing and some new scenes later (I added a bunch of stuff since I thought the original ending was incomplete) and I published the book in July of 2025.
It turned out reasonably well. People seemed to like the ending and find it satisfactory (at least those who read it). Final Quest sold slightly better than its predecessors. But to be honest, Shield of Power has generated sales in its first three days equal to what Final Quest did in its first two weeks.
So I'm grateful for everyone who read the trilogy or listened to the two audiobooks. I'm really grateful that you read it or listened to it and enjoyed it. But in all honesty, I'm glad to be done with the trilogy. I've always been kind of sad when I finished my other series, especially the big ones, but with Stealth and Spells Online, I'm just relieved to be done and that I don't have to think about it very much anymore.
It's easier to promote a finished trilogy than an unfinished series. Probably I'm going to make the first book free every three months, run some ads to it while it's free, and that will be that. I just signed up with C.J. McAllister a few days ago to do the audiobook version of Final Quest (and he did a very good job on the first two books in the trilogy), so eventually we'll probably have a Stealth and Spells Online: The Complete Trilogy audiobook, since audiobook bundles always do well and I expect a complete trilogy audiobook bundle would likewise do well.
Amusingly, I realized that to finish this book, I essentially followed my own advice that I've been giving for years. I always say on this podcast and my blog that you can finish a novel if you just keep chipping away at it and small efforts add up over time. Final Quest turned out to be about 117,000 words, and I mostly got there 500 words at a time.
Do I regret writing Stealth and Spells Online? No. But obviously if I had to do it all over again, I would definitely do some things differently.
Will I ever return to writing in the LitRPG genre? Probably not. I listed all the popular subgenres of LitRPG earlier, and while I don't have anything against any of those subgenres, I just don't have any particular interest in writing a story that revolves around those tropes.
For all that my books tend to be escapist, I always need to have at least a touchstone of reality in them so they make sense to me. Characters like Wire, Admiral Winterholt, and Alexander Maskell could definitely have their real-life (even contemporary) equivalents. LitRPG story tropes in general seem to be about a flight from reality. There's nothing wrong with that, of course, but it's not something I'm really interested in writing.
I mean, I designed the Andomhaim setting in Frostborn around people who traveled from Sub-Roman Britain in the 500s A.D. to a world where magic is real, so that way I could make real-world historical references. I think if pressed, I could write a pretty good novel in the genres of epic fantasy, science fiction, mystery, thriller, and romance. But I'm not at all sure I could write a good book in the LitRPG subgenres I listed.
Honestly, maybe I'm just too old for it. I don't think I encountered an MMORPG for the first time until I was, I think 24 or 25 years old, and I've never actually seriously played one, so it definitely wasn't a formative experience for me the way it was for many LitRPG authors. In fact, if I'm remembering it right, my first serious encounter with an MMORPG was in fact at work when I got an IT support ticket about network throttling, complaining about how long a World of Warcraft update was taking to download.
So that is how I finally finished the Stealth and Spells Online trilogy. And once again, thank you to everyone who read and listened to these Stealth and Spells Online trilogy. I hope you found it enjoyable.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we have a preview of four of my audiobooks, each of which is the fourth in its respective series.
1.) Ghost in the Razor, narrated by Hollis McCarthy.
2.) Shield of Deception, narrated by Brad Wills.
3.) Orc-Hoard, narrated by Leanne Woodward.
4.) Ghost in the Storm, narrated by Hollis McCarthy.
This coupon code will get you 50% off the audiobook of Cloak of Ashes, Book #3 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
ASHES50
The coupon code is valid through August 19, 2025. So if you need a new audiobook this summer, we’ve got you covered!
In this week's episode, we take a look at how the meaning of words can shift and evolve over time, and the challenges and opportunities that can create for writers.
This coupon code will get you 25% off the ebooks in the Malison series at my Payhip store:
MALISONJULY25
The coupon code is valid through August 12, 2025. So if you need a new ebook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 260 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July 19, 2025, and today we are reflecting on how the meaning of words changes over time. We will also have Coupon of the Week, an update on my current writing and audiobook projects, and Question of the Week.
So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Malison series at my Payhip store, and that is MALISONJULY25. And as always, both the coupon code and the links to my Payhip store will be available in the show notes. This coupon code is valid through August the 12th, 2025. So if you need a new series of ebooks to read for this summer, we have got you covered.
Now for an update on my current writing projects. I'm pleased to report that Stealth and Spells Online: The Final Quest, the final book in the Stealth and Spells trilogy, is now out and you get it at Amazon and Kindle Unlimited. People have read it, have liked it, so I'm pleased that people are enjoying the ending to the trilogy.
Now that that is out, my next major project will be Ghost in the Siege, the sixth and final book of the Ghost Armor series. I am 32,000 words into the rough draft, and I think it's going to be about 100,000 words, give or take. I am also 2,000 words into Blade of Flames, which will be the first book in my new epic fantasy Blades of Ruin series, which will be set in the realm of Owyllain about a hundred years after the end of The Shield War. So listen for more updates on that coming later as I work on it.
In audiobook news, both Ghost in the Corruption (as excellently narrated by Hollis McCarthy) and Shield of Battle (as excellently narrated by Brad Wills) actually came out on the same day, so as of right now, you can get them at Audible, Apple, Amazon, Google Play, Kobo, and my Payhip store. There's usually a few more stores in the mix, but I've been having trouble with Findaway Audio and I'm looking into different audiobook distributors. So hopefully we will have some progress on that soon. So that's where I'm at with my current writing and audiobook projects.
00:02:07 Question of the Week
Now it's time for Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's question, do you get food delivery? Do you ever have pizzas delivered or perhaps a sandwich from a place that does delivery, or do you use some of the various delivery services that have sprung up in the last 10 years like DoorDash, Grubhub, or Uber Eats? No wrong answers obviously, since everyone's circumstances are different.
The inspiration for this question was a massive online discussion I saw about the etiquette of tipping DoorDash drivers, and since I had never used DoorDash or a similar service, I realized it was yet another massive technological and cultural shift that I had that happened to miss me out. So I was curious about what people thought about it, and as you expect, we had a range of answers.
Perry says: No, and we haven't for years. We live too far away to make it worthwhile, even if we wanted to.
Sarah says: I do very rarely get cooked food delivery, and then almost always pizza for the kids when I feel really sick. However, as a Walmart Plus member, I routinely get grocery delivery. I'm pregnant and homeschool three of my four kids (the littlest is too young for formal schooling). It saves me so much time to only have to bring it in the house. The time savings is about 90 minutes on an average week. I sometimes do grocery pickup, which my husband grabs on the way home for an hour time savings, since it is on his way home, but since he works awful hours, it's simpler for me to get the groceries than for him to grab them after a twelve hour day. Of course, feeding six mouths (and usually my dad too for a seventh), we have multiple short runs to Walmart throughout the week for stuff we run out of or general merchandise needs for home maintenance, so we managed to hit lots of in-store time and sales that we would otherwise miss too.
Mary says: No, even for Chinese takeout, we would call in the order and pick it up, and I haven't done that for years.
Justin says: No food delivery for me, thanks. It's not available where I am, but even living in a college town, I always picked it up.
Norma says: I do have Italian food delivered because they have delivery in-house. Have never used a delivery company, but I just heard from my grandson that he's working for one while at university.
David says: Maybe once or twice a year I'll get delivery for pizza. Everything else is pickup or eaten at the restaurant. I'm not pressed for time, so having it delivered doesn't make sense.
Tracy says: I get pizza delivered from Papa John's.
John says: When I lived in Houston, I rarely got anything delivered since it was as fast to just go out and get it myself. Now I live way out in the woods. Nobody delivers that far out, so I usually have to go get it for myself. I usually prefer to cook for myself.
Michael says: Alas, I am far too fond of such services (as reflected by my Winnie the Pooh body shape). I live in the middle of the most densely urbanized city in the country, with the result that there are at least 40 takeaways and restaurants within a mile or so radius of my home. While I usually go out if getting takeaway, sometimes an Uber Eats or a Deliveroo is too tempting!
For myself, as you might've guessed when I said that I missed out on DoorDash and Uber Eats, the answer is no, I don't get food delivery. I think it might've been over 25 years since I last had a pizza delivery. I did occasionally when I was a teenager and in college. When I moved out into the adult world, I never did. The reasons were one, I was extremely broke, and two, at the time I lived near a university campus with all the attendant fast food places that surrounded it. So if I wanted fast food, I'd get a bunch of stuff within walking distance. If I wanted fast food on a workday, all I had to do is just go through the drive-through on my way home.
Anyway, as I got older, the habit of never ordering delivery solidified, which is probably just as well because services like DoorDash and Uber Eats look massively expensive, even before the social etiquette question of tipping arises. These days, if I want fast food or a pizza, I would go get it myself (or more likely persuade myself that I’d really be better off to stay at home and eat vegetables and lean protein).
Though it is interesting given the range of the responses, it's a good reminder that people's circumstances can vary wildly and something that would be a waste of time or money for one person might actually be very advantageous for another.
00:05:51 Word Meanings and Chivalry
And now onto our main topic. It is interesting to reflect how the meaning of words shifts over time and how a word can sometimes long outlast its original purpose and meaning. “Mile” is a good example, since it's originally derived from the distance covered by a Roman soldier marching a thousand steps. Nowadays, the usage of miles has nothing to do with marching Romans, and most of the world uses kilometers anyway, but the name remains, having long outlived its original meaning.
“Chivalry” is another good example. Nowadays, chivalry or chivalrous typically means a man acting in a deferential way to a woman- holding the door, pulling out a chair for her, taking her coat, standing when she approaches the table, et cetera that an individual woman will either find charming, annoying, patronizing, or perhaps some combination of the three depending on her particular disposition and her opinion of the man in question.
But that definition of the word chivalry is only a ghostly relic of what it used to mean.
Chivalry comes originally from the French word “chevalier”, which means “mounted warrior on horseback”, which was a French term for the medieval knight In the Middle Ages, the term chivalry both referred to the expected conduct of a knight and in a larger sense knighthood as an institution or perhaps the proper behavior expected of the knightly warrior class as a whole.
Medieval knighthood originated from essentially three sources. First, the practice of barbarian kings and chieftains, gathering a “comtitatus” around them, a group of chosen warriors who lived with him and were expected to die with him if necessary.
Two, the influence of the medieval Catholic church and three, how a combination of the stirrup, the lance, and heavy armor meant that cavalry dominated the battlefield for most of the Middle Ages. Number three meant that knighthood was usually available only to the wealthy. The knight fought on horseback and fighting on foot was for lesser men, peasants, serfs, and churls. Horse mounted combat was the knight's defining trait.
Horses were (and still are) very expensive and suitable armor and weapons were likewise expensive. Additionally, learning to ride a horse in battle while effectively wielding melee weapons was a difficult endeavor, which meant that the boys and men who did needed to make a full-time profession of it, which again, limited knighthood to those able to afford it.
A lot of what we think of as chivalric behavior evolved out of the medieval churches efforts to control and regulate knighthood.
Early medieval knights were essentially armed thugs employed by local warlords. The early history of feudalism in post-Roman Western Europe tends to boil down to “local warlordism” based around holding land, with centralized states only slowly developing. In the late 800s-900s A.D., the church advocated movements like the Peace of God, which tried to instruct knights and nobles not to kill or rob women, children, the elderly monks, nuns, priests, and other non-combatants and the Truce of God, which tried to unsuccessfully ban fighting on holy days and any possible holidays. The fact that the church felt the need to be that specific shows just how widespread that kind of local warfare was.
While many knights adopted the external forms of piety, movements like the Peace of God and the Truce of God did little to dissuade them from practical business of looting and seizing as much land as they could hold.
Evidence of this is found in the First Crusade and the subsequent crusades. One of the motivations for the First Crusade was to drain off a lot of the belligerent young knights out of Western Europe and send them off to fight “infidels” in the Holy Land instead of making trouble at home.
“Chivalry” as a code of conduct developed out of the combination of the fact that it was expensive to be a knight and the church's attempts to regulate it. That meant that knighthood saw itself as a distinct social class with standards of expected behavior. A knight was supposed to be pious. He should show no fear and charge to meet the enemy without hesitation. A knight fought on horseback (fighting on foot was for lesser men). A knight should be reverent towards the church and obey his lord unquestionably.
He also should show courtesy to women of noble rank. This did not apply to peasants and townswomen. He also should develop romantic love for an unattainable married woman (since marriage between nobles was usually for reasons of power and not love) and should use that unrequited love to spur him on to feats of valor. A knight should also be generous and open-handed to the poor and to his fellows.
Now, all of this sounds good, but in practice a lot of these virtues twisted around into vices. Fearlessness in battle turned into arrogance and delusions of invincibility. One of the reasons France did so badly for much of the Hundred Years’ War was because the French knights insisted on charging into battle at once to demonstrate their knightly valor and prowess, which let them get slaughtered en masse by English longbowmen. Additionally, readiness to fight evolved into fighting for any excuse at all, which frequently led to wars both ruinous and utterly pointless.
Knighthood’s class awareness often cause nobles to treat warfare as a chivalric adventure, which was not conducive to sound strategy leading to victory. Generally, the most successful medieval monarchs were those like Henry II of England, Edward I of England, Charles V of France, and Philip II Augustus of France, who did not allow knightly virtues to get in the way of hardheaded practical policy. Generosity turned into extravagant displays of public magnificence, which in turn meant attempting to squeeze more tax money out of the peasants and merchants. A knight's respect towards the church often meant giving large donations to have Masses set in perpetuity for his soul after a lifetime of plunder. And of course, knight might have unrequited Lancelot-style love for an unattainable, married noblewoman. But in practice, many knights had many, many illegitimate children, sometimes with their “unattainable” married noblewomen.
Moralistic writers in every century of the Middle Ages bemoan the laziness, greed, and luxurious living of their contemporary knights and frequently exhorted them to return to the heartier, more virtuous knights of the past years. Even the Middle Ages had the Nostalgia Filter.
As is so often the case with institutions that have outlived their useful utility, knighthood was never really reformed, but eventually became obsolete. By the end of the Hundred Years’ War, the French King maintained a professional standing army, which is far more useful than giving land to nobles and attempting to get knights out of them through feudal obligations. Other nations soon follow suit. Longbows and Crossbows heralded the weakness of armor, and then gave way to trained infantry soldiers equipped with firearms.
Horsemen remained an important part of warfare for centuries, since they were vital for scouting and attacking unprepared infantry formations. The American Civil War was the first truly industrial war, and yet the Civil War still had numerous significant cavalry battles, but the armored knights’ days as master of the battlefield were over, and while knights remained part of the upper class, knighthood gradually became a ceremonial honor that had nothing to do with its original purpose of mounted warfare. Recently, filmmaker Christopher Nolan became Sir Christopher Nolan, Knight Bachelor of the United Kingdom, for reasons entirely unrelated to wielding a lance on horseback while wearing heavy armor.
So as we can see, the word “chivalry” has a long, long history. So it is amusing to see how the last remnant of its original meaning in the modern era is to hold the door open for women.
It occurred to me as I wrote this out that the reason I’m a fantasy novelist and not a historian is that I thought “hmm, there’s the ideas for like twelve different books in all of this.” Which, I suppose, is perhaps the point. Chivalric knighthood was something of a myth even in its own time, but the myth inspired some great stories over the centuries.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. I a reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we look at five ways writers can avoid the self-destructive mindset trap of "comparisonitis", and five ways that comparing oneself to other writers can be useful.
Once again it is time for Coupon of the Week!
This coupon code will get you 50% off the audiobook of Cloak of Wolves, Book #2 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
WOLVES50
The coupon code is valid through August 5th, 2025. So if you need a new audiobook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 259 of The Pulp Writer Show. My name is Jonathan Moeller. Today is July 11th, 2025, and today we are looking at why comparing yourself to other writers is a bad idea. Before that, we will do Coupon of the Week and have an update on my current writing progress.
This week's coupon code will get you 50% off the audiobook of Cloak of Wolves, Book #2 in the Cloak Mage series (as excellently narrated by Hollis McCarthy) at my Payhip store, and that is WOLVES50. This coupon code is valid through August 5th, 2025. So if you need a new audiobook to listen to during your travels this summer, we have got you covered.
Now let's have an update on my current writing projects. I'm pleased to report that Shield of Power is 100% done, completing the Shield War series. You can get Shield of Power at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords and my own Payhip store. It's been selling briskly and it's gotten good reviews so far, so thank you very much to everyone who has bought and enjoyed the book.
Now that Shield of Power is done, the first third of my Super Summer of Finishing Things is complete. So what's next? My next main project is Stealth and Spells Online: Final Quest. It was originally going to be named Reactant, but I changed the title to Final Quest to emphasize really and truly and definitively that this is the final book in the trilogy. In fact, I'm already done with the rough draft and I am done with the first phase of editing it as of this recording.
If you've been listening to the podcast for a long time, you know how I frequently say that if you keep chipping away the novel over a long enough time, sooner or later you'll finish it. That is exactly what happened here. Since October of 2024, I've been writing 500 words a day on Final Quest, and this piled up over time enough so that after Shield of Power came out, I only had 3,000 more words to write to finish Final Quest, and I did that in an afternoon. One more phase of editing on that and then I would like to have Stealth and Spells Online: Final Quest out before July 22nd, if all goes well.
I'm also 21,000 words into Ghost in the Siege, which will be my main project once Final Quest is finished. Ghost in the Siege will be the sixth and final book in the Ghost Armor series and will hopefully cap off my Super Summer of Finishing Things.
In audiobook news, Shield of Battle (as excellently narrated by Brad Wills) is now out. You can get it at Audible, Amazon, Apple, and Google Play as of this recording. Because of some difficulties with Findaway Voices, it’s going to take a little bit longer to get into the other stores, but I'm working on a way to do that and as I mentioned before, Ghost in the Corruption (as excellently narrated by Hollis McCarthy ) is done and just has to finish processing on the various stores, and so hopefully that should be out before too much longer. So that's where I'm at with my current writing and audiobook projects.
00:02:52 Main Topic: Comparison
Now let's move right on to our main topic, The Dangers of Comparison. In Episode 257, we started a series on mindset for writers. In some of the previous series I've talked about some of the practical ways to help with distractions, procrastination, and managing time wasters. In this series, we're going to focus on things that derail writers from a mindset perspective because as we know with any endeavor in life, mindset is something like three quarters of the battle where if you convince yourself that you're going to fail before you start, you're probably going to fail. So that's why it's important to have an appropriate mindset to the task at hand.
Today we're going to focus on comparing yourself to others, and I will share five reasons it's not a great idea to compare yourself to others aimlessly and how to shift your focus to five more constructive ways to compare your work to other authors.
Comparisons are a constant of the reading world. Librarians and Goodreads reviewers talk constantly about “readalikes” or finding books that have similar themes or settings. Book displays and shops and libraries love to group similar books or authors together. People look at the bestseller lists like they're sports scores. Dollar amounts in publishing deals are a constant source of gossip and jealousy. Sometimes comparison is useful, especially when creating ads or finding the right demographics to market to. Other times, it can lead to limiting or self-destructive thoughts. So let's start off with five reasons not to compare yourself to others.
#1: It can limit you creatively. It can be easy to look at the bestseller list and try to think of ways to write a similar book. Following publishing trends keeps you from your most creative work and frankly isn't as enjoyable to write and most likely for your readers to read. Also, unless you're a fast writer, the publishing world might have moved on by the time you finished that book.
In fact, I just saw a thread on social media about that where the commenter was bemoaning the fact that she used to enjoy what's now called cozy fantasy, but that as the genre has evolved, it's developed established tropes and the writers of it are not willing to variate from those tropes. So you have what she said in her words were dozens of clones of Lattes and Legends and Bookshops and Bone Dusts floating around, which is a tricky thread to balance, I do admit, because you want something that'll appeal to the reader, but then the readers like familiarity. What they really seem to like is familiarity presented to them in a way they've never seen before, which can be a challenge when you are trying to look at the bestseller list and limit yourself creatively.
#2: What other people are doing is out of your control. You can't control if a book you think isn't as good as yours is suddenly the runaway hit of the year or an author who isn't experienced as you suddenly gets a movie deal. You can't control their success, so don't worry about it or get upset by it. You can control if you're wasting time online mocking those people or complaining about it, for example. That's a waste of your time and energy and doesn't actually make you feel better in the long run (and possibly in the short run as well). I believe in psychology and in military theory for that matter, there’s something called the locus of control where you identify the things that you can control and then you drill in and focus in on the things you can control rather than worrying about the things you can't control.
As we said, if an author who wrote a book you don't think is very good or you don't personally like has had a massive amount of success, there's nothing you can do about that and worrying about it is a waste of time and comparing yourself to that writer is also a waste of time. So that's why it's a better idea to focus in on what you can control.
#3: You're not being fair to yourself. Comparing yourself to other authors, especially as an aspiring or new author, isn't being fair to yourself. They have years (if not decades) of experience that you don't have. It's like comparing yourself to an ultra-marathoner when you're someone who's just starting to jog and struggling to get all the way around the block, which is some of the tricky parts of someone like me giving advice to new writers because Shield of Power was my 163rd book and Stealth and Spells Online: Final Quest will be my 164th.
I've been doing this for a long time, which means I probably know what I'm talking about, but that not everything I do is immediately reproducible by someone who hasn't been doing it as long as I have. If you're writing something that's not as marketable or in a smaller genre, it's not fair to compare yourself to people in the biggest genre or even your own previous work.
For example, I can't compare the amount one of my technical books earns to one of my fantasy books. If I did that, it’d be a disappointment. But in reality, my technical books have had steady success and have even been used as textbooks at times (which is always surprising when I discovered that's happened because my Windows Command Line book and my Linux Command Line book have both been used as textbooks at various times, which was a surprise to me because that's not what I expected when I set out to write them, but I'm glad that they've been able to be useful for people).
#4: And point number four, which I think is a really important one, someone's online life is only the highlight reel of someone's actual life. Looking at someone's social media accounts isn't a great way to know what they're actually doing or how they're actually doing. Just because they're posting pictures of tropical vacations, speaking at conferences, or showing off shiny new stuff doesn't mean you're seeing the full picture of how they're actually doing.
As I said in a recent episode that when I was applying for disability insurance (just in case I need it someday), I learned that writers are actually one of the hardest professions to insure due to their high rates of mental illness and substance abuse. You might see the good stuff, but they might not be posting the challenges that come with their success: increased stress and anxiety, more criticism, the need to hire people and how much time it takes to manage them, more complicated taxes, increased business expenses, and relationship problems from the demands of success. These are all things that can accompany success. You're not getting the whole picture. You need to keep that in mind when you compare yourself to people online.
The best fictional example out of this that applies to so many situations is Lord Denethor and the Palantir from Return of the King. If you read the book, Denethor has been using the Palantir for years to spy on Sauron and give advantages to his forces and the soldiers of Gondor. But Sauron is able to manipulate what Denethor sees in the Palantir and has been gradually using this to create an edited version of what Denethor sees in the Palantir, and that drives Denethor to despair and eventual suicide. People talk about the increased rates of mental illness related to social media. Sauron did that deliberately to Denethor through the Palantir.
It's a sign of how good J.R.R. Tolkien was a writer that he managed to anticipate the effects that Facebook would have on some people by like 60 years. So always bear that in mind when you're looking at someone online and feeling jealous of them. You are not getting the whole picture and there are more than likely things going on that are difficulties in their life that they just don't talk about.
#5: Your time is better spent writing than comparing yourself to other writers. And this is back to our old friend, the locus of control. Looking at other authors’ sales ranks and reviews is not a productive use of your time. As I mentioned in the writing adjacent activities series, you need to be purposeful in non-writing tasks that take up your time and make sure you're not pretending they're writing related. If you need to compare sales ranks or some other data point with other authors or something you're actively working on like ad targeting, schedule that time and don't let it turn into an Internet spiral of time wasting.
And now to avoid those Internet spirals of time wasting, here are five ways to use comparisons positively and constructively.
#1: Number one, getting keywords or demographics for marketing purposes. For sites like BookBub or when creating keyword ads, knowing authors who are similar to you is incredibly helpful and can help you structure your ads. And this doesn't even necessarily require you to read the other author's books to see if they actually compare. There are tools that let you expedite this process. For example, if you look on Amazon at the Also Boughts, you can scroll through some of that and see which other authors and which other books people have bought in addition to your own and then you can test using those for keyword targeting. On Goodreads, people put books in lists or compare books. You can use that data to generate keywords for ad targeting. You can test them very easily. With BookBub ads in particular, if you build a campaign around just a single author and keywords and test the results. You can quickly see whether a specific author generates an appropriate click-through rate for you to use or not.
#2: A second way is to find authors you might want to do a promo with. Some authors, especially in the romance genre, do really well with group promotions. Finding other authors that write similar books and are at a similar level of success may be a way to take advantage of that. I've never actually set up a group promo, but I have participated in several of them from time to time with pretty good results.
#3: A third way is to better understand reader preferences in a genre. My best story for this is I've gone through six different variations of cover design for the Silent Order series. When I started out, I was using GIMP and stock photo images. GIMP is the free Linux version of Photoshop essentially. After I learned Photoshop, I upgraded to characters on the covers, but they never quite sold quite as well until finally I saw a Penny Arcade comic where they were commenting how they just want to buy books where they have spaceships in close proximity to planets on the covers. And I thought, huh, that makes a lot of sense.
So I redesigned all the covers to have a spaceship in close proximity to a planet, and the series immediately started selling a fair bit better with those covers. I would say that was not so much a comparison thing, just a genre preference I stumbled across and then had sort of the moment of enlightenment that I did. But if I had looked at the bestseller list for various science fiction categories, I would have realized that most of the bestsellers had spaceships and planets in close proximity to each other on the cover.
So I redesigned all the covers. It was just that I was too fond of the character based covers to give them up until I had that moment of revelation. So all the main books in the series were redesigned to have the spaceship covers, though for the free short stories, I did keep the character covers just because I was giving away the free short stories and I did like the character covers, so I got to have my cake and eat it too, which was nice.
#4: Learn from the successes and failures of others. You can learn from what another author does well. For example, Brandon Sanderson is very good at communicating his writing progress and other updates to his fans through weekly video messages on YouTube. Other authors are good at collaborating with other authors, while others make engaging and funny videos that make people more interested in their work.
Knowing your own strengths is an important first step. If you're just trying to follow everyone who is a success without first reflecting on that, you'll chase too many options and then can't excel at any of them. You can also learn from when an author responds poorly and how the Internet reacts to it. Understandably, I’m not going to give specific examples here. For myself, I tend to focus on what I do best, which is writing really fast and doing social media updates. I never got into video because I kind of have a face for radio and I just don't enjoy doing video. I don't enjoy editing them. It's a lot of work that I don't really enjoy, so I don't do it.
#5: Being informed makes comparisons less emotional. Knowing, for example, that an author was hired to write a book based on an existing outline created by the publisher, and then promised a future book deal with a big marketing budget in a preferred genre as part of the contract makes their cross-genre success seem less surprising and makes you feel less guilty for not being able to do the same on your own as an indie author. It's not a fair comparison because they have advantages that you can't understand without some industry knowledge.
For people that compare themselves to me, for example, they should know that I've been writing since I was a teenager a very long time ago. I was an early adopter of self-publishing when it was less competitive and I usually work more than eight hours a day and I generally keep to a very rigid writing schedule. Some authors like me were able to get the rights back to their earlier published works and then self-publish them early on in order to finish a series, which is much less likely to be an option in a contract for a traditionally published author now.
If you're just starting out, travel frequently for work, and only have an hour a day to write (and even that is dicey because your partner would rather you spend that time on some other activity because they don't support your writing), you can't possibly compare your writing output to mine. Knowing all this about me explains why it might be harder for you and why you shouldn't feel bad about having a harder time with writing.
Comparison has been called “The Thief of Joy” all over social media for many years. That can definitely be true, but like so many things in life, how you respond to something and find ways to help it make you stronger is what really matters. Comparison has its place in the writing world, but it's important to keep it in perspective and not to let it overwhelm you emotionally or keep you from your writing goals or plans. So that is it for talking about comparison. I hope that was helpful and offered some useful tips on how to avoid the trap of comparison-itis.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's 4th of July episode, I take a look back at Episode 147 and try to figure out how many short stories I have actually written.
This coupon code will get you 25% off the ebook version of Silent Order: Omnibus One at my Payhip store:
SILENTOMNI25
The coupon code is valid through July 28, 2025. So if you need a new ebook this summer, we’ve got you covered!
In this week's episode, we take a look at five obstacles that can impact your writing, and offer tips and tricks for dealing with them.
This coupon code will get you 50% off the audiobook of Cloak of Dragons, Book #1 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
DRAGONAUDIO50
The coupon code is valid through July 21, 2025. So if you need a new audiobook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 257 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 27th, 2025, and today we are looking at mindset obstacles to writing. Before we get to that, we'll have Coupon of the Week, an update at my current writing progress, and then we will do Question of the Week.
First up, let's do Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Dragons, Book Number One in the Cloak Mage series (as excellently narrated by Hollis McCarthy) at my Payhip store. That is DRAGONAUDIO50. And as always, the coupon code and the links to the store will be included in the show notes. This coupon code is valid through July the 21st, 2025, so if you need a new audiobook this summer, we've got you covered.
Now let's have an update on my current writing and audiobook projects. The rough draft of Shield of Power, the sixth and final book in the Shield War series, is done and I'm editing it. As of this recording, I am about 68% of the way through the first pass of editing. I had hoped to be a bit further along than I actually was, but there was a lot to do this week and because of that, I think it's going to slip to early July for the release date. I'd hoped to have it out in June, but I don't think that's going to happen, but it should be not too much longer once we get to July. Stealth and Spells Online: Final Quest, I’m 114,000 words into that. So I am very much hoping that will come out very quickly once Shield of Power is out.
And I'm also 14,000 words into Ghost in the Siege, which would be the sixth and final book in the Ghost Armor series. So it sounds like my Super Summer of Finishing Things is well underway and making good progress. Hopefully I can continue that.
In audiobook news, Shield of Battle and Ghost in the Corruption are both essentially done in audio and just have to get through processing. Shield of Battle was narrated by Brad Wills and Ghost in the Corruption was narrated by Hollis McCarthy. They both did an excellent job and I'm looking forward to being able to share those audiobooks with you in July. So it looks like July is going to be a big month for releases with Shield of Power, Stealth and Spells Online: Final Quest, and then the audiobooks of Ghost in the Corruption and Shield of Battle. So lots to look forward to in July.
00:02:20 Question of the Week
Now it's time for Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's question: how do you pass the time when you find yourself compelled to spend a good chunk of time waiting away from home or work (such as in the hospital waiting room, in line at the Department of Motor Vehicles, or waiting in your car to pick up someone from sports practice, a sort of situation like that)? And as you can expect, we had a range of answers.
Justin says: Reading your books.
Mary says: Reading.
David says: Reading or listening to books is my default. Sometimes email.
Keith says: I pace around mulling on problems that I otherwise have no time to think about.
Gary says: A variety of things. I do think it is good practice to teach yourself to wait an hour or more without something external to occupy your mind. My own opinion is that our constant need for distraction hinders us in many ways.
Mandy says: Reading. If I know I'm going to be waiting (or suspect it), I bring a book or my Kindle and I read. I almost always have a book in my car, too.
Mike says: I read books by Jonathan Moeller.
John says: I bring my tablet and read.
Juana says: I read.
Catriona says: Read a book or play a game on my phone. When I worked, I’d do emails, but I am retired now.
Tom says: Usually I read a book on my Kindle app on my phone. Often it's one of yours.
Bonnie says: Usually I scroll through Facebook or do one of the games on my phone or tablet. Don't usually read because I get focused and have a hard time tearing back to reality.
And Jesse says: Reading ebooks or thinking through Work problems for later. If I know up front it'll be an hour or more, I'll bring a laptop and tether it.
For myself, the answer is easy. I bring my laptop and work on my current book. The inspiration for this question was that I had to bring my car in for some maintenance, so I spent the time working on Stealth and Spells Online: Final Quest and got a thousand words more into it. I've been doing that for a long time. I think most of my books for the last 10 years, or at least a majority of them, I had a session where I worked in a waiting room on them. I think the earliest I can recall working in a book in a waiting room would be Soul of Skulls way back in 2013, possibly 2012.
00:04:22 Handling Obstacles as a Writer
Now onto our main topic of this week, obstacles. We're going to do a series of a couple mindset obstacles that get in the way of writers. The first one we're going to talk about is obstacles because no writer works without obstacles.
Some of them are internal, like mental or physical illness, self-doubt, and perfectionism. Others are external, like having your fence collapse in a storm or being interrupted every five minutes by a toddler who needs something. There is a false belief that time is the biggest obstacle, and if only a writer could write full-time, they would finally be able to start writing or finish a draft. The sea of full-time writers with unfinished books would easily prove this wrong, as would the wide variety of traditionally published authors with full-time day jobs.
I would argue that the biggest obstacle you'll face is how well you handle any kind of obstacle and develop mental flexibility and resilience. In previous series, I've talked about some of the practical ways to help with distractions, procrastination, and managing time wasters. In this series, I'm going to focus on things that derail writers from a mindset perspective.
In this episode, we're going to focus on five examples of obstacles that writers face and how to mentally shift your perspective on them.
#1: Getting started. The perfect is the enemy of the possible. I say this often, and I say it often because it's true. Many people don't want to write until they have perfect conditions and feel like they're creatively inspired. Those days I'm afraid, are quite few. It's more productive to work consistently within your limitations than to wait for inspiration and motivation to magically find you. It's generally easier to edit than it is to write, so just get something done on the page without editing as you go.
Activation energy is also the enemy of many. Essentially, some people struggle with transitions and starting something because it takes a lot of mental energy for them to get going or to switch gears. Routines remove the decision making that takes up a lot of that energy.
Making the process of starting as easy and pleasant as possible also makes it less daunting. How can I make this easy? It is a great question to ask yourself. Start with a block of time that is so small it feels ridiculously easy, such as one minute. Write without stopping for one minute each day without making any edits, and you'll end up with paragraphs sooner rather than later.
#2: Short amounts of time with purpose add up over the long run. For example, our transcriptionist started writing 300 to 500 words each weekday for 15 minutes as a part of our November Writing Challenge. Even with taking time off for the holidays and real life stuff, she hit 50,000 words on her rough draft in May just by committing to the short burst of focused work as part of her daily routine.
For myself, I mentioned earlier that I'm 114,000 words into Stealth and Spells Online: Final Quest, and I started that back in October 2024, and I've been scratching away at it for 500 words a day for that entire time, which as you can clearly see, adds up.
More time doesn't necessarily mean more productivity. A small liberal arts college was once concerned that students with a work study award (meaning a part time job on campus offered to those under a certain family income) didn't have as much time to study as their more privileged peers. What they found after looking into the matter was that students with work study awards were getting better grades, so they set out to interview them to find out why. Those they interviewed had schedules and routines for studying that the more affluent students hadn't developed. Even if you don't have the privilege of having a whole day free to do whatever you want, spending your day purposefully is far more important.
Finally, be honest about how you're actually spending your time. For example, the American Bureau of Labor Statistics shows that the average person surveyed spent 2.7 hours per day watching television, to say nothing of wasting time on social media or other forms of entertainment. By taking an honest look at how you're spending your time, you might find time that you can take from other less useful or even less enjoyable activities.
My mindset about managing my time is that I do try to be pretty disciplined about it. When I'm writing new material, I use the Pomodoro method and try to hit a minimum of 6,000 words a day of new stuff. When I'm editing, I have a number in mind of words I want to edit per day. Usually I try to get around 18,000 to 25,000. Though with that, it can depend very strongly on how much needs to be moved or changed or deleted in the section that I'm editing.
I do have things that I spend time on that aren't necessarily productive, of course. I did probably spend about 50 minutes last night playing Oblivion Remaster on Xbox. I do go to the gym for an hour every morning, though I really think at my age that's more necessary maintenance than an indulgent hobby. But it's always good to be honest about what you're spending time on and where you can improve it and maybe rearrange things to be a bit better.
#3: Number three is interruptions. Interruptions are inevitable and unavoidable. There will never be a day in your life when you're not interrupted by family members, friends, domestic tasks, chores, and even the occasional genuine emergency. Accepting that no perfect day exists and interruptions will be part of your writing routine is the first step in helping yourself manage them.
Focus on the interruptions you can control. If you can pick where you write, pick a spot where it's harder for people to pass by and interrupt you. If you can wake up a bit earlier than the rest of your household to squeeze out a quick hundred words with your first cup of coffee, then choose that time, even if it’s a smaller block of time than after when the kids go to bed.
Plan what you'll do when interruptions come and how you'll need to be flexible with your routine in order to get writing done. Here are some examples. Your computer breaks down or you're stuck in a hospital waiting room during your writing time. The solution is to keep a pocket notebook somewhere convenient or to use a notes app on your phone so you at least get some words down in either of these situations. You have a long commute and find that when you get home, your kids come to see you every five minutes while you're trying to write. Where is there time in your day you can control? Maybe you could squeeze out five minutes writing on your lunch break. Maybe you could find a way to dictate your writing on the way home, provided your local laws allow for hands-free device use and it doesn't impair your attentiveness while driving. You have a whole day planned to write and a storm hits, and sometimes you just have to accept that getting something done is better than trying to get the whole goal in the event that something comes up.
Like for example, I've recently had to spend a good deal of time doing fence repair due to storm damage, and on those days I didn't get as much writing done as I wanted, but I did get some writing done, and as I do frequently say, one slice of pizza is better than no pizza at all. So when you do have days like that, it's better just to grab the one slice of pizza and get a little bit of writing done than to beat yourself up over how you didn't get to the writing goal that was in your head.
#4: Number four is distractions. Distractions like social media and doom scrolling are a huge obstacle, even though they feel more like a treat or a break than a problem. Treating them like a problem instead of a solution to not wanting to work is an important mindset shift.
If such things like social media and doom scrolling are keeping you from beating your goals, distractions have to be managed like any other obstacle we're talking about. I've talked about practical ways to manage distractions in my November Writing Challenge series. I recommend you check that out for practical tips.
#5: And finally, number five, motivation. Consistency over passion or motivation wins the day. Slogging through when you don't feel motivated doesn't mean that you're not creative or a good writer. In fact, every good writer will admit that they do that more often than you might think. Removing your ideal of what you should be as a writer and focusing instead on your actual daily behaviors is important. It's easier to keep a routine going (even imperfectly or badly) than it is to keep having to start it over and over again.
There's a theory that was popularized on Reddit called No Zero Days that essentially says that you must do something (however small) each day in order to further your goal.
For example, instead of having the goal of writing 1,000 words each day, the goal is to write every single day. Even getting one single word on the page each day helps keeps the routine or habit going. It makes it easier to start the next day and helps with any guilt associated with a bad day or difficulties getting started.
In conclusion, obstacles are inevitable, but many of the ones we discussed today, especially distractions, are largely within your control. Even when you're not in control of an obstacle, you're fully in control of how you react to it and how quickly you can regroup and keep going. So those five tips, hopefully they will help you navigate your way around any obstacles to your writing goals.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at the frozen pizzas that I enjoyed in 2025, and give my recommendations for the best frozen pizzas.
This coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store:
WARDEN25
The coupon code is valid through July 14, 2025. So if you need a new ebook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 256 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 20th, 2025 and today we are looking at my favorite frozen pizzas from Winter and Spring 2025. Before we get to our main topic, we'll have Coupon of the Week, an update on my current writing progress, and then we will do Question of the Week this week.
First up, let's do Coupon of the Week. This week's coupon code will get you 25% off the ebooks in the Dragontiarna series at my Payhip store, and that coupon is WARDEN25. This coupon code is valid through July 14th, 2025. So if you need a new series of really long ebooks to read for this summer, we have got you covered and as always, the links to the store and the coupon code will be included in the show notes.
Now for an update on my current writing and audiobook projects. As I mentioned before, I want Summer 2025 to be my Super Summer of Finishing Things because I want to finish The Shield War, Stealth and Spells, and Ghost Armor series this summer before I start on new things. I'm pleased to report that I have reached a milestone of that. The rough draft of Shield of Power is done at 101,000 words. This will be the sixth and final book in the Shield War series. I am currently writing A Consort of Darkness, which will be a short story that newsletter subscribers will get a free copy of in ebook form when Shield of Power comes out. I am also 109,000 words into Stealth and Spells Online: Final Quest and hopefully that will come out very quickly after Shield The Power is out. I'm also 10,000 words into Ghost in the Siege, which will likewise be the sixth and final book in the Ghost Armor series.
In audiobook news, recording is still underway for Ghost in the Corruption, which will be narrated by Hollis McCarthy and Shield of Battle, which will be narrated by Brad Wills. Hopefully we will have some more updates on that soon and I don't think it'll be too much longer before both audiobooks are out and available.
00:02:02 Question of the Week
Now let's go to Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question: when was the last time you went to an actual movie theater to see a movie? No wrong answers, including “I don't go to movie theaters.” As you can guess, we had a range of responses on this one.
Justin says: Last month we saw Monty Python and the Holy Grail (fifty year release) in the theater. Yes, we have the DVD.
David says: I guess Dune Two is the last time I went to a theater. For the price of going to the theater, I can wait and stream it later. If I don't like the price, I can even wait a few years. I'm not so quick to give them my money. Haven't gone to the theater yet in 2025. Nothing called out to me.
William says: Except for 2020-2021, I've been going to the movies frequently every year since the Hobbit movies first came out. It's not that my habits has changed, just that they started making the kind of movies I wanted to watch like Star Wars, Jurassic World, the Disney remakes, and so on. Before 2012, the last time I went was in 2006 for the third Pirates of the Caribbean movie. It probably helps that it's only two tickets each time and not four or five for a whole family.
Randy says: Top Gun: Maverick. It was a throwback to the days when movies were fun to watch. Everything doesn't have to have a deeper meaning and make us think. Just have an unlikely crew of misfits take out the bad guys.
Bonnie says: Last one was Mary Poppins Returns with granddaughter in Spring 2019. I can't see spending the price for a one time deal.
Cheryl says: The last time I went to the cinema…when did American Beauty come out? That's how long ago it was and the movie was disappointing.
Jenny says: Thunderbolts! I wish movies weren't so pricey.
Elizabeth says: Last time I went to the movie theater was to see Jumanji 2 with my now husband as our first date because both of us are terrible at first date ideas.
I don't know- if Elizabeth's first date with her now husband was Jumanji 2, it seems like that was a very successful first date.
John says: War of the Rohirrim, December of last year.
A different John says: Dune Two and A Complete Unknown are the only two I've seen in the theater in the last two years. In both cases it was because A: the movie deserved to be experienced completely, and B: there was someone I wanted to share it with. Otherwise, modern tech in the home works just fine.
Michael says: Last movie I saw in an actual cinema was Avengers Infinity War, so that's going back a bit. I think the COVID lockdown just killed any desire to do so and haven't been back since.
Michael [A different Michael than the one listed above] says: It has been years.
For myself, the answer is quite simple. I went on May 31st to see Mission Impossible: Final Reckoning. The inspiration for this question was technological change. I only went to the theater twice in 2024, for Dune Part Two and The Fall Guy. In 2025, I've been to the theater twice so far, for Thunderbolts and Mission Impossible: Final Reckoning, but a long time ago when I was much younger and had far fewer demands in my time, I would usually go to the movies on Saturday afternoons if I saw something that looked at all interesting. I'd always go in the afternoons because afternoon matinees were cheaper and I usually preferred to spend Saturday night playing computer games anyway.
Nowadays, like I said above, I only went twice in 2024 and twice in 2025 so far. I am not sure what changed. The obvious one is that I'm old enough to have enough to do week to week that giving up three hours on a Saturday afternoon can often be a problem. The other obvious answer is technological change in the form of streaming, which makes it a lot easier to see things at home and perhaps one's taste change as one gets older. For example, there is no way I would go to the theater to see the Minecraft movie, though I would probably watch it on streaming when it rolls around (and I did in fact watch it in streaming last week and thought it was pretty good. It'll be in my next Movie Roundup.) So that is it for Question of the Week.
00:05:52 Main Topic: Winter/Spring/Summer 2025 Frozen Pizza Roundup
Now onto our main topic this week, my Spring/Summer 2025 Frozen Pizza Roundup (though I suppose I've been working on this long enough that it should be the Winter/ Spring/Summer 2025 Frozen Pizza Roundup). I suppose it is a bit odd to talk about frozen pizza on a podcast ostensibly dedicated to indie publishing and indie writing, but I like frozen pizza and it's my podcast, so if I want to talk about frozen pizza, I'm going to talk about frozen pizza. Besides my previous pizza review roundup episode was pretty popular, so that's why I decided to do another one. Unlike a movie roundup, the pizza reviews will be in chronological order based on when I ate them. The grades are, as always, totally subjective and based on my own opinions. I'll also be rating the pizza by eating it hot and eating it cold, since cold pizza is a different experience than hot pizza. Cold pizza for lunch the next day is something to look forward to, especially during a busy day.
I should also mention that I purchased each pizza myself with my own money. No one sent me any free stuff, so while my opinion may be subjective, it is nonetheless unbiased. Additionally, I exactly follow the preparation directions for each pizza since I wanted to avoid the phenomenon you sometimes see on recipe blogs where a commenter complains that a recipe didn't work and then admits that they took out the butter, cut the sugar in half, replaced the flour with corn starch, and substituted canola oil for frosting. So with those disclaimers, disclosures, and caveats out of the way, on to the pizzas.
The first one is Orv’s Ultimate Rizer Three Meat Pizza, which I had on February 28th, 2025. Orv’s is a pizza brand owned by Minnesota based pizza maker Bernatello’s. In the last pizza roundup, I mistakenly said Bernatello’s was based in Wisconsin (though they do in fact have numerous Wisconsin facilities) and Bernatello’s also owns many different pizza brands I have mentioned the last roundup. I had never tried Orv’s before, so I thought I would give it a try.
Eaten hot, the sausage, Canadian bacon, and pepperoni are quite good, as are the cheese and sauce. However, the crust really is quite bready and kind of overwhelmed the other tastes. This is a thick crust pizza and to be honest, I really prefer thin crust because it's generally less caloric and the crust has a greater chance to work in harmony with the other flavors and not overpower them.
Eaten cold, it's pretty much the same experience. This is definitely a pizza that would benefit from a bit of added oregano, garlic salt, or perhaps other spices. Overall, I do think I strongly prefer Bernatello’s Brew Pub Lotzza Motzza pizza instead of Orv’s, though I should mention that Orv’s is in fact quite a bit cheaper.
Overall Grade: C+
The next pizza is the Red Baron Four Meat Classic Crust Pizza, which I ate on March 7th, 2025. Red Baron is a frozen pizza brand that started in 1976 by the Schwan's Frozen Food Company of Minnesota. Currently, Schwan's is owned by a large Korean conglomerate. Whatever one might think of large corporate consolidation, the fact that the stylized World War I fighter pilot mascot of a Minnesota company is now owned by a Korean conglomerate is kind of hilarious in an absurdist sort of way. Anyway, the pizza!
Eaten hot, I liked the crust. It was a bit thicker than usual for thin crust pizza, but it was crisp and didn't get bready. The sauce was a bit sweeter than usual, but I still liked it. The various meats and the cheese were good as well. Eaten cold, it's still pretty good. The cheese and sauce set well and remained flavorful. Overall Grade: B+
Our next pizza is Good and Gather Pepperoni Pizza, which I had on March 14th, 2025. Store brand foods can be hit or miss, like if you go to a big box grocery store and they have their own store brand of essentials like coffee and cereal and bread and so forth. And as I said, those can be really hit or miss since it depends on the company that is actually supplying the food to the store. That said, I've had good results with Good and Gather, which is the store brand of Target, which is a major big box retailer in the United States. So I thought I'd give the Good and Gather Pepperoni Pizza a try. Eaten hot, I was pleasantly surprised. The crust was crisp, the cheese and sauce were good (if not outstanding), and the pepperoni was flavorful. A good workman like frozen pizza. Eaten cold, it still tastes quite good. An important detail is that this is a good deal cheaper than many of the more premium pizza brands I have mentioned in these pizza roundups. So I would say this is a good solid option for the budget minded consumer.
Overall Grade: B
Next up we have Bellatoria’s Ultra Thin Crust Meat Trio Pizza, which I ate on March the 21st, 2025. Bellatoria’s is yet another brand of the Bernatello’s Frozen Pizza Company, a frequent entry in these pizza roundups and it is a seems to be more of a premium brand compared to Orv’s. It also has a less heavy load topping compared to Lotzza Motzza, which is another Bernatello’s brand. Despite that, I quite like this one. Eaten hot, the crust was crisp and just a bit flaky in a good way and the cheese, sauce, and meat toppings were all good.
Sometimes on a pizza you can't taste the crust. Other times you taste it too much, like with thick crust pizza, but I think this was a good crust that complemented the toppings, which were all flavorful. Eaten cold, it fares well. The thin crust doesn't get soggy and the meat and cheese remain flavorful. A very good pizza. I prefer a thin crust to a thick crust, but this was an excellent thin crust.
Overall Grade: A
Our next pizza is the Totino's Party Pizza Triple Meat, which I ate March 26th, 2025. Totino's was famously one of the first companies to make frozen pizza and it was later acquired by General Mills. These days, Totino's is mostly known for its pizza rolls, but they still put out small individual pizzas and for the sake of historical continuity, I decided to give it a try. It was okay.
It definitely tasted like pizza, but it didn't compare to the stronger ones I've tried like Heggie’s or Pothole Pizza. You do need to cook it for a long time for the crust to be adequately crispy and not soggy. I didn't bother to try it cold since I didn't think it would be improved, and this is definitely a pizza where you might want to add some oregano or garlic salt. Its biggest advantage is that it's quite inexpensive, a cheap meal, but don't expect too much.
Overall Grade: C+
Next up is Authentic Motor City Pizza Company Three Meat Pizza, which I had on March 28th, 2025. Authentic Motor Pizza Company is owned by the Ilitch billionaire family of Michigan who are the original founders of Little Caesar's Pizza. This pizza is a Detroit style pizza, which is essentially a square pizza cooked in a square pan with a thick crust and lots of cheese.
The square shape comes from the fact that Detroit style pizza was originally cooked in a car oil drip pan since the commercially available pans at the time weren't suitable for the pizza. There is some dispute about what actually happened, but it seems Detroit style pizza started at a restaurant called Buddy's Rendezvous in the 1940s, which later became the local Michigan pizza chain Buddy's Pizza. I have to admit, I was originally only vaguely aware of Detroit style pizza, but in 2019 I went to the Detroit area for a funeral and had dinner at Buddy's Pizza, which was amazing. (There was also a guy getting arrested in the parking lot at the time, but thankfully that did not affect the dining experience.) If your travels ever take you to the Detroit area, you should definitely try Buddy's Pizza. Anyway, so after all this, when I happened across a Detroit style frozen pizza, I decided I needed to give it a try.
Eaten hot, it is quite good. As I've said before, I'm generally not a fan of thick crust pizza, which this is, but it's a good thick crust, crispy on the edges and bottom without being bready or chewy. The toppings are all excellent, which is helped by the fact that the sauce is good and has a good garlic flavor to it. I was curious how it would hold up when eaten cold and I actually liked it a bit better than when it was hot. The cheese sets well and then everything holds together and so it's a very substantial, very tasty cold pizza. This is good pizza, though that said, I still prefer a thinner crust because the Detroit style of pizza is delicious, but dang, is it a heavy meal.
Overall grade: A
Next up is Pothole Kitchen Sink Pizza, which I ate on April 4, 2025, and this is another pizza from the Midwestern convenience store chain Kwik Trip and features pepperoni, sausage, mushrooms, onions, and red and green peppers.
I really like this one, like the other Pothole varieties I've tried. It's quite good: good crust, good cheese, good sauce, and very flavorful toppings. This has a slight advantage over my other favorite version, the Pothole Meat Sweats Pizza, since the lesser amount of meat means it isn't as greasy. Eaten cold, it is likewise quite good. I think this ties with the Meat Sweats Pothole Pizza. They both represent excellent versions of two different pizza experiences. If you don't want mushrooms and vegetables on your pizza, get the Meat Sweats, but if you do want vegetables, go for the Kitchen Sink.
Overall grade: A+
Next up is Heggie’s Six Pack Pizza, which I tried on April 11th, 2025. This is another pizza from Minnesota company Heggie’s, which had one of my favorite pizzas of the last roundup. Heggie’s Six Pack Pizza comes with sausage, pepperoni, Canadian bacon, regular bacon, mozzarella cheese, and cheddar cheese. Let's just say if you're eating this, you probably don't have a six pack.
Anyway. Eaten hot, it was quite good. I like the thin crust and all the meat was good. I would say the biggest weakness is that you can mostly taste the cheese and the Canadian bacon since they kind of drown out all the other flavors. Eaten cold, I would say it tastes better. You can taste all the individual toppings. The cheese, sauce, and crust are pleasant when cold as well. This was a good pizza, but I do like the pepperoni only version better since I think the taste is superior.
Overall grade: A-
Next up is the Tombstone Tavern Style Meat Crumble Pizza, which I had on May 2nd, 2025, and this is a more upgraded version of the basic model Tombstone pizza with thinner crust, slightly different cheese, and a mixture of pepperoni and crumbled pork sausage.
Honestly, it tasted about the same as the standard model Tombstone. The crust and meat were slightly better, but I thought the sauce was rather watery. Eaten cold, it was better since the watery flavor of the sauce wasn't as strong. That said, I do think the standard model Tombstone pizza is a better pizza.
Overall grade: B-
Then we had a bit of a gap here because I had basically tried most of the pizza brands that I actually wanted to try for this review. There are some more lower cost brands out there, but I figured they'd be mostly similar to the cheaper ones I already tried.
Then I came across the final pizza for this review roundup, Screamin’ Sicilian Mountain of Meat, which I had on June 6th, 2025. This is another pizza from the Screamin’ Sicilian line, which is part of the Palermo Pizza Company of Wisconsin.
I tried an all pepperoni version for the last pizza roundup and thought it was pretty good. It got an A-. I decided to try the Mountain of Meat, which has pepperoni, sausage, ham, and bacon, and has a stone fired crust. I liked it better than the all pepperoni version. The different meats blend together well, and I think this version of the crust is quite a bit better. It's a little bit thicker, but still quite crispy. Eaten cold, it likewise holds up quite well. The spiciness of the meat remains flavorful even when cold and the cheese holds it all together. Overall grade: A
So to sum up after two pizza review posts, here are my favorites.
Overall favorites: Pothole Meat Sweats and Pothole Kitchen Sink.
Excellent strong runners-up: Heggie’s Pepperoni Pizza, Lotzza Motzza, Bellatoria, and the Screamin’ Sicilian Mountain of Meat.
The downside of all these choices is that they tend to be expensive, usually $10 US or above. So with that in mind, here are best my choices for the best budget options, which would be Tombstone Pepperoni & Sausage and Target’s Good & Gather Pepperoni.
Also, one advantage of frozen pizza is that you can add spices to flavor the taste. I found that frozen pizza in general frequently benefits from the addition of oregano or perhaps a dusting of garlic powder. So if you are looking for some frozen pizza, hopefully this will help you find one.
So that is it for this week. Next week I promise we will go back to writing and publishing topics instead of pizza. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
Due to an unexpected time shortage, this week we're looking back at Episode 182, where I discussed the favorite scenes I wrote in 2023.
This coupon code will get you 50% off the audiobook of Dragonskull: Crown of the Gods, Book #9 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
CROWN50
The coupon code is valid through July 9, 2025. So if you need a new audiobook this summer, we’ve got you covered!
In this week's episode, we look at five tips and tricks for optimal ebook pricing.
This coupon code will get you 25% off the ebook versions of my Tower of Endless Worlds series at my Payhip store:
TOWER25
The coupon code is valid through June 30, 2025. So if you need a new ebook this summer, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 254 of The Pulp Writer Show. My name is Jonathan Moeller. Today is June 5, 2025, and today we are looking at ebook pricing strategies. Before we get into that, we will do Coupon of the Week and have an update on my current writing and audiobook projects.
First up is Coupon of the Week. This week's coupon code will get you 25% off the ebook versions of my Tower of Endless World Series at my Payhip store, and that is TOWER25. And as always, the coupon code and the links to the store will be in the show notes. This coupon code is valid through June the 30th, 2025, so if you need a new ebook series to read this summer, we have got you covered.
Now for an update on my current writing projects. As of this recording, I am 53,000 words into Shield of Power, which will be the sixth and final book of my Shield War series, and that puts me on Chapter 13 of 29. I feel like the book is going to be between about 105,000 to 110,000 words in rough draft, but we will see when I get there. I'm hoping to have it out before the end of June, but there's a good chance it may slip to July, so listen to this space and watch my website for updates.
I am also 104,000 words into Stealth and Spells Online: The Final Quest, which as the name implies, will be the third and final book of the Stealth and Spells trilogy. I am right in the middle of writing the climactic scenes of the story and because of the length and how far I've gotten and I've been chipping away at this since October, it will come out very quickly after Shield of Power, possibly even in the same month. I'm also 5,000 words into Ghost in the Siege, which will be the sixth and final book of the Ghost Armor series, and that should probably come out towards the end of summer, if all goes well.
In audiobook news, Brad Wills is recording Shield of Battle and Hollis McCarthy is recording Ghost in the Corruption right now. I know they're hard at work at it because both of them sent me emails with questions about pronunciations today. Hopefully we'll have some exciting new audiobooks for you later this summer.
00:02:12 Main Topic: Ebook Pricing Strategies [Note: All Prices Referenced are USD]
And now let's move right into our main topic, ebook pricing strategies, which is often a contentious topic for indie authors. We're going to go over five different ebook pricing strategies to look at when they're the most effective or why you might want to try them. I'll talk about when I have used each of them and why I chose to do so or not to do so, as the case might be.
As I said, this is often a contentious topic for indie authors, especially newer indie authors who often have in their head an idea that their book is worth X amount of dollars because the amount of work they put into it, like for example, “my novel should be a minimum of $9.99 or $14.99 because of all the work I put into it. It was a year's worth of work, and if you can buy a fancy latte at Starbucks or $6 or $7 or whatever, then you should be able to pay $9.99 for this novel upon which I toiled for a year.”
And that is a nice sentiment, but in reality it doesn't work that way for a couple of reasons. For one thing, people are only willing to drop that kind of money on authors that they've known for a long time, like hardcore Stephen King or James Patterson or Jack Reacher fans dropping $20 or $30 for the novel in hardcover when comes out the first time. That kind of loyalty has to be earned over the long term, and if you're brand a new indie author or a newish indie author, charging $9.99 for your ebook is something of an ask.
For the second thing, an ebook is not a physical object, and there is a point where people blanch at paying a lot of money for an item that is essentially electronic and digital. If you're paying $9.99 for a paperback, at least you're getting the paperback, the physical object. Paying $9.99 for something utterly intangible like an ebook is a much harder sell. Because of that, the optimal price point for ebooks tends to be a bit lower than that.
For the sake of not adding too many caveats to each point based on genre and format, let's assume for each of these strategies, the ebook we are pricing is a fantasy novel of about 90,000 words without any maps or images and is not being traditionally published by an established author. In an interview, Smashwords founder Mark Coker presented data from Smashwords that showed most indie authors selling full length fiction will see the most success setting their ebook prices at either $2.99, $3.99, or $4.99 (depending on genre). That is still the case, generally speaking. However, there are some special pricing strategies that may increase your sales, and that is what we'll be focusing on this episode.
#1: The first of the five pricing strategies we will look at is permafree, and permafree means that the book is permanently set to free instead of just for a short period of time. Why does this work? People like free things. People will eagerly take something that's free while something that's even $2 or $3 will lead to hesitation on their part, especially for an unfamiliar author, and that is true of $0.99 as well.
However, permafree is a strategy only makes financial sense if the book is the first book in a series and there are at least a few books in the series already published. If you have one book and make it permafree, that's fine if you want to give away the book to readers so it's read, but it will not make you any money. It makes more sense to make the first book in a series free when there are like four or five or more books in the series.
Just setting a book to permafree is not enough on its own. You still need to spend money on ads and marketing, so you're relying on sales from the next several books in the series to subsidize the free book and marketing cost. Very often I will advertise the free first book in one of my series and then calculate whether the ad was successful or not based on how many copies of the rest of the books in the series that I have actually sold.
There also needs to be a strong hook at the end of the first book to lure readers on to the second book to inspire readers to continue, but not an outright cliffhanger, which will annoy most readers and could hurt your reviews. If you're going to make your first book in the series free, it is a generally bad idea to end that book with a cliffhanger or to end that book with an unresolved main plot. People will get mad at you and accuse you of trying to nickel and dime them on the rest of the series.
It's also a good idea to put the link to the second book right at the end of the first book in order to help the reader continue on in the series. You also need to accept that most of the attention for permafree titles often comes from so-called book hoarders. This strategy is not a great one for trying to get reviews as there is a significant segment of readers who blindly grab whatever is free and then they never get around to reading it, much less finishing it.
In the same vein, you have to accept that the percentage of readers converting from the free ebook to the rest of the paid series will be much lower than the conversion from a paid book to the next paid book in the series normally would be. What kind of conversion rate am I talking about? If you have say, a conversion rate from the free first book to the paid second book of 5-10%, you are doing very well.
How have I used the strategy? I've made almost all of my series starters permafree, and since I write fairly long series, it's easier for me to do that than for people with a series with only two or three books. Making books permafree has been a major part of my indie publishing efforts over the last 14 years, and I found it's pretty much the most consistent low effort thing I can do to drive sales. It's like a constant trickle, though it does work better on the non-Amazon stores than it does with Amazon today.
#2: So now we will move on to our second pricing strategy, which is the $0.99 price. Some authors will temporarily set the $0.99 price at launch in order to gain some reviews and then raise the price once that has happened. Others will price the first book in the series at $0.99 and then price the subsequent books in the series higher, in a similar strategy to permafree. This strategy gets a higher percentage of the people reading the book than permafree and authors have reported a higher percentage of read through continuing to the next book as well.
This price does well with BookBub deals and could be used temporarily for that. BookBub customers are extremely price sensitive and they expect steep discounts. The biggest downside of the strategy is that on sites like Amazon, you'll be paid a lower royalty rate of 35%, so any ads or marketing costs will effectively eat most of your profits. However, if your book is wide in all the stores, many of them offer better royalty rates than Amazon for books at $0.99.
For myself, what I've done for long series is that I make the first book free and then the second book $0.99, and then all the books after there are full price. Obviously, you take a bit of a hit on the first few books in the series, but if you have a long series like I do, then you can definitely make up the lost costs with sales of the rest of the books. I've also used $0.99 to pretty good results with BookBub deals over the years.
#3: The third pricing strategy we're going to look at is the box set. This strategy applies to a series since you're packaging multiple full length novels together and sometimes throwing in a short story or other special content. The important thing about pricing box sets is that it should be a substantial discount over buying the full length books in the sets separately. The price will be a bigger hook than adding special features.
You might want to make the first box set less expensive than the subsequent ones in order to motivate readers to begin the series. This strategy is great for Kindle Unlimited (KU) since readers are getting multiple books but only have to take one of their allocated book spots in the KU Library. Longer books also lead to bigger payouts, since KU operates on pages per read system, which means that the longer the book is (and assuming someone actually reads it), you'll then get a bigger payout. This also applies somewhat in a more limited way for Kobo Plus, in the way that it calculates page reads. They use minutes read instead of page reads.
How have I used this? I have many box sets, and because of the limitations of Amazon pricing, most of my box sets aren't above $9.99, but if the three novels in the box set are individually $4.99, that is a savings of 33% as opposed to buying the books individually.
So I mostly did the box sets to provide a base for doing the box sets in audio, but they do also generate some income on their own because of the savings.
#4: The fourth pricing strategy we're going to look at is coupons. The most common way to provide coupons in Indie Author World is either through Smashwords or a direct sales page, such as My Payhip store, which I mention frequently on this podcast. Coupons are a convenient way to make a book free to only a select group of people, such as newsletter subscribers or contest winners. It is by far the easiest and most flexible way to discount your books temporarily. For example, on Payhip, it only takes a couple minutes to set up a coupon and then it will be ready to use instantly or for whatever specific dates and times you have set the coupon to run.
They are the most effective when they are short term to create a sense of urgency to buy the book, but not so short term that readers miss out on the deal. The biggest downside is that most buyers are not as familiar with using Smashwords or a direct sales page, so they may be hesitant to use a new site, especially if they have a large ebook collection on another platform like Kindle.
How have I used this strategy? For years, I've used the Smashwords coupon strategy to give away a free short story when I publish a book (with Ghost in the Corruption, it was Ghost Spells, and when I finish Shield of Power, the short story for that will be called Consort of Darkness and newsletter subscribers will get a Smashwords coupon code they can use to get a free ebook copy of the short story). I also frequently do Coupon of the Week through my Payhip store, where I offer 25% off a featured ebook or series or 50% off an audiobook.
Since the royalty rate on Payhip is higher than on Amazon or Audible, I'm able to offer generous sales prices without losing money on a discounted sale. So once you have a large enough catalog, coupons through direct sales can be an effective strategy.
#5: And the fifth and final sales strategy we'll look at this episode is Kindle Countdown Deals. If your book is in Kindle Select/Kindle Unlimited, Kindle allows you to run a limited time discount on it. Readers will see a countdown clock showing how long they have to buy it at the price. To be eligible to run a Countdown Deal, your book must have been enrolled in KDP Select for at least 30 days, and your book's list price must have been unchanged for 30 days before and 14 days after the deal runs. There are some other requirements, so read Amazon's documentation page very carefully before you decide to run a Countdown Deal.
The biggest advantage of a Countdown Deal is the royalty rate for the book during the deal will be based on the book's regular price and not what it's discounted to during the sale, so this is a nice way to try a lower price for your book. For example, if the book is usually $4.99 and during the Countdown Deal it is lowered to $0.99, you'll still get 70% of the sale rate. Now granted, 70% of $0.99 is not as good as 70% of $4.99, but you may be able to make it up in sales volume. This strategy gets a lot more viewers than a coupon with Smashwords or your direct sales page would. However, it's not nearly as flexible as those options. It requires some advanced planning. This method is most effective when paired with a marketing push, such as an increase in ad spending or a newsletter notifying your newsletter subscribers about the deal.
The biggest downside of this strategy is that you have to be exclusive with Amazon in order to take advantage of the deal. If your books are wide, you can't do a Kindle Countdown Deal for them. I've used this strategy intermittently with limited success, I have to admit, because generally I don't have that many books in KU at any given time. That said, when I have had books in KU, I've tried Kindle Countdown deals and had moderate success with them. Overall, I do think the other methods I've already mentioned on this episode are more effective, but if you have books in KU, it is definitely worth trying a Kindle Countdown Deal in combination with some ads and a newsletter push.
So hopefully these five pricing strategies will help you make sense of the pricing of books in Indie Author World and will be helpful to you as you decide how to price your own books.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we will see you all next week.
In this week's episode, we take a look at the major self-publishing platforms that I use, and examine the pros and cons of each.
This coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress, Book #8 in the Dragonskull series, (as excellently narrated by Brad Wills) at my Payhip store:
DOOM50
The coupon code is valid through June 24, 2025. So if you need a new audiobook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 253 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 30th, 2025, and today we are looking at the current major self-publishing platforms and what they offer indie authors. Before we get to our main topic, we'll have Coupon of the Week and an update on my current writing projects.
So let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Doom of the Sorceress (book number eight in the Dragonskull series, as excellently narrated by Brad Wills) at my Payhip store. That code is DOOM50. And as always, we will have the coupon code and the links to the store in the show notes. This coupon code is valid through June 24th, 2025. So if you are setting out on summer travels this summer and you need an audiobook to listen to while you're in the car or plane, we have got you covered.
So now for an update on my current writing and audiobook projects. Ghost in the Corruption (as I mentioned last week) is now out and available at all the ebook stores: Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, and Payhip. It is selling well. So thank you all for that. Now that Ghost in the Corruption is finished, what am I working on next? Well, back in 2023, I finished the Dragonskull and The Silent Order series back to back, so I declared Summer 2023 to be my Summer of Finishing Things. Well, it looks like Summer 2025 is going to be the Super Summer of Finishing Things because I intend to finish three series back to back.
First up is Shield of Power, the sixth and final book of The Shield War series. As of this publishing, I am 26,000 words into it, which puts me on Chapter 6 of 29. So I think it's going to end up being around 100,000-110,000 words long, and I am hoping it will be out in June, though it might slip to July depending on how things go. Once that is done, the next one up will be Stealth and Spells Online: Final Quest, which will be the third and very definitely final book of the Stealth and Spells Online trilogy. Believe it or not, I have been working on Final Quest on the side for so long that I passed the 100,000 word mark in that book this week. In fact, it's been a side project for so long that I don't remember how long I've been working on it, and I had to look up the metadata to check that I indeed started chipping away on it on October 18th, 2024. So I am very pleased that I'm nearly done with the rough draft and because of that reason, if all goes well, it'll come out very quickly after Shield of Power, since I think the rough draft will end up at about 125,000 to 130,000 words or in that neighborhood.
Once Stealth and Spells Online: Final Quest is finished, I will then write Ghost in the Siege, which will be the sixth and final book of the Ghost Armor series. I am 1,500 words into that and hoping for that to come out in August or September, if all goes well. Once The Shield War, Stealth and Spells Online, and Ghost Armor are finished, I will finally be free to return to the Rivah and Nadia series. I realized that through all of 2024 and the first half of 2025, I had five unfinished series at the same time, and that was just too much for me to keep track of as a writer, and I think it may have been too much for the readers because it was too much of a wait between the different series as I worked my way through them. So five series at the same time is too much, so hence the Super Summer of Finishing Things.
Going forward, I've decided that three unfinished series at the same time will be my maximum, which after the Super Summer of Finishing Things will be Cloak Mage, Half-Elven Thief, and a new epic fantasy series that I will set in the realm of Owyllain.
In audiobook news, Brad Wills started working on Shield of Battle this week and Hollis McCarthy started working on Ghost in the Corruption, so hopefully before probably about July or thereabouts, we will have those audiobooks available for you to listen to. So that is where I'm at with my current writing projects.
00:03:49 Main Topic of the Week: Self-Publishing Platforms for Ebooks
[Note: Information in this Episode is Very Likely to Change]
So now let's move on to our main topic for the week, which is the main self-publishing platforms for ebooks. Today we will do a brief overview of the self-publishing platforms I currently use: Amazon/KDP, Barnes & Noble, Kobo, Google Play, and Draft2Digital/Smashwords.
The reason I wanted to do this is because there are many scammy platforms for self-publishing out there, but fortunately there are also many legitimate ones. Today we'll compare several of the most popular ones for ebooks. Just to make things easier for comparison, we'll be using the term platform to discuss both retailers and aggregators and we're not going to talk about options for self-publishing print or audio formats today. We're going to focus solely on ebooks.
First of all, what should you look for in a publishing platform? The first thing is to make sure you retain complete ownership of your content in all formats. Some of these scammer ones try to claim all rights to anything you try to post or sell through them, so that is definitely a red flag to watch out for. Make sure that you understand any exclusivity requirements of any programs that you sign up for such as KDP Select, such as if other formats like audio are also included in their requirements, how long exclusivity lasts, et cetera.
If the platform requires exclusivity, that is definitely something to pay attention to. Make sure you do your research carefully to understand how pricing, royalties, and payments work on each individual platform. Sometimes some of them will pay quarterly, some of them pay monthly, and some of them pay you last month's royalties at the end of the month. Some of them like Amazon run like two months behind.
Finally, and this is a big one, you should not have to pay any money in order to upload your work. If they are asking for money upfront, it is probably a scam. Now, there are some aggregators that don't take a percentage and instead charge you a yearly fee. I'm not talking about them in this podcast episode because I don't use them, but they are out there. One example would be Book Funnel, which does charge a yearly fee for you to use but provides a valuable service in being a backend for running your own store on like Payhip or Shopify, and there's a couple of other useful services in that way, but they're not a storefront and they don't take a percentage of any royalties. They just charge a yearly fee. So they're not the topic with this episode.
All the platforms I've talked about today do not have any fees in order to upload. Reputable sites like Amazon or Kobo will instead take a percentage of each book's sale. It's also good to have a few realistic expectations before you start using self-publishing platforms, and one of them is that the platform is not a marketer. For example, many people complain that KDP doesn't showcase their books and they get lost in the millions of books available. However, none of these services are promising that you'll make the front page of their site just by publishing there. It's a common delusion among new indie authors that when you publish your first book, that's all you have to do and people will flock to it. Unfortunately, it doesn't work that way.
In fact, since Amazon makes a small fortune off book ads, it's not in their interest to give away screen space for free, and this isn't to knock on Amazon, that's just the way the retail industry works. For example, if you go into a Target or a Walmart or another big box retailer, note the products that are prominently displayed on the aisle displays or the endcaps of the aisles. They didn't just get there randomly. The manufacturers of those products paid big money to Amazon and Target and Walmart and the other big box retailers to have their products featured there. In many cases, online commerce is no different.
Getting your book uploaded onto a platform is just the first step. Promoting and marketing the book is up to you and strategies for those will vary based on which ones you choose to use. For example, if you choose to make your work exclusive to just one platform, it's not a good idea to run Facebook ads in countries where that platform either doesn't exist or where it's not terribly popular. Today we're going to be just focusing on comparing the platforms, not how to best to market from them. So what are the options?
#1: First up is the most common platform people use and it's the 800 pound gorilla in the self-publishing space, and that is Amazon's Kindle Direct Publishing. And what are the pros and cons of KDP?
Pro: They are the biggest force in ebook publishing in many countries, including the United States. Some authors find that as much as 80 to 95% of their ebook sales come from Amazon, even if they are not exclusive with Amazon. For myself, it's usually about 50 to 60% of my sales on any given month are from Amazon and the rest come from the other retailers.
Heavy readers are generally very familiar with the Kindle Store interface and Library setup, and many readers are kind of locked into Amazon because they own Kindle devices, subscribe to Kindle Unlimited, and have large Kindle Libraries. So those are all the pros of publishing with KDP.
Cons: If you're expecting a large portion of your sales to come from the print version of your book or if print sales are very important to you, be aware that many bookstores and libraries either can't or won't buy print books from Amazon, so you should find an additional platform for the print version such as Ingram Spark or maybe Barnes & Noble's print division. One big concern about going exclusive with Amazon is that you're losing readers who don't have Kindle books in their countries, people who are boycotting Amazon for a variety of reasons, people who are locked into another platform such as Apple or Kobo, or people who want to self-archive their ebooks since Amazon doesn't allow that anymore. If you're already wide, you'll have to look carefully at what percentage of your sales are non-Amazon and if this percentage is an amount you'd be comfortable risking losing in order to be exclusive.
Occasionally authors do complain about the customer service available to KDP, especially if it's urgent. For myself, I've not personally had any huge problems with KDP customer service. That said, I think you should expect a lead time of about one to two business days on anything you ask because I usually go through the email form.
Does KDP offer a subscription service? Yes. Kindle Unlimited (KU) readers pay a set amount and can read an unlimited number of books each month, although they're limited as to how many they can have in their library at any one time. Promotions happen regularly, usually based around big sales like Prime Day, and it can make a subscription as cheap as $0.99 for a three month period. Some also receive free subscriptions by buying certain Amazon products such as a new Kindle or Kindle Fire.
The downside of being in Kindle Unlimited is the exclusivity. You can't be in KU without being exclusive with Amazon, or at least the specific book in question has to be exclusive. Not all of your books have to be exclusive, and many authors such as myself will usually put one series in KU and then make sure everything else is wide. You must agree to be exclusive with them for ninety days and that time period is renewable.
What does KDP pay in terms of royalty? For $2.99 to $9.99, they give you 70% of the sale price. Under $2.99 and above $9.99, it's 35%. So that is sort of an encouragement from Amazon to price your ebooks in the $2.99 to $9.99 range. Currently I price new novels at $4.99 and do short stories at $0.99 cents.
What do I do? I have all of my titles available through KDP. I have a smaller portion of my collection exclusive through KDP Select/KU, and I have only recently increased that amount of Select titles due to the economic downturn. I suspect that KU users are likely to hold onto their subscriptions while cutting other expenses because honestly, KU is a pretty good deal for readers and the monthly subscription costs is about the same as one tradpub frontlist ebook, but with a KU subscription, they could read thousands of books for the same price. The value of KU is really very strong for frequent romance, LitRPG, science fiction, and fantasy readers. There's a strong population in the KU subscriber base often referred to as binge readers. They care more about variety, discovering new books, and the ability to read a lot over the ability to read specific authors or stories.
So overall, I think if you are self-publishing and even if you don't like Amazon very much or don't plan to go exclusive, it's still in your best interest to publish your ebook with them, even if you are wide and intend to do all the other retailers just because Amazon really is the biggest ebook platform out there at the moment.
#2: Now, the next self-publishing platform we're going to look at is Barnes & Noble Press, which as the name implies, belongs to Barnes & Noble. The Pros: some people are never, ever going to let go of their Nooks or they already have a large personal ebook library through the Nook so they feel locked into that platform. These readers are the majority of people buying ebooks through Barnes & Noble, but fortunately that group tends to read a lot. There's also a lot of trust in Barnes & Noble as a brand, and that inspires people to continue buying from them.
In fact, for a while in the indie author space at the end of the 2010s and the start of the 2020s, it was a regular prediction that Barnes & Noble was going to go out of business soon, but then the company was bought by a private equity firm, and while private equity firms often have a deserved bad reputation for stripping a company of assets and then selling it off at a bargain basement price (such as the fate of Red Lobster), that does not seem to be the case of what happened with Barnes & Noble and the company really has been strengthening in recent years. So they may be here to stay for a while.
The downsides of publishing with Barnes & Noble Press is that Barnes & Noble is relatively a minor player in the ebook market, though usually in the top four of most indie author ebook sales if they're wide. They have shifted their focus to selling print books instead of Nook devices, especially in the retail space.
Do they offer a subscription service? They do not. However, nothing about Barnes & Noble requires exclusivity, which is nice, and the royalty structure is pretty good. It's 70% over all titles over $0.99. So if you want, you could price your ebook at $0.99 or $19.99 and still make 70%, which you couldn't do with those prices on Amazon.
#3: The next self-publishing platform we'll look at is Kobo Writing Life, which is the ebook platform to publish on Kobo, which is owned by Rakuten.
Pros: Kobo is strong in the international market and will help you to reach readers in many countries. Based on my sales data, in Canada and Australia, Kobo is significantly bigger than Amazon for ebook sales. Kobo has also had a surge of recent media attention in the US as people seek out alternatives to Amazon and Kindle devices.
The Con of Kobo, and this is a fairly small one, is that their US market share is still fairly small compared to Amazon or Barnes & Noble or some of the others. But as I mentioned, they're a lot stronger in Canada and Australia, and they do reach a lot of different countries, more than Amazon does.
Does Kobo have a subscription service? Yes, Kobo Plus. Kobo Plus is significantly less expensive than Kindle Unlimited, and there's an additional tier that allows you to add audiobook content to the plan. The library isn't quite as extensive as KU though, though.
I should note that in the years since Kobo has been introduced, I'd say about half of my revenue from Kobo (sometimes 60% of my revenue from Kobo) comes from Kobo Plus and not from direct ebook sales. So it's getting to the point where the majority of their ebook revenue I suspect, is coming from Kobo Plus and not direct Kobo sales.
Do they require exclusivity? No, which is another strong selling point for Kobo Plus. For their royalty structure, ebooks over $2.99, you get 70% and any books over below $2.99, you get 45%, which is a more generous term than Amazon in terms of the royalty rate for below $2.99 and above $9.99.
So what do I do? I currently use it as one of the platforms for my ebooks. It's been a pretty strong seller for me consistently over the years, and every Kobo book that I have is also available in Kobo Plus, which probably explains the revenue split I was talking about earlier.
#4: The next platform we'll look at is Draft2Digital/Smashwords, which we'll do as one because Draft2Digital and Smashwords are in the process of merging. Draft2Digital is technically what's called an aggregator, where you upload your book and then they can publish on a variety of different platforms for you, and in exchange, they take a small cut of the sales. Draft2Digital is, in my opinion, probably the most effective way to get your ebooks through Apple and Smashwords. Apple does have its own direct uploading service, but I've never used it because there are a bit too many hoops to jump through.
Draft2Digital does, as I mentioned, have a way to publish on multiple storefronts at once while managing uploads and sales reporting through just one interface. They're not a storefront in and of themselves, although since Draft2Digital does own Smashwords, Smashwords essentially acts as their storefront for them. Although Draft2Digital lists Amazon, Kobo, and Barnes & Noble as an option, most authors will upload to these sites separately, and in fact, that's what I do for myself.
The Pros of Draft2Digital is that it's a definite time savings using Draft2Digital to publish across multiple platforms, especially with platforms like Apple that are more difficult or time consuming to learn. This is also a convenient way to make your work accessible to library platforms like Overdrive/Libby, Hoopla, and Bibliotheca, if that is important to you. Library sales have never been a huge priority of mine, but I've never been opposed to them either, so I usually just flip those switches on and then don't think about it again.
The Cons for Draft2Digital are that there was a period after the Smashwords migration where they received complaints about customer service and difficulty in setting up tax information, though I think that is mostly ironed out now.
One potential hazard for Draft2Digital with a very specific subset of writers is that if you are a writer of, shall we say, very hard erotica, the sort that ends up in very restricted categories on most stores, you will probably have trouble publishing through Draft2Digital. This is not, however, a problem that's unique to Draft2Digital. Amazon has what is called the “erotica dungeon”, where if you publish certain kinds of, like we said, very harsh erotica, your book isn't searchable on the Amazon store. You can link to it directly, but it will never show up on any search results. Kobo in particular has had problems with erotica.
Back in the 2010s, Kobo was also distributing ebooks to some British retailers, and these British retailers suddenly got upset when they noticed that these kinds of hard erotica were showing up on their store pages, which was not a good look for the company. And so there was a kerfuffle until that was all sorted out. My frank opinion with that is if you are writing these kinds of erotica, the big stores and Draft2Digital will never be on your side, and so you are better off pursuing a sort of a Patreon/running your own store on Shopify or Payhip strategy, but that is a bit of a digression.
So in terms of royalties, Draft2Digital takes 10% of the book's retail price per copy sold, which is in addition to whatever amount is taken by the specific storefront. So you are paying a bit of money in exchange for convenience for just uploading your book to Draft2Digital and having it push out the book to all the different stores for you.
What I do is I use Draft2Digital for Apple mainly because for a while I was using Smashwords, but Smashwords in the 2010s was a bit more persnickety than is now, and you needed to prepare a specially formatted doc file to publish on Smashwords and sometimes getting it through the Smashwords processing onto Apple was a bit of a pain.
Draft2Digital took epub files, which are much easier to work with, and after a while I switched over all my Apple publishing to Draft2Digital entirely. So that's why I use Draft2Digital for Apple and for various library services that tend to be a minor amount of sales. Because of the difficulties on publishing direct to Apple, I do find that that 10% is good trade off in terms of selling books on Apple for me.
#5: Now onto Google Play’s ebook self-publishing platform, which is, I think its full name is the Google Books Partner Center, which lets you publish books to the Google Play Store for sale on Android devices.
The Pros are that for writers interested in the international market, Google Play is another strong choice for a platform since the international mobile device market is very Android heavy. The iPhone (Apple) tends to be concentrated mainly in the US and a few of the wealthier countries like the UK and Canada, but Android has a much more international reach in general than the iPhone. Google Play also has some interesting promotional options for ebooks, such as offering the buyer a chance to subscribe to a specific series.
The cons are that some authors report that their sales reporting doesn't always consistently generate reports, and others are annoyed that it only generates a CSV file, (which isn't that much of a hardship for people who are familiar with Excel).
For myself, I found that there is a bit of a reporting lag on Google Play where it will sometimes take as long as five or six days for sales to show up on the dashboard, though usually it's only a delay of two days, though sometimes during the month you'll get these bigger lags and sometimes processing new material on the Google Play Store can be slow, and it can sometimes take two to three days for things to appear, though it usually gets worked out in the end.
Does Google Play have a subscription service? It does not, nor does it require exclusivity, which is another point in its favor. And the royalties, the data is quite nice here. It is 70% for all price points in the countries listed on their support page, which only excludes a handful of countries like India, South Korea, and Japan (because of currency conversion regions or other local laws).
So those are the ebook publishing platforms that I currently use, and because I use them myself, I would recommend them. Hopefully that is helpful to you as you are looking for places to self-publish your book as you set out to become an indie author.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at the movies and streaming shows I watched in Winter and Spring 2025.
This week's coupon code will get you 25% off the ebook versions of my anthologies at my Payhip store:
JUNE25
The coupon code is valid through June 17, 2025. So if you need a new ebook this summer, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 252 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 23rd, 2025, and today we are looking at the movies and streaming shows I watched in Winter and Spring 2025. We missed doing an episode last week for the simple reason that the day before I wanted to record, we had a bad thunderstorm that knocked down large portions of my fence, so my recording time was instead spent on emergency fence repair. However, the situation is under control, so hopefully we'll be back to weekly episodes for the immediate future. And now before we get to our main topics, let's have Coupon of the Week and then a progress update on my current writing projects.
So first up, Coupon of the Week. This week's coupon code will get you 25% off the ebook version of all my short story anthologies at my Payhip store and that is JUNE25. As always, the coupon code and links will be available in the show notes. This coupon code is valid through June the 17th, 2025, so if you need a new ebook for this summer, we have got you covered.
And now an update on my current writing projects. Ghost in the Corruption is finished. It is publishing right now. In fact, I paused the publishing process to record this and so by the time this episode goes live, hopefully Ghost in the Corruption should be available at all ebook stores. My next main project now that Ghost in the Corruption is done will be Shield of Power and as of this recording I am 15,000 words into it. My secondary projects will be Stealth and Spells Online: Final Quest and I'm 97,000 words into that, so hopefully that will come out very shortly after Shield of Power and I'll also be starting Ghost in the Siege, the final book in the Ghost Armor series as another secondary project and I'm currently zero words into that. So that is where I'm at with my current writing projects.
In audiobook news, Ghost in the Assembly (as excellently narrated by Hollis McCarthy) is now out and should be available at all the usual audiobook stores so you can listen to that if you are traveling for the summer. Recording of Shield of Battle (as excellently narrated by Brad Wills) is underway soon. I believe he's starting it this week, so hopefully we will have another audiobook in the Shield War series for you before too much longer. So that's where I'm at with my current writing projects.
00:02:17 Main Topic: Winter/Spring 2025 Movie Roundup
And now let's move on, without any further ado, to our main topic. Summer is almost upon us, which means it's time for my Winter/Spring 2025 Movie Roundup. As usual, the movies and streaming shows are listed in order for my least favorite to my most favorite. The grades are based upon my own thoughts and opinions and are therefore wholly subjective.
With all of that said, let's get to the movies and our first entry is MacGruber, which came out in 2010 and in all honesty, this might be objectively the worst movie I have ever seen. The Saturday Night Live MacGruber sketches are a parody of the old MacGyver action show from the ‘80s. And so the movie is essentially the sketch stretched out to make a parody of an ‘80s action movie. It is aggressively dumb and crude. Its only redeeming feature is that the movie knows it's quite stupid and so leans into the stupidity hard. I'll say this in its favor, MacGruber has no pretensions that is a good movie and does not take itself seriously and then runs away hard with that fact. For that he gets a plus, but nothing else.
Overall grade: F+
Next up is Down Periscope, which came out in 1996. Now the fundamental question of any movie is the one Russell Crowe shouted at the audience in Gladiator: “Are you not entertained?” Sadly, I was not entertained with Down Periscope. This wanted to be a parody of Cold War era submarine thrillers like The Hunt for Red October, I say wanted because it didn't really succeed. Kelsey Grammer plays Lieutenant Commander Thomas Dodge, an unorthodox US Navy officer who wants command of his own nuclear sub, but he's alienated a few admirals, which is not traditionally a path to career advancement in the military. Dodge gets his chance in a Navy wargame where he has to command a diesel sub against nuclear subs. Sometimes parodies are so good that they become an example of the thing they are parodying (Hot Fuzz and Star Trek: Lower Decks are excellent examples of this phenomenon). The trouble is that the movie takes itself too seriously and just isn't all that funny. A few funny bits, true, but not enough of them. In the end, this was dumb funny but didn't resonate with me the way other dumb funny movies like Dodgeball and Tropic Thunder did.
Overall grade: D
Next up is Deadpool and Wolverine, which came out in 2024. Unlike Down Periscope, I was entertained with this movie, though both movies reside on the dumb funny spectrum. Deadpool and Wolverine is basically one long meta in-joke/love letter for the last 30 years of superhero movies. If you've seen enough of those movies, you'll find those movies funny, if occasionally rather tasteless. If you haven't seen enough of those movies, Deadpool and Wolverine will just be incomprehensible. The plot is that Wade Wilson AKA Deadpool gets pulled into some Marvel style multiverse nonsense. To save his universe from destruction, he needs to recruit a Wolverine since in his universe, Wolverine died heroically.
In the process, Deadpool stumbles across the worst Wolverine in the multiverse. Together they have to overcome their mutual dislike and attempt to save Deadpool’s universe from destruction at the hands of a rogue branch of the Time Variance Authority. This means the movie can bring in a lot of cameos from past Marvel films. Hugh Jackman's performance really carries the movie on its back. Like I said, this movie is essentially one very long Marvel in-joke. I thought it was funny. I definitely think it can't stand on its own without having seen a sufficient number of the other Marvel movies.
Overall grade: C
Our next movie is the Ministry of Ungentlemanly Warfare, which came out in 2024. This is very loosely (with an emphasis on “very”) based on Operation Postmaster during World War II, when British Special Forces seized some Italian ships that had been supplying parts for German U-boats. It was entertaining to watch but it couldn't quite make up its mind tonally if it was a war thriller or a heist movie about Western desperados recruited into a crew.
It kind of tried to do both at the same time, which killed the momentum. Like, the first parts of the movie where the protagonists take out a Nazi patrol boat and then free a prisoner from a base were good thriller stuff, but then the plot fused with the heist stuff and really slowed down through the middle forty percent or so. It was also oddly stylized with a lot of spaghetti western-style music that seemed out of place and some stuff just didn't make sense, like at the end after pulling off the mission, the protagonists were all arrested. That just seems bizarre since if anything, Winston Churchill and a lot of the British wartime leadership were enthusiastic about special operations and probably had too much confidence in the effectiveness of covert operations. So I did enjoy watching this, but I can see why it didn't make a lot of money at the box office.
Overall Grade: C
Next up is The Gorge, which came out in 2025. This was a peculiar mix of science fiction, romance, and horror. For the romance part, perhaps shooting zombies together is a good idea for a first date. Before I dig into the movie, a brief rant. In one scene, a character is using a chainsaw with no protective gear whatsoever and she's not fighting zombies or anything in a situation where she has to pick up a chainsaw without preparing first. She's trimming branches to pass time. If you're using a chainsaw, at a minimum you want protective eyewear and headphones. Ideally you'd want chainsaw pants as well to reduce the chance of serious injury if you slip and swing the saw into your leg. Since I became a homeowner, I've used a chainsaw a number of times and believe me, you definitely want good eye and ear protection. This has been your public safety announcement for this movie review.
Anyway, loner former sniper Levi is approached by a high ranking intelligence officer giving him a mysterious job. He needs to guard a tower overlooking a mysterious mist-filled gorge for one year. On the other side of the gorge is another tower, guarded by an elite Lithuanian sniper named Drasa. Like Levi, Drasa has a fair bit of emotional damage and they're officially forbidden to communicate. However, they're both lonely and they soon start communicating over the gorge using telescopes and whiteboard messages. Eventually Levi gets emotionally close enough to Drasa to rig a zipline to cross the gorge and speak with her in person.
Unfortunately, it turns out the gorge is full of twisted creatures that storm out and attack and the job of the two snipers is to keep them contained. If Levi and Drasa want to save their lives, they'll need to unravel the dark secret within the gorge.
This movie was interesting and I enjoyed watching it, but it falls apart if you think about it too much (or at all). Like the chainsaw thing I ranted about above. The entire movie runs on that sort of logic. That said, I appreciate how the filmmakers were trying something new instead of something like Deadpool and Wolverine. Additionally, this was an Apple+ movie and it's interesting how Apple's approach to streaming is to just make a whole bunch of random stuff that's totally distinct, from Ted Lasso to Mythic Quest to Severance to The Gorge. It's like, “we have more money than most countries, so we're going to make Ted Lasso because we feel like it.” Then again, Apple+ is apparently losing a billion dollars every year, so maybe they'll eventually change their minds about that approach.
Overall Grade: B-
Next up is Click, which came out in 2006. Cross It's a Wonderful Life with A Christmas Carol and the comedic style of Adam Sandler and you end up with Click. Basically Sandler plays Michael Newman, a workaholic architect with a demanding boss and increasingly strained relationship with his wife and children due to his workload. In a fit of exasperation with his situation, he goes to Bed Bath and Beyond, where he encounters an eccentric employee named Morty (played entertainingly by Christopher Walken). Morty gives him a remote control that lets him fast forward through time, which Michael then uses to skip the boring and tedious parts of his life, but he overuses the remote and goes too far into the future and sees the disastrous results of his current life choices. Definitely a story used in A Christmas Carol and It's a Wonderful Life but effectively told and I was entertained (rather on the crude side, though).
Overall Grade: B-
Next up is Mr. Deeds, which came out in 2002. This was actually one of Adam Sandler's better movies, in my opinion. It was a remake of the ‘30s movie Mr. Deeds Goes To Town. In this new version, Sandler plays Longfellow Deeds, a popular pizzeria owner in a small New Hampshire town. Unbeknownst to Deeds, his uncle is the owner of a major media mega corporation and when he dies, Deeds is his legal heir. When the company's CEO and chief lawyer arrive at the pizzeria to inform him of this fact, Deeds goes to New York and soon finds himself involved in the CEO's sinister machinations. Yet he happens to rescue an attractive woman from a mugger, but there is more to her than meets the eye. The movie was funny and not as crude, well, not quite as crude as some of Sandler's other stuff. It had good story structure and several great lines, my favorite of which was “he was weak and cowardly and wore far too much cologne.”
Sandler's movies, in a strange way, are often very medieval. Like various medieval fables had a savvy peasant outwitting pompous lords, greedy merchants, and corrupt clergymen. The best Adam Sandler protagonist tends to be a good natured everyman who defeats the modern equivalent of medieval authority figures- evil CEOs, arrogant star athletes, sinister bureaucrats and so forth.
Overall Grade: B
Next up is House of David, which came out in 2025 and this is basically the story of King David from the Bible told in the format of an epic fantasy TV series. Like if someone wanted to do an epic fantasy series about Conan the Barbarian, it could follow the same stylistic format as this show. And of course Conan and David followed a similar path from adventurer to king.
Anyway, if one were to pick a part of the Bible from which to make a movie or TV series, the story of David would be an excellent choice because David's life was so dramatic that it would hardly require any embellishments in the adaptation. The story is in the Books of First and Second Samuel. King Saul is ruling over the Israelites around 1000 BC or so, but has grown arrogant. Consequently, God instructs the prophet Samuel to inform Saul that the kingdom will be taken away from him and given to another. God then dispatches Samuel to anoint David as the new king of Israel. David is a humble shepherd but then enters Saul's service and undertakes feats of daring, starting with defeating the giant Goliath and leading Saul's troops to victory and battle against Israel's numerous enemies. (The Iron Age Middle East was even less peaceful than it is now.) Eventually, Saul's paranoia and madness gets the best of him and he turns on David, who flees into exile. After Saul and his sons are killed in battle with the Philistines. David returns and becomes the acknowledged king after a short civil war with Saul's surviving sons and followers.
If Saul's fatal flaw was his arrogance of pride, David’s seems to have been women. While the story of David and Bathsheba is well known, David nonetheless had eight wives (most of them at the same time) and an unknown but undoubtedly large number of concubines. Naturally David's children from his various wives and concubines did not get along and David was almost deposed due to the conflicts between his children. Unlike Saul and later David's son Solomon, David was willing to repent when a prophet of God informed him of wrongdoing and to be fair to David, monogamy was generally not practiced among Early Iron Age Middle Eastern monarchies and dynastic struggles between brothers from different mothers to seize their father's kingdoms were quite common, but enough historical digression.
Back to the show, which covered David's life up to the death of Goliath. I thought it was quite well done. Good performances, good cinematography, excellent battles, good set design and costuming, and a strong soundtrack. All the actors were good, but I really think the standout performances were Stephen Lang as Samuel, Ali Sulaman is King Saul, Ayelet Zurer as Saul's wife Queen Ahinoam, and Davood Ghadami as David’s jerkish (but exasperated and well-intentioned) eldest brother Eliab. Martyn Ford just looks extremely formidable as Goliath. You definitely believe no one in their right mind want to fight this guy.
Making fiction of any kind based on sacred religious texts is often tricky because no matter what you do, someone's going to get mad at you. The show has an extensive disclaimer at the beginning of each episode saying that it is fiction inspired by the Bible. That said, House of David doesn't really alter or deviate from the Biblical account, though it expands upon some things for the sake of storytelling. Queen Ahinoam is only mentioned once in the Bible as the wife of Saul, but she has an expanded role in the show and is shown as the one who essentially introduces Saul to the Witch of Endor. Goliath also gets backstory as one of the “Anakim,” a race of giants that lived in Canaan in ancient times, which is something that is only mentioned in passing in the Old Testament. Overall, I enjoyed the show and I hope it gets a second season.
What's interesting, from a larger perspective, is to see how the wheel of history keeps turning. In the 1950s and the 1960s, Biblical epics were a major film genre. The 10 Commandments and Ben Hur with Charlton Heston are probably the ones best remembered today. Eventually, the genre just sort of ran out of gas, much the way superhero movies were in vogue for about 20 years and began running out of steam around 2023 or so. Like, I enjoyed Thunderbolts (which we're going to talk about in a little bit), but it's not going to make a billion dollars the way Marvel stuff often did in the 2010s. The wheel just keeps turning and perhaps has come back around to the popularity of Biblical epics once more.
Overall Grade: A
Next up is Chef, which came out in 2014. I actually saw this back in 2021, but I watched it again recently to refresh my memory and here are my thoughts. I quite liked it. It's about a chef named Carl Casper, who's increasingly unhappy with his work after he gets fired over a Twitter war with a writer who criticized his cooking.
Carl is out of options and so he starts a food truck and has to both rediscover his love of cooking and reconnect with his ex-wife and 10-year-old son. In Storytelling: How to Write a Novel (my book about writing), I talked about different kinds of conflict. Carl's conflict is an excellent example of an entirely internal conflict. The critic is an external enemy, but he's basically the inciting incident.
Carl's real enemy is his own internal conflict about art versus commerce and a strained relationship with his son. I recommend the movie. It was rated R for bad language, but there's no nudity or explicit sexual content and honestly, if you've ever worked in a restaurant kitchen or a warehouse, you've heard much worse in terms of language. The movie also has an extremely valuable lesson: stay off social media when you're angry.
Overall Grade: A
Next up is Thunderbolts, which came out in 2025 and I thought this was pretty good, both very dark and yet with quite a lot of humor to balance the darkness.
Former assassin Yelena Belova has been working as a mercenary for the sinister director of the CIA, Valentina de Fontaine (now there's a villain name if there ever was one). Yelena has grown disillusioned with her life and career and is suffering from increasing depression since she never really dealt with the death of her sister. Valentina promises her one last job, only for Yelena to realize that Valentina decided to dispose of all her freelance contractors at once, which includes US Agent and Ghost (previously seen in The Falcon and the Winter Soldier and Antman and the Wasp). In the process of escaping Valentina's trap, Yelena stumbles across a mysterious man who identifies himself as Bob, who has no memory of how he got there, but shows increasingly unusual abilities. Yelena wants to deal with Valentina's betrayal, but it turns out one of Valentina's science projects has gotten out of control and is threatening the world.
The movie was well constructed enough that it didn't rely too heavily on previous Marvel continuity. It was there, but you probably wouldn't be lost without it. It almost feels like Marvel looked at the stuff they did the last couple of years and said, okay, a lot of this didn't work, but makes great raw material for new things. It helped that the central conflict was in the end, very human and about the characters, not stopping a generic villain from getting a generic doomsday device.
Overall Grade: A
Next up is The Hound of the Baskervilles, which came out in 1988. This is a movie length episode of The Return of Sherlock Holmes television series, which had Jeremy Brett as Sherlock Holmes and Edward Hardwicke as Dr. Watson. The plot deals with Sir Henry Baskerville, the American heir to an English manor set in the Windswept moors of Dartmoor. Apparently there's an ancestral curse laid over the Baskerville estate that manifests in the form of a spectral hound.
Local rumors hold that the previous holder of the manor, Sir Charles Baskerville, was killed by the ghostly hound and many of the local people fear it. The local physician, Dr. Mortimer, is so worried about the hound that he comes to Sherlock Holmes for help. Holmes, of course, is skeptical of any supernatural explanation and soon becomes worried that an extremely subtle and sinister murderer is stalking Sir Henry.
Jeremy Brett's version of Holmes is, in my opinion, the best portrayal of the character and Edward Hardwicke's version of Watson is a calm, reliable man of action who sensibly takes a very large revolver with him when going into danger. Definitely worth watching,
Overall grade: A
Next up is Sonic the Hedgehog 3, which came out in 2024. The 2020s have been a downer of a decade in many ways, but on the plus side, between Super Mario Brothers and Sonic the Hedgehog, people have finally figured out how to make good video game movies, so we’ve got that going for us.
Sonic 3 was an excellent kids movie, as were the first two in the trilogy. In this one Sonic is living with Knuckles and Tails under the care of their human friends Tom and Maddy, but then a dark secret emerges. The government has been keeping a Superpowered hedgehog named Shadow in stasis and Shadow has broken out. It's up to Sonic, Knuckles, and Tails to save the day.
Meanwhile, Dr. Robotnik is in a funk after his defeat at Sonic's hands in the last movie, but then his long lost grandfather, Gerald Robotnik returns seeking the younger Dr. Robotnik’s help in his own sinister plans. Keanu Reeves was great as Shadow (think John Wick if he was a superpowered space hedgehog in a kid's movie). Jim Carrey famously said he would retire from acting unless a golden script came along and apparently that golden script was playing Dr. Ivo Robotnik and his evil grandfather Gerald. To be fair, both the Robotniks were hilarious.
It is amusing that Sonic only exists because in the 1990s, Sega wanted a flagship video game character that won't get them sued by either Nintendo or Disney. It is also amusing that the overall message of the Sonic movies seems to be not to trust the government.
Overall Grade: A
Next up is Paddington in Peru, which came out in 2024. This is also an excellent kids’ movie. In this installment, Paddington has settled into London with the Brown family and officially become a UK citizen. However, he receives a letter from Peru that his Aunt Lucy has mysteriously disappeared into the jungle. Distraught, Paddington and the Browns set off for Peru at once. Adventures ensue involving mysterious lost treasure, a crazy boat captain, and an order of singing nuns who might not quite be what they appear. Anyway, it’s a good kids’ movie. I think Paddington 2 was only slightly better because Hugh Grant as the chief villain, crazy actor Phoenix Buchanan, was one of those lightning in the bottle things like Heath Ledger as the Joker in the Dark Knight.
Overall Grade: A
Now for the two best things I saw in Winter/Spring 2025. The first of them is Andor Season Two, which came out in 2025. Star Wars kind of has an age range the way Marvel stuff does now. What do I mean by that? In the Marvel comics and some of the TV series like Jessica Jones, they get into some really dark and heavy stuff, very mature themes. The MCU movies can have some darkness to them, but not as much because they're aiming at sort of escapist adventures for the general audience. Then there are kid shows like Spidey and Friends that a relative of mine just loved when he was three. You wouldn't at all feel comfortable showing a 3-year-old Dr. Strange in the Multiverse of Madness, but Spidey and Friends is just fine.
Star Wars now kind of has that age range to its stuff and there's nothing wrong with that. Sometimes you want to see a dark meditation upon human nature. Sometimes you need something kid friendly to occupy the kids you’re babysitting and sometimes you just want to relax and watch Mando and Baby Yoda mow down some space pirates or something. All that said, Andor Season Two is some of the darkest and the best stuff that Star Wars has ever done. It successfully shifts genres from Escapist Pulp Space Fantasy to a gritty Political/Espionage Thriller. We in the audience know that the emperor is a Sith Lord who can use Evil Space Magic and wants to make himself immortal, but that fact is totally irrelevant to the characters. Even though some of the characters are high ranking in their respective organizations, this is essentially a “ground's eye” view of the Rebellion and life under the Empire.
In some ways, this is like Star Wars’ version of Wolf Hall (which we're going to talk about shortly), in that we know how it ends already, but the dramatic tension comes from the harrowing emotional journey the characters undertake on the way to their inevitable destinations. Cassian Andor is now working for the nascent Rebellion under the direction of ruthless spymaster Luthen Rael. Mon Mothma is in the Imperial Senate, covertly funneling money to the Rebellion and realizing just how much the Rebellion will require of her before the end. Syril Karn, the ineffective corporate cop from Season One, has fallen in love with the ruthless secret police supervisor Dedra Meero, but he's unaware that Director Krennic has ordered Meero to manufacture a false flag incident on the planet Gorman so the planet can be strip-mined for resources to build the Death Star and Dedra has decided to use Syril to help accomplish it.
All the actors do amazing jobs with their roles. Seriously, this series as actors really should get at least one Emmy. Speaking of Director Krennic, Ben Mendelson returns as Orson Krennic, who is one of my favorite least favorite characters, if you get my drift. Krennic is the oily, treacherous middle manager we've all had to deal with or work for at some point in our lives, and Mendelson plays him excellently. He's a great villain, the sort who is ruthless to his underlings and thinks he can manipulate his superiors right up until Darth Vader starts telekinetically choking him. By contrast, the villain Major Partagaz (played by Anton Lesser) is the middle manager we wish we all had - stern but entirely fair, reasonable, and prizes efficiency and good work while despising office drama. Unfortunately, he works for the Empire’s secret police, so all those good qualities are in the service of evil and therefore come to naught.
Finally, Episode Eight is one of the most astonishing episodes of TV I've ever seen. It successfully captures the horror of an episode of mass violence and simultaneously has several character arcs reach their tumultuous climax and manages to be shockingly graphic without showing in a lot of actual blood. Andor was originally supposed to be five seasons, but then Peak Streaming collapsed, and so the remaining four seasons were compressed down to one. I think that was actually to the show's benefit because it generates some amazing tension and there's not a wasted moment.
Overall Grade: A+
Now for the second of my two favorite things I saw, and that would be Wolf Hall: The Mirror and the Light, which came out in 2024, but I actually saw it in 2025. This is a dramatization of Hilary Mantel's Wolf Hall novels about the rise and fall of Thomas Cromwell, who is King Henry VIII's chief lieutenant during the key years of the English Reformation.
The first series came out in 2015, but the nine year gap between this and between the second series and the first series actually works quite well since Thomas Cromwell looks like he ages nine years in a single year (which may be what actually happened given how stressful working for someone like Henry VIII must have been). Anyway, in The Mirror and the Light, Cromwell has successfully arranged the downfall and execution of Anne Boleyn, Henry's previous queen. Though Cromwell is haunted by his actions, Henry still needs a queen to give him a male heir, so he marries Jane Seymour. Cromwell must navigate the deadly politics of the Tudor Court while trying to push his Protestant views of religion, serve his capricious master Henry, fend off rivals for the King's favor, and keep his own head attached to his shoulders in the process. Since Cromwell's mental state is deteriorating due to guilt over Anne's death and the downfall of his former master Cardinal Wolsey and Henry's a fickle and dangerous master at the best of times, this is an enterprise that is doomed to fail.
Of course, if you're at all familiar with the history of Henry's reign and the English reformation, you know that Cromwell's story does not have a happy ending. Rather, Wolf Hall is a tragedy about a talented man who didn't walk away from his power until it was too late and he was trapped. Anyway, in my opinion, Wolf Hall: The Mirror and the Light was just excellent. All the performances were superb. Mark Rylance is great as Cromwell and has some excellent “WTF/I'm SO screwed” expressions as Cromwell’s situation grows worse and worse. Bernard Hill played the Duke of Norfolk in the first series, but sadly died before Series Two, so Timothy Spall steps in and he does an excellent job of channeling Hill’s portrayal of the Duke as an ambitious, crude-humored thug.
Damien Lewis is amazing as Henry VIII and his performance captures Henry's mixture of charisma, extreme vindictiveness, and astonishing self-absorption. The real Henry was known for being extremely charming even to the end of his life, but the charm was mixed with a volcanic temper that worsened as Henry aged and may have been exacerbated by a severe head injury. Lewis's performance can shift from that charm to the deadly fury in a heartbeat. The show rather cleverly portrays Henry's growing obesity and deteriorating health by having Lewis wear a lot of big puffy coats and limp with an impressively regal walking stick.
Overall, I would say this and Andor were the best thing I saw in Winter/Spring 2025. I wouldn't say that Wolf Hall: The Mirror and the Light is an accurate historical reputation. In real life, Cromwell was rather more thuggish and grasping (though far more competent than his rivals and his master) and of necessity the plot simplifies historical events, but it's just a superb historical drama.
Overall Grade: A+
As a final note, I should say that of all the 2024 and 2025 movies mentioned here, the only one that actually saw in the theater was Thunderbolts, and I hadn't actually planned to see it in theaters, but a family member unexpectedly bought tickets for it, so I went along. Which I suppose is the movie industry's biggest problem right now. The home viewing experience is often vastly superior to going to the theater. The theater has the big screen and snacks, but at home you can have a pretty nice setup and you can pause whatever you want, go to the bathroom, and you can get snacks for much more cheaply. That's just much more comfortable than the movie theater.
Additionally, going to the theater has the same serious problem as booking a flight in that you're an enclosed space with complete strangers for several hours, which means you're potentially in a trust fall with idiots. All it takes is one person behaving badly or trying to bring their fake service dog to ruin or even cancel a flight, and the theater experience has much of the same problem, especially since the standards for acceptable public behavior have dropped so much from a combination of widespread smartphone adoption and COVID.
The difference between the movie industry and the airline industry is that if you absolutely have to get from New York to Los Angeles in a single day, you have no choice but to book a flight and hope for the best. But if you want to see a movie and are willing to exercise some patience, you just have to wait a few months for it to turn up on streaming. I'm not sure how the movie industry can battle that, but sadly, it is much easier to identify problems than to solve them.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe, stay healthy, and see you all next week.
In this week's episode, we take a look at four different ebook formatting tools for indie authors. We also discuss the phenomenon of Star Wars day.
This coupon code will get you 25% off the ebook of Malison: The Complete Series at my Payhip store:
MALISON25
The coupon code is valid through June 3, 2025. So if you need a new book for spring, we’ve got you covered!
TRANSCRIPT
00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 251 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 9, 2025, and today we are looking at ebook formatting tools. Before we get into our main topic, we'll have Coupon of the Week, a progress update at my current writing and audiobook projects, and then Question of the Week. We'll also close out the show with a preview of my new audiobook Ghost in the Assembly (as excellently narrated by Hollis McCarthy).
This week's coupon code will get you 25% off the ebook of Malison: The Complete Series at my Payhip store, and that is MALISON25. As always, we'll have the coupon code and the links in the show notes for this episode. This coupon code is valid through June the 3, 2025. So if you need a new ebook for spring, we have got you covered.
Now here's where I'm at with my current writing projects. I am 87,000 words into Ghost in the Corruption and I’m hoping to hit 90,000 words by the end of today. So if all goes well, I will finish it up later this week and then begin editing. I am also 9,000 words into what my next project will be, which is Shield of Power, the final book in The Shield War series. I'm also 91,000 words into Stealth and Spells Online: Final Quest, and that will be my main project after Shield of Power is finished. So my writing goals for the next couple months will be Ghost in the Corruption, Shield of Power, Stealth and Spells Online: Final Quest, and then the final book in The Ghost Armor series (the title of which I should really decide since I'm getting close to being finished with the fifth book).
In audiobook news, recording of Ghost in the Assembly (as excellently narrated by Hollis McCarthy) is finished. That should be turning up on all the various audiobook stores before too much longer. Shield of Deception (as excellently narrated by Brad Wills) is finished and available at all the audio stores: Audible, Apple, Google Play, Spotify, Chirp, and all the others. You can get that right now. Brad should be starting a recording of Shield of Battle sometime in the second half of May, if all goes well. So that is where I'm at with my current writing projects.
00:02:09 Question of the Week
And now let's move on to Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question: what is your favorite Star Wars? The inspiration for this question is the fact that May the Fourth has become Star Wars Day (in a very tongue in cheek manner). And as you might expect, we had a variety of responses to this question.
Justin says: I have not seen any Star Wars TV series, but your other choices are mine as well. I have the Trawn Trilogy in the box set and got a PC joystick just for playing TIE Fighter again.
Jonathan D. says: Empire Strikes Back is still the best film. I cannot get into the Disney canon after they destroyed the Expanded Universe. I watched The Force Awakens and that killed any interest in watching Disney Star Wars for me. Books is either Heir to the Empire Trilogy or the Darth Bain trilogy. A well done film adaptation of the Darth Bain books would be the only thing that would make me want to watch any new films. Video games would have to be Knight of the Old Republic 1 or 2, with Jedi Academy coming in third. The original Battlefront games were also great.
John Paul says: Loved the Mandalorian and the Book of Boba Fett, especially when they had the characters from each other's show guest starring in them. I saw somewhere they aren’t making another series, but [there] was talk about a TV movie to finish it off, but [they are] now showing Series 4 on IBMD with no date. I grew up with the original trilogy though some of the later films are good, especially the special effects, though Jar Jar Binks spoiled the first three movies. Maybe they should reedit the character out since Lucas has spent some money on adding new effects to the trilogy to bring in line with the new movies. Skeleton Crew made me think of the movie Flight of the Navigator with Star Wars added, so I enjoyed that even though it's mainly for kids. I have fond memories of Space Invaders with the sidekick from the original Fall Guy TV show. Again, made for kids though adults can enjoy if they watch tongue in cheek.
Andrew says: There are only three Star Wars movies, of which Empire Strikes Back is my favorite. I really enjoyed Mandalorian Season One. Now Star Wars is dead to me, except for lightsaber battle videos. I really like the Princess Bride Battles. I played TIE Fighter, Dark Forces, and Knights of the Old Republic.
Tom says: Favorite film, Rogue One. With you on Mandalorian Season Two as favorite TV show. Favorite game, Rogue Squadron.
Tracy says: My favorite was Return of the Jedi.
Jenny says: Thrawn Trilogy for sure! Dark Forces was my very first computer game, so it's always going to hold a special place in my heart.
William says: The unofficial remasters of the original trilogy from preserved reels are a godsend.
MG says: Knights of the Old Republic was quite good and Knights of the Old Republic 2.
John K. says: I'm a grim dark sort of guy. Really liked Rogue One but it’s slightly edged out by the original Episode IV. I absolutely love Andor but honestly, have not hated anything.
Enjoyed them all. I was a nut for the original X-Wing game. Got good enough to one shot TIE Fighters with one quad shot and rarely missed and learned how to solo Star Destroyers pretty easily, though it would take forever.
Having played the game that John K. is talking about, I can agree with him that you could take down Star Destroyers in your X-Wing if you knew what you were doing, but it really would take forever.
Dave says: Book wise, I really enjoyed the Thrawn books by Timothy Zahn, also the X-Wing series by Michael A. Stackpole was a personal favorite.
And finally Michael says: I agree on Empire Strikes Back though as a kid, I disliked the lack of upbeat movie. Also really liked the Solo movie. I confess I found the Thrawn books underwhelming, though the original Star Wars novelization is pretty good. And finally, I got to agree on TIE Fighter, such great game. Also, I have a soft spot for Jedi Knight: Dark Forces 2.
For myself, I would have to break it down into four categories because Star Wars media covers so many different formats now. For favorite movie, I would say Empire Strikes Back, with Return of the Jedi as the runner up. For the favorite TV series, Season 2 of The Mandalorian. For my favorite book, The Thrawn Trilogy by Timothy Zahn, with Revenge of the Sith by Matthew Stover, Darth Plagueis by James Luceno, and The Darth Bane Trilogy by Drew Karpyshyn coming in as strong runners up. Seriously, if you’re listening to this podcast, you probably enjoy reading books, so these five are definitely worth your time.
For my favorite video games, I would say TIE Fighter, with Knights of the Old Republic as a very close runner-up. But TIE Fighter was definitely my favorite. In the game, you play as an Imperial pilot, and the designers had the clever idea of making the Empire sympathetic by having the player spend most of the missions hunting ruthless pirates, suppressing alien civil wars, and fighting renegade Imperial warlords who are trying to overthrow the Emperor. In the last two expansion packs for the game, the player is flying as Grand Admiral Thrawn’s elite pilot against the renegade Grand Admiral Zaarin, and finally defeating Zaarin after like forty missions was VERY satisfying.
So those are my favorite Star Wars media items. As we can see. there is quite a range of opinion in the answer to that question.
00:06:54 Main Topic: Ebook Formatting Tools
Now let's move on to our main topic, which is ebook formatting tools. And this is an important thing for indie authors to discuss because if you do want to self-publish your books, it is one of those foundational skills you have to master. You need to know what kind of file format the platforms you're publishing to you take and how to produce it. Now this is something you can hire out but you really, really shouldn't in my opinion, especially because some ebook formatting services charge as much as $2,000 to turn a Word document into files ready to upload for ebook stores.
Considering that it is something you can easily do yourself with free tools and a little bit of practice, spending any amount of money on it is probably a waste. I mean, there's a difference between the kind of intricate formatting you would need for say, a full color medical textbook with illustrations and a 60,000 word romance novel. Fortunately, all the major software programs are nowhere near as expensive as $2,000 a book and don't have as much of a learning curve as you might expect. Both video and written tutorials are plentiful for all of these options, making it easy to learn at your own pace. Today we're going to go over four software options for formatting ebooks and discuss their pros, cons, and the best uses for them. Although some of these products have word processing functionality and other features built in, today we'll focus on just the ebook formatting part of the software.
#1: The first option we will look at is Atticus. Atticus is from the same company that makes Publisher Rocket, which is a software program I've spoken of very favorably of on the show over the years. The company has made an effort to understand the needs of authors over the years and added new features to Publisher Rocket consistently as time went on. The company Kindlepreneur has also made significant enhancements to Atticus since it launched. As of the time of this recording, it is a one-time purchase option that has free ongoing updates and the current cost is $147 (in United States dollars). Expensive, but the founder of the company Dave Chesson has said frequently he doesn't like software subscriptions. So hopefully this will continue to be a one-time fee and not become a subscription thing.
So here are the pros to using Atticus. It is less expensive than Vellum and has the same features. It works on operating systems other than Mac. In theory, since it has a web client, it can work on any platform. Reviewers say it is very pleasant to use and those who want a lot of customization options are generally happy with it and it has a nice tool for creating and reusing the template for things like author bios or link pages.
The con is that it does require an Internet connection to use and you have to have a computer connected to the Internet. Some people also prefer not to have their work stored in the cloud like Atticus does. Some users report slowness while opening or closing or when saving a file, especially if it's a book with a high word account. Because of the online requirement, there can be issues related to syncing. It does not support .mobi as a file export option. However, that's not a big deal anymore because Amazon is officially phasing out the .mobi file extension and is requiring people to use .epub. So this is not a major point and it's only for people who have a customer base with very old e-readers that can't handle .epub.
And finally, Atticus does not offer a free trial period if you just want to try it out, but does offer a refund within the first 30 days if you try it and decide that you don't like it. So what users would find Atticus the best? It's probably best for PC or Linux users who don't want a Mac and also want to have lots of fine control of your formatting or customizing your layout. Atticus is also heavily built around collaboration, where different people can work on the same file. So if you do work with a team (and many indie authors do) or are co-writing a book, then Atticus might be a good tool for you to use.
#2: The second program we're going to look at is called Vellum. Vellum has been seen as the default option for ebook formatting for a lot of writers for a while now. As of the time of recording, there is a one-time purchase option that has free ongoing updates. The current cost is $199 for the ebook only version or $249 for the version that includes paperbacks. Vellum has gone on sale occasionally in the past, usually for Cyber Monday in November. The pros for Vellum are that many reviewers consider it the best option for ebook formatting and say it delivers professional results without too much work and a minimal learning curve. Vellum lets you try out the software for free, but you won't be able to export the files you're publishing until the software is purchased. Like Atticus, it offers a 30 day window for a refund.
Vellum is not cloud-based software and it can be used offline. So if you are, for instance, working on a laptop on the road with spotty internet connectivity, this can be a lifesaver. Now for the cons and the biggest con is a big one- that Vellum is Macintosh only. You need to have a Mac to use it and it is not currently available for Windows and Linux. The developers have said that presently they have no plans to port it to either Windows or Linux. It will also not work on iOS, so that means you can't run it on your iPad or your iPhone. You can in theory use it on a PC with a Mac OS virtual machine, but people have reported very mixed success with that. The other con is that it is the most expensive option. So the users this is best for I think would be if you already have a Mac or you are willing to buy a Mac for just one piece of software.
#3: The third software program we're going to look at is called Jutoh. Jutoh is a labor of love, mainly created by two people in the UK and has been around for a long, long time. As of the time of this recording, there is a one-time purchase option that costs $45 (US dollars) and a Plus version for $90 that supports some additional features. It currently offers a free trial that you can download and install, but functionality is limited in the trial version. The pros of Jutoh is that it works on Windows, Mac, and most versions of Linux. It is not cloud-based software/is local to your computer. It does not need a constant Internet connection to function. Reviewers frequently praised how responsive their customer support is and of the paid options we are discussing, it will be the least expensive of all of them.
The cons are the interface is a bit dated. It does kind of look like something from the early 2000s in terms of the buttons and where they are. Because of that, it can be more difficult for some users to use than Atticus or Vellum. It does not create PDFs or print ready files, so you would not be able to use it to format your files for print books, which is something both Atticus and Vellum offer. I think this is best used for users who want a less expensive option than Atticus or Vellum or a PC user who wants a non-cloud based option.
#4: The fourth and final program we're going to look at is called Kindle Create. And as of this recording, it is the only one of these four options that is free. It is a free download. This software is created and maintained by Amazon. The pro? It's free and you can use the .epubs it creates to upload your books onto other platforms. Just because you've made your ebook in Amazon Create, that doesn't mean you can't use the file for Barnes & Noble and Kobo and Apple and so forth. You can go ahead and do that. However, because it is free software, there are quite a few cons to it. The functionality is pretty limited and only a few fonts are available. It is not good with complex layouts and Amazon's own documentation recommends not using it for books with tables, footnotes, or complex text formatting.
The program doesn't handle edits well. There are people who write books in Vellum even though the developers don't exactly recommend that. And Atticus is designed to have books written in it. However, Kindle Create definitely cannot handle that very well. Windows and Mac are supported, but you can't install it on Linux. Kindle Create no longer supports .mobi as a file export option since Amazon is moving away from that option and most other vendors haven't used it ever. That is a minor point.
I think Kindle Create is best used by users who are just starting out and don't have much in the way of budget and have books that don't require a lot of complex formatting. Kindle Create is actually quite good for novels because novels in general don't have a lot of complex formatting and because it's free, it has a little bit of a steeper learning curve, but that can be advantageous as well.
So looking at those four options, what do I use and why? Well, for the first seven or so years I was self-publishing, I didn't use any of these. I used a program called Sigil, which is an .epub editor. And if Kindle Create has a high learning curve, Sigil’s is much higher because you're essentially editing the raw guts of the .epub file.
I was content using that for a number of years, but what I needed was a program that would make uploading print books and formatting print books much easier because at the time I was using Create Space and Create Space required a specialized Word template that was just an enormous headache to use. And the reason that many of the Frostborn books have exactly 24 chapters is because I had a template that worked really well with 24 chapters for print books and I wasn't going to mess that up by trying to add a chapter or have one fewer chapter. So for some of the Frostborn books, I made sure there were 24 chapters.
Obviously this was not a tenable situation for the print books, even though I was happy using Sigil for the eBooks. So I eventually heard good things about Vellum. In 2018 (I believe) I got a used Mac and installed Vellum and started using that for print books. I was much happier with that.
Because the books looked so good in print, I eventually switched over to using Vellum for formatting my ebooks as well and I've been using that ever since. So my main ebook format writing program (as of May 9, 2025) is Vellum and I have a Mac specifically for that purpose. However, I also has high praise to say about Jutoh. I got started using Jutoh because for a while, Smashwords required you to upload a book using a specialized Word format. They didn't accept .epubs for the longest time and formatting a book in that proper Word format for Smashwords was a large headache, I have to admit. I never managed to get it automated quite right. And I had frequent problems with Smashwords rejecting the Word document I uploaded and so forth.
Eventually, I discovered that Jutoh also had an export option for creating Smashwords-friendly Word documents. So I tried it out and that was just a godsend, I have to admit. It saved me so much time. So for about seven years as well, I used Jutoh for Smashwords formatting. However, in 2024 after Smashwords was acquired by Draft 2 Digital and the two companies became more and more merged, Smashwords changed and now accepts properly formatted .epubs. They don't do that specialized Word document thing anymore, which has made it much easier to upload files to Smashwords, I must say. But that also means that I've used Jutoh less and less in favor of Vellum because I no longer need those specially formatted Word documents. However, I do have nothing but positive things to say about Jutoh; it is a very good program. If you don't want to shell out the $249 for Vellum or if you don't have a Mac, I think Jutoh is an excellent option for you to use.
I have never actually used Atticus, but it's popular enough that I wanted to talk about it on this show. I do know a lot of people who have used it to good effect. Just bear in mind the pros and cons we mentioned. And as for Kindle Create, there's nothing wrong with it. I think it's good starting point, especially if you're just starting out and want to format your book without paying a lot of money or having to pay $2,000 to someone on the Internet to do it. I do think it's a good starting point, even though it's very basic and for your first couple of books, it would be good. But as you get more experienced and want to branch into things like print books, you'll probably want a program with greater functionality like Jutoh, Vellum, or Atticus. So myself, I use mostly Vellum (with Jutoh occasionally), and that is what I use for ebook formatting.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
00:19:53 Audiobook Excerpt
And now we'll close out the show with a short excerpt from Ghost In the Assembly, as narrated by Hollis McCarthy. [Remainder of podcast is audiobook except]
It's the 250th episode of The Pulp Writer Show! To celebrate this occasion, this episode takes a look at the expectations people have of a full-time writer's life and contrasts them with the reality.
This coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book #6 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store:
TALONS50
The coupon code is valid through May 27, 2025. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 250 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May 2, 2025, and today we're looking at what it is really like to be a full-time writer. This is also the 250th episode of the podcast, so thank you all for listening to the podcast over these last six years. Before I started recording, I totaled up the total length of previous podcast episodes and came to about 78 hours, give or take. That's like three days of continuous talking, which sounds less impressive when you realize it was recorded over the last six years.
Thank you all for listening and here's hoping you can stick around with the next 250 episodes. Before we get to our main topic, which is the expectations versus reality of being a full-time writer, we are going to do Coupon of the Week, a progress update my current writing projects, and then Question of the Week.
So let's kick off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Talons of the Sorcerer, Book Six in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That code is TALONS50. As always, you can get that coupon code and the links to my Payhip store in the show notes. This coupon code is valid through May 27th, 2025. So if you need a new audiobook for spring, we have got you covered.
Now an update on my current writing projects. I am 60,000 words into Ghost in the Corruption, which puts me on chapter 13 of 21, so I'm about two thirds of the way through. I think the rough draft will be between 90-100,000 words long, so hopefully I can have that out before the end of May, if all goes well.
I also just finished Chapter One of Shield of Power, which will be the final book of the Shield War series and that'll be my main project once Ghost in the Corruption is finished. I'm also 87,000 words into Stealth and Spells Online: The Final Quest, and that will be my main project once Shield of Power comes out. I expect Final Quest should come out pretty soon after Shield of Power just because I've been chipping away at it for so long and I'm getting close to the end.
In audiobook news, recording is almost done for Ghost in the Assembly and that'll be narrated by Hollis McCarthy. Recording is totally done for Shield of Deception (as narrated by Brad Wills) and that is working its way through processing at the various audiobook platforms, so hopefully we'll not be too much longer before we can get that to you.
00:02:26 Question of the Week
So that is where I'm at with my current writing projects. And now let's move on to Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what is your favorite Jonathan Moeller book? The reason for this question is that this is the 250th podcast episode, so it seems like a good topic for that particular milestone. And as you might expect, we had an array of different opinions.
Joachim says: You are kidding us! By the end of the week? How long did you think about your own answer? Let me mirror you: for my own answer, the question is a bit difficult because I spent money on all your books, which meant I thought all of them a good buy. So let me split my answer into male and female protagonists. The best female book was Ghost Exile: Omnibus One because it prompted me to continue with Ghost Exile and fill in the Ghost series later. The Ghosts Omnibus One and Ghost Exile: Omnibus One were my first two books from you. The best male book was the one with Jack March where Thunderbolt said, “males are ogling breasts which never existed”, especially as such AI generated videos are now all over the place on YouTube.
I have to admit that I first came up with the character of Thunderbolt back in early 2021 when I was working on Silent Order: Rust Hand (that was before the AI boom really took off), so she turned out to be a very prescient character for the AI era in a number of ways.
Joe B. says: That is a tough question as there are many contenders. I'm going to go with one that is a little different, Sevenfold Sword Online: Creation, but now known as Stealth and Spells Online: Creation.
Justin says: I nominate Soul of Swords, an excellent end to an excellent series.
Perry says: There can only be one! Demonsouled.
Paul says: For me, I think my favorite female protagonist book is Cloak Games: Truth Chain. Such a dramatic change to Nadia, sets up the series in her struggles with self and enemies so well.
Brad Wills (who as you know narrated the Frostborn, Dragonskull, Malison, and Shield War series for me) says: Does a three book arc count? Excalibur, The Dragon Knight, and The Shadow Prison made for a fantastic lead-up and finale of the Frostborn series.
Hollis McCarthy (who as you know, narrated the Ghosts and Cloak Mage audiobooks) says: Ghost in the Storm, when Caina and Kylon meet in the Battle for Marsis. Nonstop action, incredible chase scenes, and a great intro to their combative relationship.
Fred says: It's hard for me to say which book is my favorite. All your book series were all great.
Juana says: Frostborn: Excalibur with Ridmark. I happen to love stories about Excalibur, odd but true. Caina in Cloak and Ghost: Rebel Cell because Caina and Nadia are an incendiary team. So there!
Randy says: Frostborn: The Dragon Knight. This whole series is great, but that is one of the high points.
Dennis says: I couldn't name my favorite as I enjoy everything you write. I probably enjoyed the Frostborn series best at the time, but having bought and read every one of your books it's now impossible.
Kevin says: There's no way on earth that I could put one book above another, so I would've to take the coward’s way out and say Frostborn: The Gray Knight simply because it has a book that drew me to the worlds of Jonathan Moeller back in the spring of 2017, since which time I have bought 117 of his books, including a few omnibus editions, so a few more actual books, I suppose. I avidly read them all as they're published these days, except the Silent Order series (just doesn't grab me and pull me in like the others).
Jesse says: Cloak Games: Sky Hammer. Damaged Nadia at her best, epic action the whole way. And yeah, the chapter The Last Death of Nadia Moran was viscerally cinematic and probably the biggest emotional payoff you've written in my opinion, tied her entire journey together. In my head, I cast Castle-era Stana Katic as Nadia, and it worked better than I expected it might.
Morgan says: I can't narrow it down to just one. So top three in no particular order, Sevenfold Swords: Swordbearer, Dragontiarna: Gates, and Stealth and Spells Online: Leveling. That being said, I think Niara might be my favorite character of all your books I have read.
Jonathan T says: I too am torn though only between two books, Frostborn: The Eightfold Knife and Frostborn: The Shadow Prison.
[Side note/addition from The Transcriptionist: My vote is for Half-Elven Thief!]
So thank you everyone for the kind words about all those books. For my own answer, the question is a bit difficult because I've written them all, which meant I thought all of them were good idea at the time. I suppose the glib answer would be the one that made me the most money, which was Frostborn: The Iron Tower, but it really depends on the category, like my favorite heist book, my favorite mystery book, my favorite dungeon crawl, my favorite first in series. So I think I'll go for the most basic level of categorization and split it up by male and female protagonists.
My favorite book of mine with a female protagonist would probably be Cloak Games: Rebel Fist, since it's such a turning point for Nadia and starts the trajectory of the rest of her character arc. It's the first time she really has to save the day instead of just trying to save herself and shows that her brother Russell can also handle himself, which as you know, comes up again later. My favorite book of mine with a male protagonist would probably be Dragontiarna: Defenders, since it has the Battle of Shadow Crown Hill, which was one of my favorite sequences to write. Four different characters have plans and they all crash into each other at the same time, which was a lot of fun to write and set up, which was a real highlight for me in 2020 because as we all know, 2020 was a fun year.
00:07:35 Main Topic of the Week: Writing Full Time: Expectations Versus Reality
So that is it for Question of the Week. Now let's move on to our main topic this week, writing full-time: expectations versus reality (admittedly from the perspective of a self-published author). If you spent any time around the writing community on the Internet at all, you know that many people dream of becoming a full-time writer, and sometimes people think that the only way to be successful as a writer is to write full-time. There are many expectations that people have about what it means to be a full-time writer. Now that I've been a full-time indie writer for nearly nine years at this point, I can provide some lived perspective. In this episode, I will talk about five of those expectations that people have about full-time writing and the way those expectations might be skewed.
So before we get to those, I should mention how I actually became a full-time writer. In 2016 (which seems like a really long time ago now), the Frostborn series was doing really well, and at the time I was also working full time and I realized that summer I was going to have to move for family reasons. I wasn't very enthusiastic about the idea of moving at first, but I decided to embrace the idea and try to make the best of it. This would involve moving a considerable distance to a different state and all the different problems that entails. So I thought about it and I thought I could look for a new job, but any job I would be qualified for in the area I was moving to would make less money than I was actually making from writing part-time. So I thought, why not try and make a go of full-time writing and see what happens?
Since that was nine years ago, I think I can safely say it's worked out pretty well. And I will say that it's been a pretty good experience and I am very fortunate and very grateful and very blessed to have been able to do this because not everyone has the opportunity to pursue a full-time creative job like I have been able to for these last nine years. That said, while it has been pretty great, it comes with a lot of flexibility and I've gotten to write a lot of great books that many people have enjoyed, it's not always all wine and roses, so to speak, which is part of the reason why I wanted to do this episode to let people more in what the reality of being a full-time writer for this long has been like. So with that introduction out of the way, let's move on to our five expectations versus reality.
Expectation #1: Full-time authors make a lot of money. The reality is that even full-time authors generally don't make that much money. A survey from The Author’s Guild showed that the median amount that full-time authors make was just about $20,000, though full-time romance writers had a higher median income of about $37,000. Remember that this amount is before any health insurance costs, benefits, retirement contributions, and of course taxes that a traditional job might be able to provide or help with. In the United States, buying even fairly basic health insurance can easily be a thousand dollars per month for a family, and that doesn't include any costs related to deductibles, prescriptions, or additional dental or vision insurance. Authors are either on their own for healthcare in the US or have to rely on a spouse or partner’s healthcare coverage. In other words, you either have to pony up a lot of money to buy your own health insurance or you have to rely on your spouse or partner's healthcare coverage.
And at least in the US, taxes are also much higher on the self-employed. Uncle Sam really does not like the self-employed. If you are self-employed, it is in your best interest to essentially form a small corporation and work for yourself (though for details on how to do that, you should consult with an accountant licensed to practice in your region). Now all these costs can add up pretty quickly, and they make the amount of money that you'll earn from writing much less than you think based on raw earnings before taxes and all the other expenses we were talking about. You also have business expenses like cover design, site hosting, editors, narrators, advertising, et cetera, that take even more pieces out of those earnings. You can duck some of those, but not all of them.
So it boils down to that you have to make a significant amount of money as an author to make an actual living after taxes, healthcare costs, and business expenses are taken out of your earnings, which is one of the reasons that writing part-time as you have a full-time job is not the worst idea in the world and can in fact be a very good idea.
Expectation #2: My next book will make as much or more than the last one did. The reality is that your next book or series might not make you as much money as the previous ones did. In fact, you can reliably predict that most book series will have a certain amount of reader drop off as a series goes on, which is why these days I tend to want to keep my series under nine to ten books or so.
Budgeting based on your current income levels is not wise, especially with the current economic climate (which for a variety of reasons is very unpredictable) and with increased competition in the ebook market. Most authors have a peak at some point in their career. For example, Stephen King is still obviously making a great living as a writer putting out new books, but his new books don't sell nearly as well as the ones he put out in the ‘80s. J.K. Rowling’s novels for adults (she writes as Robert Galbraith the Cormoran Strike series) don't sell anywhere near the number of copies as her Harry Potter series did at its peak.
For myself, my peak years in terms of writing income were 2016 and 2017, and I've never quite been able to recapture that level. In fact, in 2024, I only did about two thirds of what I did in 2017 (my peak year), which can be a little nerve wracking as you watch those numbers move up and down. That is why it is important for a writer (like many other creatives like actors) to anticipate that they might only have a limited window of peak success and to save aggressively rather than living large on the amount you're earning in that peak era. And I am pleased to report that I was fortunate enough and sensible enough to do that, so that even if my income has varied from year to year (2017 onward), it hasn't been a crippling loss and I haven't been out in the street or lost the house or anything like that.
Expectation #3: You will be happier if you write full-time. The reality is that is not true for everyone. Some people actually do better creatively and emotionally with the time restrictions placed on them by having a full-time job. Many famous writers, including Trollope and Kafka, kept their full-time jobs. Even Tolkien was never a full-time writer. He was a professor of philology until he retired. That was interesting to me because personally, I haven't had much in terms of emotional trouble being a full-time writer. I've always kind of had the ability to hyperfocus on a task, and I've been doing that for almost nine years now, and it's worked out well for me.
I've since realized that is not true for many people. One of the things that demonstrated it to me, believe it or not, was insurance actuarial tables. One thing that I tried to do after I became a full-time writer was try and get disability insurance in case I had an accident or severe illness and could not write anymore. I learned that it's extremely difficult for full-time writers to get disability insurance due to their high rates of substance abuse and mental illness. I was astonished by this because I’ve never had problems with substance abuse or mental illness myself, but given the number of writers and other creatives I've known who have had those issues, perhaps that's not that surprising, but I was still baffled to learn that.
For example, in my area there are a number of tree management companies (because it's a heavily wooded area) and it's a lot easier for an arborist who works with a chainsaw all day to get disability insurance than it is for a writer, which is somewhat crazy to think about because as a writer, I'm mostly sitting in a chair all day pressing buttons on a keyboard while an arborist is climbing a tree or in a crane with a chainsaw, which is a much more physically dangerous thing. But because of the rates of substance abuse and mental illness among full-time writers, apparently it is very difficult for full-time writers to get disability insurance.
Some people struggle with the lack of structure and outward accountability that comes from being a full-time writer and find that actually decreases their productivity and leads them to fall into substance abuse or sink deeper into mental health problems. Very few people have the self-discipline and mental resilience required to be a full-time writer for years on end. And that's not me tooting my own horn so to speak, but apparently it is just the facts. Some writers even go back to full-time work just because they find it less stressful or better for their wellbeing. So I think this is an excellent example of having to know yourself and know what is best for you. For example, if you're a very extroverted person who enjoys talking to people at the office, becoming a full-time writer where you spend most of your time by yourself typing might not be the best for your long-term mental and physical health.
Expectation #4: Writing full-time will make me more productive. The reality is having more time does not necessarily mean that you'll be more productive. Writers are notorious for falling prey to time wasters, such as social media scrolling, research spirals, and writing adjacent activities (of which there is a whole series about on this podcast already). It does take a lot of a self-discipline, focus, and determination to be a full-time writer. If you are a full-time writer, especially a full-time indie writer, you also have to balance writing time with various administrative tasks, marketing and ads, social media, fan correspondence, and the various tasks involved in the self-publishing process. Writing is not the only thing that writers actually do, and the other tasks often make finding time for writing more difficult than you might expect. Even traditionally published writers still have to carve out time for administrative work and assisting with marketing and social media work.
As your writing career scales up, so does the behind the scenes workload. This is true in my case. Up until 2023, I basically did everything myself, but I did have COVID pretty badly for a while in 2023 and it just knocked out my energy for a while and I realized that I can't keep trying to do everything by myself. I basically had a choice, either cut some tasks or get some help. So I have some people now, some contractors who help me with things like listening to audiobook proofs (I used to do that all myself), doing the podcast transcript, and Excel record keeping (which I used to do myself). While that is an expense, I don't regret it because it really has taken a lot off my plate and freed up more time for writing, which of course is the entire point.
Expectation #5: I admit this one made me laugh. I will have more free time as a full-time writer. I can attest firsthand that that is not true. What you have as a full-time writer is flexibility. The reality is, although there is flexibility on the job, the hours can be more than for a full-time job. There's a joke that full-time writers can work any 12 hours they want every day.
Most indie authors are putting out far more than one book a year in order to make a full-time income, and that requires a fairly demanding pace that most people don't have the self-discipline to maintain as a lifestyle for years and years on end. The majority of full-time writers right now are either romance or erotica writers who are putting out at least a book a month, sometimes even more. As I mentioned in an earlier point in the show, the administrative task can take far more time than most people would imagine. They could, depending on the circumstances, be easily 40 hours a week on their own before you have time to do a single word of writing on the page. I found you really have to guard your writing time well and find ways to keep administrative tasks, distractions, and necessary tasks such as home maintenance or childcare separate from writing.
Anyone who has ever worked from home is familiar with how difficult that can be because home comes with a wide set of distractions. Granted, that's often fewer distractions than the office, but home can have its own set of distractions. I've mentioned before that you need a bit of tunnel vision to produce the quantity of writing I do month after month. I do keep to a pretty rigid schedule. I have daily word count goals I always try to meet and I use the Pomodoro Method to make sure that I'm prioritizing my writing time.
If you are self-employed and working for yourself, that means there are no allocated vacation or sick days and no paid sick leave in the writing world. Taking a couple of weeks off usually means anticipating a loss in income, such as a month without a book being released. Sometimes, especially in the case of illness, family emergencies, and so forth, that just can't be helped. However, the long vacations people imagine writers being able to take mean either a loss of income or a couple of weeks beforehand of working extra hours to make up for it. For example, Brandon Sanderson, who is probably the most famous fantasy author right now, still works and writes on his vacations and does extra work before leaving for a vacation (such as pre-recording videos).
So as you can see, most of the expectations people have about what it's like to write full-time come from the hope that it will change their productivity or make it easier to write. In reality, if you manage your time well, you can often meet all your writing goals even while working another full-time job. Some people are even more productive under the time pressure of only having an hour or so available to write each day. You don't have to wait until you are a full-time writer for your writing career to start. I wrote for decades and published for years before I was a full-time writer.
Frankly, the idea that you need to be a full-time writer in order to be taken seriously or make money exists only in your own mind. Whether you are a full-time writer or not, what matters is having the discipline to shut out distractions and write with absolute consistency regardless of the circumstances. Even writing 250 to 300 words every single day can add up very quickly, even if you don't do it in 15 minute bursts like Anthony Trollope did.
Finally, I suppose this makes it sound like I'm painting a very bleak picture here, but I'm not. As I said before, I'm very fortunate to be able to do what I do, and I'm very grateful to all my readers that I'm able to write full-time and even hire on contractors for narration and behind the scenes work. I appreciate and am very grateful to all the readers who have supported me by continuing to buy my work and access it through subscription services like Kindle Unlimited or Kobo Plus or library options like Libby and Hoopla.
So that is it for this week. I hope it provided some insight into what it's like to be a full-time writer. Thanks for listening to The Pulp Writer Show and all 250 episodes. I hope you found the show and all 250 episodes useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's special spring episode, I share samples from four of my audiobooks.
Each audiobook is the third book in its series!
1.) Dragonskull: Blade of the Elves, narrated by Brad Wills.
2.) Cloak of Ashes, narrated by Hollis McCarthy.
3.) Half-Orc Paladin, narrated by Leanne Woodward.
4.) Ghost in the Blood, narrated by Hollis McCarthy.
(The next one is technically the 2nd in its series, but it wasn't ready in time for the last Sampler Platter episode.)
5.) Stealth & Spells Online: Leveling, narrated by CJ McCallister.
This week's coupon code will get you 25% off the ebook of Cloak Mage: Omnibus Three at my Payhip store:
NADIAOMNI3
The coupon code is valid through May 18, 2025. So if you need a new book for spring, we’ve got you covered!
In this week's episode, I take a look at some of the dangers and difficulties of worldbuilding for writers, and look back at the last fourteen years of self-publishing.
This coupon code will get you 25% off the ebook of Cloak Mage: Omnibus Two at my Payhip store:
NADIAOMNI2
The coupon code is valid through May 11, 2025. So if you need a new book for spring, we’ve got you covered!
In this week's episode, we take a look at marketing for writers, and discuss how it can both benefit and hinder writers.
This coupon code will get you 50% off the audiobook of Dragonskull: Fury of the Barbarians, Book #5 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store:
BARBARIAN50
The coupon code is valid through May 2, 2025. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 247 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 11th, 2025, and today we are looking at marketing challenges for writers.
First, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Fury of the Barbarians, Book Five in the Dragonskull series (as excellent narrated by Brad Wills) at my Payhip store. That code is BARBARIAN50. We will have the coupon code in the show notes along with links to the store. This coupon code is valid through May 2, 2025, so if you need a new audiobook for spring, we've got you covered.
Now let's have an update on my current writing and audiobook projects. I am done with the rough draft of Shield of Battle and its accompanying short story, Raven’s Hunt. I am currently editing them and making good progress on that. The book should come out either right before or right after Easter, with right after being the more likely option the way it looks right now. I'm also 14,000 words into Ghost in the Corruption, which will be my main project once Shield of Battle comes out. Audio recording is still underway for Shield of Deception and Ghost in the Assembly. So more updates on that to come. So that's where I'm at with my current writing projects.
00:01:17 Question of the Week
And now let's take a look at Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what is the best TV show you started watching in 2025 (if any)? No wrong answers, obviously.
Justin says: Television shows? The TV in my house is used for video games and movies. It has been 18 years since I watched any TV shows.
Surabhi says: Nowadays the only non-Marvel series I watch are animes like Doraemon and Shinchan XD.
Perry says: I never watched a lot of TV but I do catch the odd European football or hockey game. That said, I'm enjoying The Wheel of Time.
Sam says: Clarkson's Farm. He might be a love him/hate him chap, but he certainly does make for entertaining shows. It also shows just how fickle the farming industry can be and shines a much needed light on the issues they face.
I would like to second Sam’s recommendation of Clarkson's Farm. It's definitely well worth watching if you have access to Amazon Prime.
Bonnie says: I'm totally out of the loop. Haven't really watched any TV since I binged Avengers and Star War when home with Covid in 2021. I read during downtime.
Andrew says: Tracker is okay. Matlock is good, well-written. I want to like Watson, but have given up. Dark Winds is excellent. 1923 got so dark, I quit. Landman started great, got worse when wife character entered the picture. Re-watching Lonesome Dove. Love it.
David says: The Blacklist.
Michael says: No particular series as I don't really watch much on TV, but a shout out to the Japanese NHK World Channel, which is essentially their international service in English available to watch live on their website, at least in my country or via their app. There's so much good content on there, really interesting documentaries, news features, Japanese shows, and of course the highlights of the Sumo tournaments.
Larry says: Starting The Outpost.
John says: My brother has recommended Wolf Hall. My most anticipated series is Andor. I think of what I watched this year thus far my guilty pleasure was Reacher, most emotional was 1923, most cerebral has been Severance, and funniest has been The Residence. No favorite standout yet.
Juana says: Tracker.
William says: Poker Face was enjoyable.
For myself, I think it would be Wolf Hall: The Mirror and the Light about the downfall of Thomas Cromwell in the court of Henry VIII. I'll have more to say about that later in my Winter/Spring 2025 Movie Roundup post in a few weeks.
00:03:29 Main Topic: Marketing
Now let's move on to our main topic, writing adjacent activities: marketing. This is part of my podcast series about what I call writing adjacent activities. What do I mean by this? I'm talking about the tasks that seem like they're part of the writing process but really belong in a different category. These tasks are important, don't get me wrong, but they can also be a pitfall if you spend too much time on them or don't use that time correctly.
In this series, we are focusing on a few of these tasks and how they can benefit or hinder your writing process, even though they seem like good uses of time and may in fact be beneficial. In this episode, we will talk about marketing. For the self-published author, it is an absolutely essential thing to do. Even traditionally published authors are becoming involved in their marketing or hiring marketing firms apart from their publishers to help with that work. Even important tasks can still take time away from the most important one, writing.
First, how does marketing work for writers in the first place? Even as traditional advertising and print media like newspapers and periodicals has all disappeared by 2025, there are still many, many ways to advertise a book. Here are some examples:
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Social media and I don't mean ads, I mean posting content about your book or engaging readers on social media about your book. It's become increasingly common in this age of a video-based social media like TikTok, YouTube Shorts, and Instagram Reels for authors to post short clips about them interacting with their book or doing things with their book and so forth. And that is, I think, a distinct category from ads.
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Ads of course are another type of marketing such as Amazon Ads, Facebook, BookBub, etc.
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An email newsletter where you send out an email to your newsletter subscribers when a book comes out
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Having an author website
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Group promotions where you work together with a group of authors to promote
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Doing interviews with podcasts, local media, etc. (though these days podcasts have essentially superseded local media)
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Sending out advanced reader copies
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Permafree/discounts
I should note that of everything on this list, I've done them all except for advanced reader copies, which I never really bothered to do because I write so fast that it seems to be kind of pointless at that point.
Now I got to admit that list seems overwhelming, but you're not going to do them all simultaneously. Most authors pick a few from the list and then focus on them, and then some of them take some work upfront like setting up your author website and then it's less work to maintain it and update it as you go along than it is to set it up to begin with.
For example, making many of my series starters permafree has been an extremely successful strategy for me. For an author who only has two books, that strategy would not be as effective, but if you have a series of nine books then that is a good idea.
So why is it beneficial to market your books? A couple years ago (and I've told this story before, but it bears repeating), I was at a Subway waiting in line to order lunch. The person in front of me was staring at the menu in great confusion. “Does this shop sell submarine sandwiches?”, she finally asked the sandwich artist. Even with 40,000 locations worldwide and millions of dollars in advertising each year, this person was completely unaware of Subway's offerings.
This moment made me realize that marketing must be constant even for big legacy brands like Subway or Coca-Cola because there is always someone out there who isn't familiar with what you have to offer them. If multi-billion dollar corporations like Coca-Cola and Subway have people who haven't heard of them, how much more [work is there for] indie authors like us? There is in my opinion, an erroneous sentiment that getting too involved in marketing as an author somehow cheapens your work, devalues your art, or means that you're not as committed to your art. That sentiment is frankly, in my opinion, self-destructive and keeping a lot of people from reaching new readers or keeping existing ones as new books come out.
Marketing is necessary and needs to be ongoing to work. It's important to remember that readers love new books and want to know more about them. Your goal is to just let them know what's available and how to find your work. You're not being annoying by creating an ad or sending out a newsletter when a new book drops. Even if you have loyal readers, it's likely only a very tiny percentage of them are obsessively checking ebook stores daily for your latest publications. Social media and newsletters in particular are effective ways to let people know when the latest content is ready or can help them get excited for an upcoming release. Just as importantly, good marketing can help you find people who are interested in your genre or read authors similar to you.
So marketing is a good thing and it is in fact necessary if you want to have a career as an indie author or sell books in any quantities. However, it can become a pitfall that takes time away from actually writing new books. So when can it be a pitfall? There are about five different ways it can become a hindrance to writing.
#1: The most obvious pitfall is that time spent working on marketing is time not spent on writing. Although marketing is an essential part of how writers make income, it's only going to go so far compared to creating new books. This is in fact a decision I've had to make many times where if there's only so many hours in the day, and if I have an hour and I have to choose an hour spent fiddling with ads to try and optimize them to sell old books or to focus on writing new books, very often I have decided to focus on writing new books. Or if I have ads that are underperforming, I just shut them off and don't think about them until I have a free moment when the current book is done because writing the latest book is where my attention and priority should be.
#2: The second pitfall is that spending too much time on social media or various forums like Reddit can also skew your perspective and give you an unreal view of the preferences of your readership. You'll likely only engage with a small percentage of your readers online. Just because they're reaching out to you or sharing their opinions online doesn't mean that their opinion matches the rest of your readership. An example of this is when Warner Brothers thought there was a massive demand for the Snyder Cut of the Justice League movie based on an online fan campaign and spent a very large amount of money for the recut of the movie, only for it to have a fairly modest audience that didn't recoup the cost. Later it came out that much of the Twitter campaign for the recut were bot accounts, people with multiple social media accounts, or people that ultimately pirated the movie instead of getting an HBO subscription to watch it when it finally became available on streaming.
The Internet is a very useful tool, but it's best to take it with a grain of salt and remember that that just because one person is saying something on the Internet doesn't mean there are ten or even a hundred silent people who share their views. As with the example with the Justice League movie, large businesses have run into that trouble where they assume just because a particular audience segment is very loud on social media, therefore it must be a large segment when in fact it turns out to be just a very loud minority that ultimately isn't going to have much buying power. So that is something to keep in mind when you examine [social media], that opinions expressed online may not necessarily reflect reality.
#3: There is also the temptation to get so lost in thinking of how a book will be marketed, that when you write it, you don't try to write a book that is authentic to you or your readers. Trying to piece together a book based on the latest tropes or sales trends will likely mean that by the time the book is ready, social media will have moved onto another one.
Writing to market is a form of marketing that sometimes works, but often results in something that feels formulaic or doesn't match your writing style. You can't always tell if the author hated the book when they were writing it, but sometimes you can. And it's sometimes very obvious to tell if an author wrote a book not because he or she enjoyed writing it but because they thought it would sell. And I think deep down, you really have to enjoy the genre you're writing in, which is why many frustrated mystery, fantasy, and science fiction authors saw how well romance doing and so decided to try writing romance only to deep down they didn't enjoy reading romance and so they didn't write a romance book that anyone would enjoy reading. So that is the potential risk of that temptation.
#4: Another pitfall is the urge to market your way out of a book that isn't connecting with readers. If a book doesn't meet reader expectations, no amount of marketing is going to significantly change that. Sometimes it's best to cut your losses with a book or series if it's not performing the way that you expect instead of throwing even more money marketing at it. I'm afraid I have a very recent example for my own life in the form of these Stealth and Spells Online series.
I think the problem with that series is I fundamentally misread what the LitRPG audience wants. Stealth and Spells Online is about a virtual reality game, but what the LitRPG audience really seems to want these days is either Portal Isekai or System Apocalypse Fantasy, which Stealth and Spells Online most definitely isn't. I told the narrator that I intended to write a LitRPG, but what I ended up with was a science fiction espionage thriller with LitRPG elements.
So that, as you might expect, has been very hard to market and very hard to turn a profit while marketing it. So what I decided to do was I originally planned for seven or eight books in the series, but I'm going to cut it down to three and wrap up the story in hopefully a satisfying way with book number three this summer. That is a lived experience example of a changing course when some marketing doesn't work.
#5: There can be a feeling that you're missing out if you're not trying a marketing strategy that worked for someone else, so you'll end up stretching yourself thin by trying everything, stretching your marketing time across social media, newsletters, video content, posting the spaces like Goodreads, assembling a launch team, sending out advanced reader copies, going on podcasts, doing interviews with local media, and doing guest blog posts simply is not sustainable.
There is a potential value in doing a short-term marketing sprint like that where you do all the things for a few days, but doing that all the time is not a good idea. As we mentioned earlier, it can take away time that should be spent writing. So really the best marketing course is to pick a few tactics that you enjoy and are comfortable using and then do those most of the time and save everything else for special occasions or if an opportunity comes up. For myself, I mostly focus on setting first in series permafree and doing various ad campaigns on Facebook, Amazon, and BookBub. I tend to stay away from TikTok and video marketing and some of the more time intensive things. I prefer things like permafree or various CPC ads where I can set it up and let it run and then check on it every few days to make sure it's working or not spending too much.
So how can you balance time spent on marketing with making progress with your writing? The best way to market your old books is to publish a new one. Algorithms on online stores like Amazon and all the others reward fresh books and readers have short memories, so taking years between series risks them forgetting you.
Finishing a series in a timely fashion is crucial now many readers, especially in Epic Fantasy (for a variety of reasons), will only start series that are already completed, having been burned by series that were left unfinished. Having a polished product should also precede your marketing efforts. If your cover looks bad, your money would be better spent on getting a professional looking cover instead of more Facebook ads. Taking the time to make a good cover and good ad copy for your ads is also important before you spend money on marketing.
For marketing, it will save you time and money to map out your goals for it each year just like you map out a set of goals for what you'll publish each year. Having a clear set of goals will keep you from trying every new thing that you hear about just because it worked for someone else. It's also wise to be honest with yourself about your strengths when considering how you spend your marketing time. If you hate TikTok, forcing yourself to make videos there isn't going to lead to compelling content that would make people want to buy your book. The authors who have had success with TikTok had that because they were able to genuinely connect with an audience there, not just because they threw a book trailer on the platform and hoped for the best. As with many writing adjacent activities, it is best to have a set block of time to work on marketing and to plan even the time spent checking ads and responding to social media comments so it doesn't take over your writing time.
Just like having a plan for each year with some larger goals is a good idea, having a daily or weekly set of goals for marketing can help keep you focused.
In conclusion, the true pitfall of any writing adjacent activity is they need to be kept adjacent to the actual production of new writing. All the tasks we covered in the series are important, but writing should always be the priority if you are a writer.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at professional development for writers, and examine both the benefits and the pitfalls.
We also take a look at my advertising results for March 2025.
This week's coupon code will get you 50% off the audiobook of Dragonskull: Curse of the Orcs, Book #4 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store:
ORCCURSE50
The coupon code is valid through April 25, 2025. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 246 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 4, 2025, and today we are looking at professional development for writers. Before we get to our main topic, we'll have Coupon of the Week, an update on my current writing and audiobook projects, Question of the Week, and then a look back at how my various ads performed for March 2025.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Curse of the Orcs, Book Four in the Dragonskull series (as excellently narrated by Brad Wills) at my Payhip store. That coupon code is ORCCURSE50. As always, you can find the coupon code and the links to my store in the show notes. This coupon code is valid through April 25th, 2025. So if you need a new audiobook for spring, we have got you covered.
Now for an update on my current writing projects. I'm very pleased to report that the rough draft of Shield of Battle is done, 102,800 words written in 22 days. That will be the second to last book in the Shield War series. If all goes well, I'm still hoping to have that out and edited and published before the end of the month. I'm now working on a currently untitled short story that newsletter subscribers will get for free in ebook form when Shield of Battle comes out. So this might be a great time to sign up for my new release newsletter. I am also 10,000 words into Ghost in the Corruption and that will be my main project after Shield of Battle is out.
Recording is still underway for Shield of Deception and Ghost in the Assembly. That is Brad Wills and Hollis McCarthy narrating, respectively. So I am looking forward to having those audiobooks out for you to listen to and then Shield the Battle and Ghost in the Corruption available for you to read, but I just have to get back to work on them.
00:01:48 Question of the Week
Now it's time for Question of the Week. Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what games (if any) are you currently playing? No wrong answers, including “I don't play video games”. The inspiration for this question was that the fact that Nintendo was having this big Switch 2 announcement on April 2, which is amusing to me personally on a meta level because people have been speculating wildly about a Switch successor for years. Baseless Switch 2 rumors have been a clickfarm industry for years. Probably Nintendo had to have it on April 2 so no one would think it was a really elaborate April Fool's Day joke.
Justin says: Online it would be World of Warcraft Classic. Otherwise, it is Conquest of the New World. Like me, my games are old and dated.
I can relate to Justin because I'm currently playing a game that was first made in 1994, but more on that later.
Sam says: Currently dancing between two games, my long-term love game, Final Fantasy 14 and Dragon Age: the Veilguard. The Veilguard was a massive disappointment for me, unfortunately, but it still has its reasonably okay points, but man, the developers dropped the ball in the worst way since Cyberpunk’s disastrous release.
That's interesting because I've actually encountered a couple different people who have played Dragon Age: Veilguard and they either love it or hate it. There is just no in-between. So that does seem to be the kind of game where you either love the thing or you just hate it.
Todd says: Enjoying No Man's Sky, waiting for Light No Fire. Continuing to grind World of Warcraft retail. Recently played the re-release of Half Life. Today, I also installed Lands of Lore, gotta love Patrick Stewart as King Richard!
I had forgotten that Patrick Stewart voiced King Richard back in the ‘90s in the Lands of Lore game. His most famous video game part (I think) is playing Emperor Uriel Septim in the Elder Scrolls IV: Oblivion.
JKM says: Monster Hunter Wilds and Star Citizen.
Jesse says: Been doing an on and off run on Enshrouded. The story hasn't hugely gripped me as yet, but the mechanics are fun if you like Breath of the Wilds-esque world exploration.
Michael says: I'm currently playing Star Traders: Frontiers, which is a 2D indie space trading/exploration/crew management game in a vaguely Dune-like setting. It has turn based squad combat in Darkest Dungeon style too. Originally a mobile game but mechanics are surprisingly deep. It's good fun.
Randy says: Wizardry Remaster. Ironic because I didn't play the original.
For myself, I am kind of alternating between three current games. I am playing the Master of Magic remake on the PC and I'm determined to finally beat a campaign at that. I am still playing Iratus: Lord of the Dead and drawing closer to the final level. And when I'm really tired and don't want to do anything else that requires a lot of brain power, I still fire up some Starfield and go really mess up the day of some procedurally generated space pirates.
So watch my website and Facebook for Question of the Week if you want to have your comment read on the show as well.
00:04:39 Ad Results for March 2025
Now let's look at how my ads for my books did in March 2025, which is interesting because I changed things up a fair bit for ads in March.
The reason I did this is because the economy isn't great and not likely to improve for several years. I saw someone arguing that all the policy decisions in the Covid era will have a 15 year economic hangover into which we're only five years, and I think that argument might have some merit to it. So because of that, I thought it might be prudent to move some older series into Kindle Unlimited. So I did that with the Demonsouled books and with Cloak Games, though not with Cloak Mage, which will remain wide as new books come out. I might do it with Silent Order as well, but I haven't decided. My thinking is that as people are looking to economize, subscription services will probably offer better value than direct book sales.
So let's see how we did. For Facebook ads, I did Cloak Games/Cloak Mage and The Ghosts. For Games/Cloak Mage, I got $4.14 back for every $1 spent, with 10% of the profit coming from the audiobooks. For The Ghosts, I got back $8.73 for every dollar spent, with 6% of the profit coming from the audiobooks. Obviously the total for The Ghosts might be inflated because of Ghosts in the Assembly, which did well. Thanks, everyone! Without Ghosts in the Assembly, The Ghosts still would've done $3.68 for every dollar spent, with 15% for the profit coming from the audiobooks. So still pretty good.
For Amazon ads, I mostly focused on Half-Elven Thief. Remember that for an Amazon ad to be successful, it needs to get a sale or a complete Kindle Unlimited read for every six to eight clicks. So for Half-Elven Thief, I got back $3.41 for every $1 spent, with a sale or a complete KU read for every 0.84 clicks, which is a really good result.
However, it was not all roses in Amazon ads because I gave up on advertising Stealth and Spells Online: Creation. I've realized I fundamentally misunderstood what readers in the LitRPG actually want. I'm still going to finish the series this summer with the final book. I am 75,000 words into it as of this recording, but I don't think I'm going to advertise the series anymore.
For Demonsouled, I did a combined Facebook/Amazon ads campaign and for a combined campaign like that, it's easiest just to track the return. So for Demonsouled, I got back $2.53 for every dollar spent on Facebook and Amazon ads. So that was pretty close to how it did in February.
I also did some BookBub ad campaigns for The Ghosts and Sevenfold Sword on Apple. For The Ghosts, we got back $9.24 for every dollar I spent and for Sevenfold Sword, I got back $6.76 back for every dollar spent. So those are some very good results.
Finally, I've begun experimenting with BookBub ads for Google Play. I tried out Sevenfold Sword first and for Sevenfold Sword on Google Play with BookBub ads, we got back $3.86 for every dollar. So that is a promising beginning and I might try more experiments with BookBub ads and Google Play in May. So a good month all in all. Thanks for reading, everyone. Hopefully I'll have more new books for you soon.
00:07:46 Main Topic: Professional Development
So our main topic this week will be part three of our series on writing adjacent activities, and that is professional development. As I mentioned on past episodes, I'm working on a new podcast series on what I call writing adjacent activities. What do I mean by this? I'm talking about the tasks that seem like they're a part of the writing process but really belong in a different category.
These tasks are important, but they can also be a pitfall if you spend too much time on them or don't use that time correctly. In this series, we'll focus on a few of these tasks and how they can benefit or hinder your writing process, even though they seem like good uses of time and may in fact be beneficial in proper amounts.
In this episode, we'll talk about professional development for writers. Those working in education, healthcare, or the corporate world will be very familiar with this concept. For those who aren't familiar with professional development, let's explain what it is. What is professional development and what is it for writers specifically? Professional development generally means gaining skills or knowledge that can help someone stay current in their field and grow in their work. In some fields like teaching or healthcare, professional development is required and must be done regularly.
Some examples of typical professional development tasks include learning a new programming language, attending conferences, and reading professional journals. Writers have many of these same opportunities. Ther are a slew of conferences, workshops, webinars, videos, courses, and books available for writers to hone their craft, pick up marketing skills, and learn the ever evolving technical skills needed to self-publish and have an online presence. Some of these options, especially conferences and retreats, can be very expensive and time consuming while others are free and quick to consume, such as blog posts or podcast episodes.
How can you benefit from professional development? There are five ways.
#1: You can learn information and techniques that can help you improve your writing. An example would be a workshop session presenting data on when readers typically give up when starting a new book, which can help you think about how your book is structured.
#2: You can learn about technology and software that can make your work more efficient or look more professional. An example of this would be tutorials on how to use formatting software to turn Word documents into a formatted ebook.
#3: In-person professional development can help you network with others in your field. For example, if one of your priorities is being added to group promotion, meeting other authors at a workshop or a conference could lead to more promising leads than just emailing people.
#4: You can keep up with the constant changes in the field and adjust your strategies and plans accordingly. For example, Amazon's policies for KDP change constantly, sometimes monthly, it feels like. Writing blogs and podcasts can often explain these changes in a practical way that's more efficient than trying to parse long legal documents yourself.
#5: Finally, and fifthly, some people find professional development motivational or it helps them to feel more excited about their work. An example is a phenomenon called the post conference high, when someone returns from a conference with a high level of excitement and a list of plans a mile long. It's easy to get bogged down in the day-to-day tasks of work and sometimes professional development can shake things up in a positive way.
So professional development can be a good thing, but there are ways it can hinder your writing process. So we'll look at four ways that professional development can get in the way of you actually sitting down and getting some writing done.
#1: One of the downsides of being a writer is that professional development must be self-funded or you must pursue your own scholarships or grants for it, which are pretty limited compared to professional development in other fields. It is quite easy to spend tens of thousands of dollars on it each year, so each opportunity must be carefully considered. It's important not to spend money without a clear plan for how to turn it into action and without researching less expensive (but still effective) options that might serve your purposes.
It's also important to look carefully to see if you can find lower cost options before registering for something. For example, instead of going to a weeklong residential bootcamp to learn WordPress, you could find a community education class or a LinkedIn Learning class (which many libraries provide to their patrons). Do you need a full course offered by another author or are you only interested in one portion of it and can learn that information from a YouTube channel? There is a lot of nonsense on the Internet of course, but one of the advantages of living in the modern era is that there is an abundance of good free information. You just have to find it.
My podcast transcriptionist has something that she likes to call the Two Buck Chuck Principle. It is named after the store brand of wine from Trader Joe's. That's way back when it was $2 a bottle, hence the popular nickname for it. Many people refuse to stray from this cheapest available option at the store because they find it meets their alcohol related needs and refuse to buy more expensive bottles.
The point of this principle is that like those Trader Joe's shoppers, my podcast transcriptionist will search for the free and low cost option for something first and then see what is missing from them that a more expensive option offers before buying the more expensive option. For example, if you're just starting out as a writer, you may be tempted to pay $3,000 or $4,000 for consulting sessions about advertising strategies because you read a convincing testimonial. Realistically, if you only have one or two books with only a handful of reviews and you're not willing to throw thousands of additional dollars on a professional style ad campaign, this would be severe overkill.
Applying the Two Buck Chuck Principle to this person's ad spending, it would make more sense to learn the basics first through webinars and blog posts on the topic. Something like Brian Cohen's Five Day Amazon Ad Challenge would teach the basics of using the interface and some strategies that keep a rookie from overspending or straying from their target audience. Once a writer has a few years of sales and several books in the same series, then perhaps it might be wise to progress to something more advanced and expensive, like hiring a consultant.
For most professional development, if you're paying money, you're either paying for being in a physical location or you're paying for the time someone else took to assemble and present the knowledge for you (in the case of a conference or workshop, both). For the latter, you can usually apply this Two Buck Chuck Principle by taking the time to assemble the knowledge yourself or find others who have through blogs, podcasts, and lower cost books. Someone like Joanna Penn or David Gaughran provides a wealth of sensible advice through these types of much lower cost options.
#2: Professional development, like many other writing adjacent activities, can give you the illusion of progress. Knowing about something and actually doing it are very different things. You have to have a specific plan for how you will implement your professional development. The sooner you start after completing your professional development activity, the more likely you are to benefit from it. Even five minutes a day working on it helps keep the knowledge fresh and gives you the confidence to continue.
#3: The number of available options for professional development can be paralyzing and it can be easy to feel like you have to do it all. The fear of missing out is a very real phenomenon, but it's necessary to combat it by being intentional with your time. Start by making your goals for the next year and then seeing what professional development you need to further those goals.
For example, if creating video content is not part of your goals for the year, then it doesn't make sense to watch webinars on creating Instagram Reels or TikTok videos, even if you feel like it might be useful or you have a fear of missing out on the information. Your professional development, your goals, and your output all need to be in harmony in order to progress as a writer.
I have talked before about how a certain degree of tunnel vision is necessary to write at the pace that I do. Because I want to publish frequently, I often ignore conference and workshop opportunities because travel actively hinders my main goal of getting down as many words as possible each day.
#4: Professional development can take up so much time that it keeps you from the priority of writers, which is actually writing. Like the other writing adjacent activities out there, they expand to the size you'll allow. Planning your professional development goals for the year when you've created your writing goals can help you be disciplined in choosing the activities that will serve you best and fit with the time you can give them.
For example, if your goal is to set up an author website in May, you can allocate a little block of time each day for that month to watching tutorials, reading instructions, checking out other author sites for inspiration, and testing out the software. You wouldn't want to attend a three week intensive writing retreat in May because that would likely derail your progress on your other goal.
So finally, what do I personally do for professional development? What has helped me? I think the biggest help I had in terms of writing advice was a book called Billion Dollar Outlines by David Farland. It's well worth reading and a good look at story structure and understanding story structure that I think would be very helpful if you're struggling to finish an outline and write a book.
Most of my professional development since then has been aimed towards the goal of trying to sell as many books as possible. So I took the Self-Publishing Formula course on advertising for Facebook, which was very helpful. I read a couple of different books on Facebook advertising, which was helpful. What was really helpful was a course on Photoshop I took in 2020 and 2021 that really increased my Photoshop skills and gave me the ability to do my own covers, which is very helpful because you often have to book a cover designer out well in advance. So that was very useful. And beyond that, I keep an eye on the various writing podcasts and Facebook groups. I don't really participate in the Facebook groups because that can be a huge time sink. Arguing with random people over the internet is not a productive use of time, but it is a good way to keep an eye on news within the indie author space and what people are doing and what trends you can expect to see. So that's what I do.
In short, professional development, like so many other writing adjacent activities, is a good thing that can hinder your progress if it's not done with intentionality and clear goals. As I said earlier in the podcast, your professional development, your goals, and your output all need to be harmonized in order to progress as a writer.
So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. And a quick note of thanks to my podcast transcriptionist for helping me to pull together the research for this episode. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at how research can both help and hinder writers, and offer tips for effective research for fiction.
This coupon code will get you 25% off DRAGONTIARNA: OMNIBUS ONE at my Payhip store:
DRAGONOMNI25
The coupon code is valid through April 14th, 2025. So if you need a new book to read for spring, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 245 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 28th, 2025, and today we are looking at some of the challenges of research for writers. Before we get into that, we'll do Coupon of the Week, an update my current writing and audiobook projects, and then Question of the Week.
First up, Coupon of the Week. This week's coupon code will get you 25% off the ebook of Dragontiarna: Omnibus One at my Payhip store, and that is DRAGONOMNI25. This coupon code will be valid through April the 14th, 2025. So if you need a new ebook to read for spring, we have got you covered.
Let's have an update on my current writing projects. I'm currently 70,000 words into Shield of Battle, which I believe will put me on chapter 16 of 24, so I'm about two thirds of the way through the rough draft. I'm still hoping to have it out towards the end of April, if all goes well. I am 7,000 words into Ghost in the Corruption, which will be the sequel to Ghost in the Assembly, and hopefully that will be out sometime after Shield of Battle.
In audiobook news, recording is underway for both Shield of Deception and Ghost in the Assembly. Brad Wills will be recording Shield of Deception and Hollis McCarthy will be recording Ghost in the Assembly. So I am looking forward to both those audiobooks and that's where I'm at with my current writing and audiobook projects.
00:01:25 Question of the Week
Now it's time for Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's question, do you read comics books or graphic novels, Marvel, DC, indie manga, whatever? No wrong answers, obviously, including “I don't read comics.”
Ryan says: I don't read comic books, they just don't appeal to me. I prefer world building through writing as opposed to images, and I think you don't get the same feel for characters in a comic as you do in a novel.
Justin says: Once upon a time, I did read comics. It's been a long time since I knew of the mainstream comics interested me, sadly. I have read some manga in the last year, but any associated light novel wins handily. There are a few web comics to keep up with. I have bought books and merch from the Foglios for Girl Genius and Tayler for Schlock Mercenary, but even then, it's been years since my last purchase.
Juana says: I love Batman. End of story.
John says: I enjoy graphic novels, mainly for the art. Most recent read was The Wizard of Earthsea graphic novel, which is a true work of art published just this month.
Randy says: Marvel/DC stuff, not much anymore. I can sit down and read Peanuts, Pearls Before Swine, etc. collections anytime, probably not the “comics” you meant.
Jenny says: Rat Queens! So good!
Gary says: I don't read comics.
Bob says: Nope. Used to devour DC and Marvel as a kid. Wish I still had some of them. Probably worth big bucks now.
Tom says: I used to be a Marvel Zombie. Seriously, I have 20-30 long boxes filled with comics. I had to kick the habit though. Nowadays it's mostly just a few TV show based series. Would love to read some Frostborn graphic novels though!
And finally, Tracy says: I don't read comics.
For myself, I agree with many of the commenters where my answer is I don't read comics. It's not out of snobbery or disdain for the art form. It just doesn't speak to me or hold my interest. Of course not all art speaks to all people at all times. I was curious about this topic because I see people discussing comic books online all the time, but apparently the industry is in bad shape financially with multiple bankruptcies and closures and so forth. So I was wondering if comics were kind of more of a vintage art form that is less popular with younger generations as the older generations start to die off. But you never know. Things always are on a wheel and come around again.
00:03:36 Main Topic of the Week: Writing Adjacent Activities: Research
So now back to our main topic or to start with our main topic, research challenges for writers. As I mentioned two episodes ago, I'm working on a new podcast series about what I call writing adjacent activities. What do I mean by this? I'm talking about tasks that seem like they're part of the writing process but really belong in a different category. These tasks are important, but they can also be a pitfall if you spend too much time on them or don't use that time correctly.
In this series, we will focus on a few of these tasks and how they can benefit or hinder your writing process, even though they seem like good uses of time and may be beneficial. In this episode, we'll talk about research for fiction writing. How much research is necessary and how does research help? When does it get to the point where it becomes a pitfall instead of an asset? What are some things that work well for me when researching matters for my books?
First of all, why should writers even have to research in order to write a work of fiction? Why can't we just make up details since the characters and the plot are also made up? Why research?
Research can help provide crucial information for the plot. For example, of a spy novel set in World War II focuses on the Canadians battling the British is inaccurate to the point of farce. Knowing which countries were Axis and which were Allies is an important piece of research that should have been done for that story in advance of writing it. There's a British TV series called The Goes Wrong Show about a group of inept actors putting on bad plays that's quite funny, and one of the episodes has them putting on a play that is widely criticized for its lazy historical research, which includes such things as Winston Churchill being a prime minister during the Vietnam War. In the show, of course, this is played for comedy as part of how bad the actors are, but you don't want to do this in real life.
Research prevents factual errors that can distract readers. Some of the biggest examples of this are military terminology, the British peerage system, and information about weapons like guns. All of these things have very distinct details that avid readers in a certain genre will notice and be upset about if they're incorrect. You'll notice that successful thriller writers tend to put a lot of time into researching and lovingly describing various pieces of military hardware in their books.
For a genre like historical romance, the distinction seems unimportant to a modern American, but to a debutante in Regency England, the difference between marrying a baron and a duke is immense and the titles can't be used interchangeably in a work of historical fiction. For example, the duke and baron would be addressed differently and enter a room in a different order, but more importantly, in a status conscious marriage market like the debutante season, a duke would be a highly sought after potential husband while a baron might be less of a catch, especially if the family is not so wealthy. This detail changes the characters and plots completely.
To return to the firearm examples, for one of the famous errors that sometimes new writers do is a character puts a silencer on a revolver, which doesn't work because you can't silence a revolver. Much of the noise comes from the rear of the weapon when it's fired in addition to the muzzle flash and muzzle noise, so there are little details like that (both for weapons and the British peerage system) that you do need to watch out for.
Research can give you ideas or add depth through details. For example, someone writing a romance novel about two rival managers in a theme park could discover that this particular theme park has an intricate underground system of tunnels that includes storage areas and staff break rooms. The writer realizes this would give good opportunities for the characters to have a conversation or confrontation in a more private place than outside of a busy ride.
What are some good sources for research? Not all research is going to the library and looking at books that haven't been checked out in 10 years or so. Sometimes research for writing fiction is about checking or learning basic facts like street names, what the word is for cat in Spanish, or what a certain chain store was named in 2008. Making these details up only makes sense if the places and languages are completely fictional. Where more academic and in depth research comes in is when a high level of informational accuracy is required by genre convention, like in thrillers, historical fiction, a legal drama, or a medical thriller.
One of the criticisms of the relatively recent Disney Plus show She Hulk was that although She Hulk's profession is a lawyer and she spends all of her time doing lawyer things, none of the writers had a background in law and it seemed like their legal advisor was quite hands off in their approach.
They tried to write around it instead, and the results were disappointing to both fans of the source material and new viewers because as I've often said before, you don't need to be totally accurate, but it needs to feel accurate. Anyone watching the show would know that the American legal system works nothing like the way it's portrayed, not even in the abstract.
One of the additional complaints about the show is that they missed the chance to showcase the character by barely showing them doing any actual work or to only show it as a farce, making She Hulk seem more frivolous and unlikable without her defining trait of being a really good lawyer. Trying to write around factual information is usually not the best solution, and it could hurt the reader's feeling of immersion or cause them just to feel annoyed.
For genres that require a high level of information accuracy, try starting with the general overview books and then looking at more specific information as needed.
You don't need to become an expert in every piece of medieval weaponry to write a historical or a fantasy book, but you do need to know the basics in order to have the characters use them in a convincing way.
As I've said before, I often talk about how verisimilitude is the goal in writing. You need to know and share just enough to make the reader feel convinced and have the characters be able to act in a believable way in the world there inhabiting.
Often writers are advised to use YouTube for research because it's free and usually easy to understand. However, YouTubers usually don't cite their sources and incorrect information often gets reshared this way. That said, it can still be useful. For example, if we go back to our example of the theme park romance novel, the writer could find YouTube footage of what the line looks like for a certain ride without having to go see it in person and determine from the footage if a child could really climb over a railing to escape their parents, for example, if that was one of the plot contrivances the writer wanted to put in the book.
I would strongly recommend you don't use a LLM program like ChatGPT for research, and if you do, you should cross-reference and double check its answers for accuracy because ChatGPT essentially makes stuff up. Unlike a search engine ChatGPT essentially guesses at its answers instead of retrieving them. For example, if you ask ChatGPT who the spouse of one reality star is, it confidently lists her brother as her husband because the names are very frequently paired and they had the same last name, ChatGPT made a guess and that guess was quite wrong. It's also important to note that it's not trained on recent information. It won't, for example, be able to tell you on what date a movie is going to come out in two weeks because it may not have access to that information yet, and it might instead give you the premiere date for previous films or guess at a date.
How much research is necessary and when is it a pitfall instead of an asset? Too much research can keep you from starting to actually write. It's a real temptation if you enjoy research to spend months bogged down in every possible source of information. It's also good to take a step back, look at your book’s outline, and determine what's truly needed. When you're writing, you can add a note, “research this” and note about what fact you need to look up and then keep going. It isn't a great idea to stop writing every time you need to look up a specific fact. Doing that can often lead to research spirals that take too much time and then you lose your writing momentum.
Having researched too much can also drag down the plot with a lot of info dumps. We've all encountered books where the writer very clearly put in a lot of research into a very specific topic, so they were going to put all that research into the book, even if it was to the book's detriment. It's natural to want to use as much of your research as possible, but in reality, the only research that is good for the reader is what benefits the plot or adds to the feeling of verisimilitude without stopping the plot in its tracks.
What are some things that have worked for me when researching subjects for my books?
Because I write fantasy and science fiction, I tend not to do that much research. Usually it's if I need to look up a specific fact to increase the verisimilitude. I had to do that quite a bit with Silent Order because that’s science fiction and therefore a bit more fact-based. So I wanted to make sure I had things like the speed of light in kilometers or the amount of kilometers in a light year, for example, make sure that I had those numbers accurate. However, when I'm writing and there's something I want to look up later, I tend to literally just type “look this up later” and then keep going in the book.
This actually happens quite a bit in the Cloak Games and Cloak Mage series because while that's set in a fantasy setting, that fantasy setting is a version of our own world. I do need to look things up reasonably frequently, like where this town is located or how long you would take to fly from Chicago to Boston, for example. So very often I will just type “look this up later”, and then in the editing process, I will actually look that up and make sure that I have a good information source, not ChatGPT, and then add that fact into the book as necessary.
One thing I would recommend watching out for is that if the entire plot of the book hinges on a certain fact, like for example, say that you have in your book, the entire plot revolves around the fact that on average it takes about seven to eight hours to drive from Milwaukee to Detroit, it's a good idea to look it up and make sure that is actually true.
If for example, you, let's talk hypothetically, if you weren't familiar with the geography of the United States and you had the plot being that it takes only three hours to drive from Milwaukee to Detroit, your book will not work because anyone remotely familiar with the American Midwest knows that if you are driving from Milwaukee to Detroit around the southern side of Lake Michigan, it takes at least seven hours and depending on traffic conditions, it can easily go much higher very quickly. So if you do have a fact around which the entire plot of your book hinges, it's a good idea to research that fact first and make sure that's accurate, so you can avoid the scenario where you write the book and then people are laughing at you because you wrote it only takes three hours to drive from Milwaukee to Detroit.
So to sum up, research in fiction is very different from in the academic world, but that doesn't mean that's not important. Like so many things in life, it's all about balance. You don't want to go too far down the research rabbit hole to the detriment of finishing your book, but you do need enough information to maintain verisimilitude, but not an excess of detail that will derail the plot or keep you from finishing the book you want, just enough that it makes sense.
An example for that for me would be one of the plot lines in Cloak of Spears which revolves around nuclear fusion. The book sold pretty well and people liked it, but I did get a email from an expert in nuclear fusion saying that the way I had described things is not actually how nuclear fusion works, and the fact of the matter was that thankfully for that book, it didn't matter because the actual intricacies of how nuclear fusion works is beyond my grasp and frankly beyond the grasp of most people.
So I'd included enough verisimilitude to that the book worked for most people, but it was not enough to fool an actual expert in nuclear physics. So that brings me to a Abraham Lincoln quote I remember where he says, “you can fool some of the people some of the time and the rest of the people some of the time, but you can't fool all of the people all of the time.” And that is true with research and fiction. You'll want to do just enough to get verisimilitude so that you can fool most of the people, but you can't always expect to fool everybody. If you are writing about something which has subject matter experts, you may find that you'll have the subject matter experts writing to you and pointing things out. But what's important is that you do it well enough to fool most of the general audience, if not the subject matter experts.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at some of the historical influences & inspirations that went into my new book GHOST IN THE ASSEMBLY.
This coupon code will get you 25% off SILENT ORDER: OMNIBUS ONE at my Payhip store:
SILENT25
The coupon code is valid through April 7th, 2025. So if you need a new book to read for spring, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 244 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 21st, 2025, and today we are looking at some of the historical influences that went into Ghost in the Assembly. Before we get into that, we will do Coupon of the Week and an update my current writing and audiobook projects. And then Question of the Week, which we did have time for this week.
This week's coupon code will get you 25% off the ebook of Silent Order: Omnibus One at my Payhip store. That coupon code is SILENT25. I'll have the links and the coupon code in the show notes. This coupon code is valid through April 7, 2025, so if you need a new book to read for these spring months, we have got you covered.
Now an update on my current writing projects. I am 44,000 words into Shield of Battle, the fifth book in the Shield War series. I'm hoping to have that out towards the end of April, if all goes well. A reminder that the Shield War series will be six books, so Shield the Battle will be the second to last one. I have also started on the sequel to Ghost in the Assembly, and I am 4,000 words into that, give or take. I had originally planned to call this book Ghost in the Assassins, but I thought that sounded too similar to Ghost in the Assembly. So the fifth book in the Ghost Armor series will be called Ghost in the Corruption. A reminder that Ghost Armor will be six books long and Ghost in the Corruption will be the fifth of six books, so the second to last book in that series as well.
In audio news, recording has started for Shield of Deception and Ghost in the Assembly. Shield of Deception will be excellently narrated by Brad Wills and Hollis McCarthy will excellently narrate Ghost in the Assembly. I expect both of them will probably be out sometime towards the end of May if all goes well, given how long it usually takes to record an audiobook.
In Stealth and Spells Online news, I am 68,000 words into the third and final book in this trilogy. Once Ghost Armor and Shield War are complete, then I will hopefully release the final book in the Stealth and Spells Online because I've been working on that as a tertiary project for quite a long time now. So that's where I'm at with my current writing and audiobook projects.
00:02:17 Question of the Week
Now let's move on to Question of the Week. Question of the Week is of course designed to inspire enjoyable discussions of interesting topics. This week's question, what is your favorite style of fantasy setting (like a more high fantasy, one like Middle Earth or the Forgotten Realms, urban fantasy like the Dresden Files or Kate Daniels or more steampunk like Everon and so on)? No wrong answers, obviously.
And as you can imagine this inspired quite a few responses.
Perry says: Hyperborea! Lankhmar is up there as well. Setting where magic is rare, and usually dangerous or evil. The first edition of the Forgotten Realms (the grey box from the ‘80s) was great. Enough detail to let you use the setting, lots of room to make it your own. Then all the Forgotten Realms novels started to appear with the release of the second edition in the ‘90s and everybody in the world suddenly had powerful magic at their fingertips. Elminster, the Seven Sisters, Drizz’t, and others took the appeal right out of the setting for me.
Joachim says: I like the Spelljammer Campaign setting best. A lot of great modules. It seemed it was not overly successful. A shame. I had a campaign running in this setting with some people who liked it. In addition to the Spelljammer modules, you can easily transfer any normal module centered on a small town onto an asteroid.
Evan says: A huge Sanderson Cosmere fan here, especially Stormlight Archive. I like the magical progression tied in to character development, with a bit of mystery of how things work or an unknown that takes time to unwind or tease out.
Justin says: My problem here is separating the settings from the authors. Given that near impossibility, I would cast my vote for high fantasy with a bit of techno/steampunk mixed in. Example – Andre Norton’s Witch World.
Bonnie says: I seem to gravitate towards the swords and sorcery genre like Frostborn, but I also enjoyed the urban fantasy/Nadia and the other genres. I have to thank you for introducing me to all of these.
Michael says: Okay, Jonathan, that's the second time I've noticed you indicating a preference for sword and sorcery saga where a barbarian hero travels between corrupt city states and now I really, really want you to write this. And yeah, that's definitely my favorite type of setting too.
Simone says: Definitely urban fantasy. Even in your books, which offer an unusual variety of fantasy settings, I find I enjoy the Cloak series the best.
Roger says: Being an old fogey, I prefer high fantasy always. Can't seem to get my head around urban fantasy. It jars with me.
John says: While I enjoy all settings, I'm also a traditionalist and want a non-industrial, non punk setting without some sprawling empire, more like the aftermath of empire with multiple successor states.
Jonathan T. says: Personally, Star Wars has always been fantasy in a science fiction setting, and that remains a personal favorite. Other than that, I suppose I'm for high fantasy, although I'm not opposed to high fantasy slapstick either such as the Wuntvor trilogy. At some point I must try again to surmount the obstacle known as The Wheel of Time.
Catriona says: Epic and high fantasy are my favorite, enjoy Dark Fantasy, too. Urban fantasy is a hard pass for me.
Juana says: Sword and sorcery, parfait gentle knights, medieval societies, historical fiction like Doyle's The White Company and Sir Nigel. Wherever Nadia lives.
Justin says: Sword and sorcery, magical creatures/beasts. Definitely needs different environments like cities and wild mountains and forests. Not sure what genre that is, but that's what I like.
MG says: High fantasy.
Brandy says: I like ones with a clearly defined map. Sometimes it seems like the world wasn't thought about clearly, so it makes it hard to imagine and I find those stories the least successful. The ones I go back to repeatedly, the ones I read over and over or pimp out to other authors or groups are those I feel like they have a great structure and map, even if it's added on to later. So high, low, or middle, I just really just want the author to tell a great story and make it a great one.
Speaking as an author myself, I really dislike drawing maps, but fantasy readers really like maps, so that's why I have been doing more and more maps lately.
Pauline says: Urban fantasy is definitely my favorite.
Jeremy says: High Fantasy is my favorite. However, my favorite fantasy author is Terry Brooks. His series is Low Fantasy based on Earth. I found out years after reading the series LOL.
For myself, I think my favorite would be a pre-industrial setting with a lot of city-states and various dangerous magic, like you have a barbarian hero wandering from city-state to city-state with monster infested ruins and wilderness between them. When he gets to the city states, he can fight corrupt sorcerers, arrogant nobles, and thieves guilds, and then move on to a new adventure in the next book. So basically a sword and sorcery style setting. So that's it for Question of the Week.
00:06:30 Main Topic of the Week: Ghost in the Assembly: Inspirations and Sources
(Note: Spoilers for Ghost in the Assembly!)
This week and now onto our main topic, Ghost in the Assembly inspirations and sources that went into the book. I should mention that this episode contains mild spoilers for Ghost in the Assembly. So if you have not finished reading Ghost in the Assembly yet, stop listening and go finish reading Ghost in the Assembly.
So I thought it would be interesting to talk about some of the ideas and influences that went into Ghost in the Assembly. I have to admit, it took me a few years of thinking between Ghost Night and Ghost Armor to figure out how to write more Caina stories because Caina had become a political figure by the end of Ghost Night and political figures typically do bad things for personal advancement and then lie about it. That is in some ways the essential definition of a political figure. This of course, is hard for a writer to use as a sympathetic protagonist.
Of course, I eventually realized the way around this, the success of a political figure cannot be judged by their personal morality or even their political morality, but by the results of their decisions. Did they do the most for the greatest good of their people? Therefore, I just needed to write a political figure who did somewhat sketchy things (like subverting the Kyracian houses via buying up their debt) in the name of the greater good of the people (defending them from the impending attack of the Red Krakens).
I frequently said that if you want to write a good fantasy novel, you should try to stick to about 15 to 25% of the actual harshness of the past. I don't think you want to go full Grimdark, but you don't want your fantasy world to be indistinguishable from a typical 21st century parliamentary democracy because I think that kind of defeats the purpose of fantasy where you want to visit a world that is eldritch and strange and at least somewhat different than our own.
So for Ghost in the Assembly, I went to about 15 to 25% of the experience of ancient Greek democracy. For the entire time that New Kyre and the Kyracians have been in the series (Ghost in the Storm was way the heck back in 2012 and the Kyracians were mentioned before that), they've always been very loosely based on the democracy of ancient Athens. In fact, the very name Assembly of New Kyre comes from ancient Athens, where the gathering of voting citizens was called the ecclesia, which translates into English as assembly. Interestingly, this is also the origins of the word ecclesiastical in terms of a church since one of the first words for the church was ecclesia in the sense of the assembly of the believers in Christ.
Athens wasn't the first ancient Greek democracy, but it was one of the most successful. It was also one of the democracies that self-destructed in the most spectacularly dramatic fashion possible. The Athenians decided to convert the Delian League from an alliance of city-states into their own private empire. A demagogue convinced them to waste enormous resources attacking Syracuse and Sicily, which ended disastrously. The Athenians were eventually defeated by the more militaristic Spartans.
People have debated for centuries whether or not this means democracy is inferior to the Spartans’ harsher system, but that overlooks the key fact that a few decades later, Athens, Sparta, and all the rest of the Greek city-states were conquered by the Macedonians anyway. I suppose the actual historical lesson is that a city-state, regardless of its government, is no match for a larger centralized state with better leaders and better military organization. In fact, historically city-states tend to eventually get subsumed into larger political entities. If they last for a long time, it tends to be because of geography (like in ancient Greece) or because of weak and or remote central authority like the medieval Italian city-states, which were ostensibly under the authority of the Holy Roman emperor but in practice tended to do whatever they wanted. Places like modern Vatican City tend to be special exceptions.
Caina's criticism of the assembly of New Kyre in the book is that it is not as egalitarian as it pretends and is easily swayed by both demagogues and bribes. The Athenian assembly of citizens had both these problems, but far worse. You needed to have a substantial level of property to be allowed to vote, and there were numerous examples of the votes swinging on bribes or last minute orations. The Athenian assembly was easily swayed into making bad decisions, such as supporting the disastrous attack on Syracuse during the Peloponnesian War that was the start of Athens’ downfall.
In Ghost in the Assembly, Lady Eirenea Tritos is one of the nine chief magistrates of the city, but in an Athenian democracy, women were not allowed to vote and most definitely were not allowed to hold political office. The ancient Greeks in general did not have a very high opinion of women. One Greek orator said that men had wives to produce legitimate heirs, concubines to attend to the body's “daily needs”, and prostitutes for pleasure.
Because of things like that, I thought a setting with a hundred percent of the harshness of ancient Greece would be off-putting to the reader. So as I said, I shot for between 15 and 25% of the actual harshness. New Kyre is definitely richer, better governed, and less elitist and chauvinistic than the ancient Greeks. That said, New Kyre isn't an egalitarian place. Nobles have vastly more rights and money than commoners, and both nobles and commoners own slaves and only the poorest commoners own no slaves themselves. Indeed, slavery is so common in New Kyre that the other nobles see Kylon's decision that House Kardamnos will have no slaves as a sign of malevolent and sinister foreign influence.
Kalliope’s fear that she could be dispossessed and Kylon simply take her children is very real. If Kylon wanted, he probably could keep Kalliope from seeing Nikarion and Zoe ever again, though that would inevitably put him in conflict with Lysikas Agramemnos and Calliope is charismatic enough to powerful allies to her side. If Kylon did in fact refuse to allow Kalliope to see their children, he might well set off a civil war. But Kylon, who lost both his parents when he was young, doesn't want to deprive his children of a loving mother.
Of course, the ancient Greeks never had to fight the Red Krakens and orcs. The Red Krakens, the Caphtori, are kind of written like snake-worshipping Vikings. In fact, Caphtori are inspired by the “Sea Peoples”, pirates that seem to have contributed to the collapse of Bronzes Age civilization. Historians argue endlessly about the impact of the Sea Peoples or whether they existed at all, but if they did exist, they might well have been proto-Ancient Greeks, perhaps Mycenaean in origin.
Since having one ancient Greek-esque group fighting another would've been confusing in the book, I made the Caphtori/Red Kraken more like Vikings, which I suppose is a bit of historical anachronism, but Ghost Armor is a constructed world with elves, orcs, and sorcerers, so it's not like I'm writing period accurate historical fiction here.
So these are some of the influences that went into Ghost in the Assembly. I don't have any grand concluding point here. Those were just some of the ideas I thought about and went into the story. Though I should mention that for a while I was a graduate student in medieval history and I hated the experience so much I left and went into IT instead. That said ,decades later it has proven a useful source of plot ideas for fantasy novels, so it worked out in the end.
One final note, a reader suggested that Kalliope Agramemnos and Mardun Scorneus might hook up in later books. And I have to admit, I laughed at that suggestion. Kalliope would react with dismay at the thought of marrying anyone other than an extremely high ranking Kyracian noble, and at the prospect of marrying Kalliope, Mardun would think about it, fake his death, and flee back to the Empire, preferring to take his chances with the Magisterium rather than Kalliope. Anyway, thank you to everyone who has read Ghost in the Assembly. I am very grateful that so many people have enjoyed the book.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes of the show on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at the pros and cons of creating a series bible, and how it can potentially help when writing a book.
This week's coupon code will get you 25% off the ebooks of the GHOST NIGHT series at my Payhip store:
GHOSTNIGHT25
The coupon code is valid through March 29th, 2025. So if you need a new book to read for spring, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 243 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 14th, 2025, and today we are looking at writing series bibles. Before we get into that, let us start with Coupon of the Week. This week's coupon code will get you 25% off the ebooks of the Ghost Night Series at my Payhip store. That coupon code is GHOSTNIGHT25. The coupon code and the links will be available in the show notes. This coupon code is valid through March 29th, 2025. So if you need a new book to read for spring, we've got you covered.
Now let's have some updates on my current writing and audiobook projects. I'm pleased to report that Ghost in the Assembly, the fourth book in the Ghost Armor series, is now out. You can get it at Amazon, Barnes Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. It has been selling well and been received well, so thank you all for that.
Now that Ghost in the Assembly is out, my next project is Shield of Battle, the fifth book in The Shield War series, and I am 17,000 words into that and hope to make good progress on it next week.
In audiobook news, Cloak Mage: Omnibus Three (as excellently narrated by Hollis McCarthy) is now available, as is Half-Elven Thief: Omnibus One (which is narrated by Leanne Woodward). You can get both of them for the easy price of one credit. So that is where I'm at with my current writing and publishing projects. Usually at this point, we do Question of the Week, but I ran out of time to do Question of the Week this week.
00:01:32: Main Topic of the Week: Writing Adjacent Activities, Part I: Series Bibles
So now we'll move right on to our main topic. Today, I'm starting a new series about what I call writing adjacent activities. What do I mean by this? I'm talking about tasks that seem like they're part of the writing process, but in reality, belong in a different category. Now these tasks are important, but they can also be a pitfall if you spend too much time on them, don't use them correctly, or you don't make the best use of your time with them.
In this series, we'll focus on a few of these tasks and how they can be beneficial or a hindrance to your writing process, even though they seem like a good use of time and may be advantageous in different scenarios.
In this episode, we’ll talk about creating series bibles, an activity that some writers love and others loathe or avoid altogether. We'll explain what series bibles are, how they can help you as a writer, and how to write them effectively without losing time on your actual writing.
So to begin with, what is a series bible? This term originates in the world of television production (where they're often called show bibles), where having a document that kept track of characters, details mentioned on the show, and important information was crucial when many people were working on the same show. A series bible was essential for continuity and preventing writers from having to rewatch old episodes to find out, for the example of say, the names of Frasier's mother or Nile's first wife.
The goal of a series bible for books is to be a reference to refer back to important facts and details about your story. They can prevent errors, reusing names, and save time by not having to check things in earlier books while writing. It is also more important to have a good series bible when a group of people are working together than an individual writer.
Examples of things collected in series bibles are character details, locations, plot developments, and information about fictional worlds in the books. They can be incredibly detailed or very simple, depending on what information is tracked within them. Some books obviously will need series bible-ing less than others. For example, a contemporary romance will have less information to keep track of than a science fiction series in a fictional galaxy with its own technology and species because with the contemporary romance, you just need to keep track of the characters and the settings and the settings can be easily reused from the real world, which is quite a bit harder when you're writing a science fiction series with exotic aliens and strange technology.
So why should you make a series bible? Continuity is quite challenging, especially as a series progresses or a writer creates interconnected series like my Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, and Shield War series. Do I remember whether an orc named in one chapter of the third Frostborn book survives so I can use him dozens and books in three series later? I don't off the top of my head.
It helps to keep details consistent across books. If, for example, Ridmark carries his staff in his right hand, he shouldn't be switching to his left unless he has a plot reason for doing that. For certain kinds of writers, it can help with planning a series in conjunction with an outline. If you have your characters and location names planned in advance, it's easier than trying to think of them on the spot when writing. Additionally, if you're co-writing a series with one or more other people, this ensures that all the information stays consistent. For most cases, I think writing with another person or a group of people is probably the best reason to create a series bible.
A series bible can also, if you're writing on your own, help you find patterns in your own writing. For example, if you're consistently not describing characters’ appearances until the fifth or sixth chapter in each book, that may be something you want to change in future books. Readers tend to like physical descriptions fairly early in the book because it helps them imagine the characters and they might be annoyed if a physical detail that appears late in the book doesn't match what they actually imagined.
So how do you go about making a series bible (if you've decided that you need one)? It doesn't require special software, just a basic word processor file. You can just type the entire thing up in Word or even in Notepad if you want. Some people may use some programs like Scrivener or Hiveword, but for most people, that could be overkill. Some writers make series binders in a physical binder because they prefer to flip back and forth that way instead of using the word processor’s search feature. For myself, I would most definitely prefer using the word processor search feature.
Decide before you start the project what categories would be most helpful to you. Remember the more categories you have in the series bible, the longer it will take to create and the more time it will take to maintain, especially as a series goes on. Some potential categories for your series bible include characters, locations, languages, magic systems, and a basic plot summary for each book in the series.
From there, it's as simple as filling in categories with the information. Some people make different documents or pages for each category, while others like all the information to be in one place for easier searching. Some people create the series bibles while outlining. Some people create them while writing. Others do it after the book is complete. It'll be up to you to decide which one works best for your workflow, but the latter is often seen as the easiest because then you don't have to make changes as you edit the books.
So what are the potential pitfalls or time wasting aspects of a series bible? Much like many other writing adjacent tasks, creating a detailed series bible can turn into something that feels like writing progress, but is actually hindering you from meeting your word count goals or actually getting on with finishing the story.
It seems like the people who create series bibles before starting their draft tend to be the writers who have the most trouble actually finishing their drafts. If you're creating a series bible before creating your first draft, you may be spending a lot of time creating superfluous details that won't actually be needed for the book or creating such a volume of detail that writing the draft begins to feel daunting.
You may not need one and might be creating a series bible unnecessarily. For one thing, they're intended for series, so creating one for a standalone book is most likely overkill.
If it's a short series, without collaborators, in a contemporary realistic fiction setting, it may not be necessary or maybe only a brief character sheet would be sufficient. Just because some writers say that series bibles are helpful doesn't mean that's a requirement or that your book won't be as good without one.
It's also a good idea to set a goal in advance of what categories you want and how much detail you need. That will help you figure out if you're spending more time on it than is necessary. Creating templates may also help, especially ones that allow for short responses instead of entire sentences or paragraphs. A consistent format may make the information easier to find and/or skim later. This would be something like a Dungeons and Dragons character sheet where you would just have a template where you could list the most pertinent details about the character as an aid to memory, like their age, ethnicity, eye color, hair color, height, brief physical descriptions, and things like that, short details that'd be a useful aid to spurring memory.
And finally, as with so many things in life, it's important to be honest with yourself. Will you actually take the time to maintain this series bible across multiple books, or is the file going to sit forever unfinished in a corner of your hard drive? For many people, series bibles are often like the writing equivalent of a craft project that has started with good intentions but is ultimately left unfinished in a box somewhere.
Since we cited TV series bibles as an example for this, I thought we would quote an example from the series bible for the TV show Lost. Note that the main purpose of this series bible was to get the TV show on air and to get advertisers for it, so the language here is a combination of characters’ facts and marketing speak to try and get people interested in the characters. Most series bibles for books use more of a factual approach, but it's still of interest as an example.
Here’s the entry for the character of Boone:
“Boone grew up in a world of wealth and privilege provided by a vast commercial empire run by his mother, "The Martha Stewart of the Wedding Industry." Fatherless from a very young age, Boone quickly assumed the role of family patriarch. In one fell swoop, he became the heir apparent and self-appointed guardian of his sister. But Boone has a dark secret - one even Shannon doesn't know. Diagnosed with schizophrenia during adolescence, he has since managed his illness with ongoing therapy and a cocktail of anti-psychotic medications - medications he stopped taking roughly a month before the crash. Ongoing survival crises find Boone at odds with his slipping sanity, leading to an inevitable breaking point which will not only put him at odds with the others, but make him an outright danger.”
So you can probably tell from this paragraph that this was written partly to help the writers and partly to help pitch the show. But you can see how this kind of thing could be useful for remembering key details about a character when you're writing the third book in your series and need to look back and refresh your memory about the character’s details. You wouldn't need something so detailed or dramatically written, but just enough to capture the key character details so you could refresh your memory.
So what do I do myself in terms of series bibles? Well, the answer is mostly not that much (chuckles). My method of continuity checking is that Windows Explorer, the file manager on Windows, has a feature that allows you to search inside documents. So if I need to refresh my memory about something in a series, I go to the series folder that holds all those Word documents, search for the term I'm looking for, and read through the results until I find it. It’s not very efficient. I have started making series bibles recently and by saying that I have started, I mean I have hired someone to do it for me.
Why am I making them now? Like I said, making it easier to keep track of continuity because Ghosts in the Assembly was my 160th book, which is a lot to keep track of, and that's a lot of Control + F searching in Windows Explorer to find things. So I was thinking it was time to get better organized and have this information to be more accessible and easy to read.
What do I include in mine? I'm only doing them for books I have finished and only about eight or nine pages for each book. The categories are timeline events, locations, creatures, magic and spells, and a brief list of key events.
Will I ever publish these series bibles? Probably not, unless I can find a good source of artwork because when people think of published series bibles, they think of these big hardcover books you get Barnes and Noble called The World of Wheel of Time or The World of Fire and Ice and then there's a lot of beautiful illustrations in them. I might try something simpler, where it’s just the text. So I suppose the real answer is we will have to see.
So that is my thoughts on series bibles. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you listen to all the backups episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at five lessons for writers from Barnes & Nobles' turnaround. I also discuss indie author advertising results from February 2025.
This week's coupon code will get you 50% off the audiobook of Dragonskull: Blade of the Elves, Book #3 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store:
BLADE50
The coupon code is valid through March 28, 2025. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 242 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 7, 2025, and today we are looking at writing lessons from the dramatic turnaround of Barnes and Noble. We'll also look at my ad results for February 2025 and we'll also have Coupon of the Week and an update on my current writing projects and Question of the Week.
First off, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Blade of the Elves, Book Number Three in the Dragon Skull Series (as excellent narrated by Brad Wills), at my Payhip store. That coupon code is BLADE50. We'll have the coupon code and the link in the show notes. This coupon code is valid through March 28th, 2025, so if you need a new audiobook for spring, we have got you covered.
Now an update on my current writing and audiobook projects. The rough draft of Ghosts in the Assembly is done and I am 16% into the second phase of editing. If all goes well, I am planning to publish the book on March 14th, assuming there are no unanticipated interruptions, which is always risky to rely upon, but things are going well with it and I'm optimistic we can do that. I'm also 13,000 words into Shield of Battle and after Ghost in the Assembly is published, that will be my main project.
In audiobook news, Orc-Hoard, the fourth book in the Half-Elven Thief series (as narrated by Leanne Woodward), is now available and you can get it at all the usual audiobook stores. Half-Elven Thief: Omnibus One (which is a combination of Half-Elven Thief, Wizard-Thief, and Half-Orc Paladin, the first three books in the series) is also now available in audio (as excellently narrated by Leanne Woodward), and you can give that omnibus edition at Audible, Amazon, and Apple. So that is where I'm at with my current writing projects.
00:01:49 Question of the Week
Question the Week is designed to inspire enjoyable discussions of interesting topics. This week's question, when you have an unpleasant chore that must be done, do you prefer to split it up into smaller parts over a number of days or just to get it all over with at once? No wrong answers, obviously. The inspiration for this question is the fact that it's tax prep time here in the United States, and I have spent a lot of time this week working on that.
Justin says: I prefer to get it over with all at once if possible. Extending your example, I have somehow become the tax preparer for other family members, so there are a few days where that is what I do. I also set aside a few hours every month for vehicle maintenance: check fluids, tire pressure, top off everything, look at belts (replace if worn). It's amazing how more reliable cars are when you look after them a bit.
That is very true. Good car maintenance advice from Justin.
Catriona says: Procrastinate. I love to procrastinate, then the mad dash to the very last second of the deadline. Retired now, so no longer need to be efficiently organized.
Jenny says: Oh, split if I can, procrastinate if I can't. Dishes? Do some or put some away, do more later or let my laundry pile up until I have no pants.
And Juana says: Let's get this over with. (Transcriptionist’s note: this was posted in the form of a GIF of Liz Lemon from 30 Rock)
For myself, I suppose the answer is that I essentially get to do both since I'm technically a small business owner as a publisher, I do some tax stuff every month and then usually have a couple of days in March that are all tax prep. Other than that, it really depends on the size of the task in question. My preferred way would be to split a task up into smaller pieces and do 'em until they're done. But if you have something like snow shoveling, for example, you really do have to kind of bite the bullet and get it over with all at once.
00:03:21 February 2025 Ad Results
Now let's see how my ads did in February 2025. February is generally a better month for advertising than November, December, and January. The reason for that is that Valentine's Day and the Super Bowl drives some consumer spending, though not nearly as much as the Christmas and Thanksgiving holidays, and so therefore the cost per click is often lower and you can usually have good results with ads.
First up, Facebook ads. In February, I advertised both Cloak Games/Cloak Mage and all the Ghosts on Facebook. For Cloak Games/Cloak Mage, I got back $2.98 (USD) for every dollar spent, with 6.8% of the profit coming from the audiobooks. For the Ghosts, I got back $3.24 cents for every dollar spent, with 15.4% of the profit coming from the audiobooks.
I also ran a few different Amazon ad campaigns. Remember that for an Amazon ad campaign to work, it needs to generate a sale or a complete Kindle Unlimited page readthrough for every six to eight clicks. For Half-Elven Thief, I got back $2.30 for every dollar spent, with a sale for every 0.68 clicks. In other words, we had more total sales than we had clicks. For Stealth and Spells Online: Creation, I lost $2.52 for every dollar spent, with a sale for every 8.1 clicks. For The Linux Command Line Beginner's Guide, I got back $1.86 for every dollar spent, with a sale for every one click and 32% of the month's profit coming from the audiobook. I think this shows how badly I misjudged the LitRPG market with Stealth and Spells Online. The ads for Half-Elven Thief actually get more search terms for LitRPG related searches than Stealth and Spells actually does.
I ran BookBub ads for Sevenfold Sword and The Ghosts on Apple, and here's how they did. For The Ghosts, I got back $5.26 for every dollar spent. For Sevenfold Sword, I got back $4.35 for every $1 spent. Finally, for the Demonsouled series, which is currently in KU, I did a combined Facebook and Amazon campaign, and when you run multi-platform ad campaigns like that, the most valuable metric tends to be honestly money back for dollar spent. So for Demonsouled, I got back $2.58 for every dollar spent. So good results, all in all, and I didn't actually lose that much money on Stealth and Spells. So thanks for reading everyone and hopefully I'll have more good books for you to read soon.
00:05:47 Main Topic: Lessons for Writers from Barnes and Noble’s Turnaround
So now onto our main topic this week, lessons for Writers from Barnes and Noble's Turnaround because it is fair to say Barnes and Noble has had a turnaround recently. For a while at the end of the 2010s and the early 2020s, people would have their self-publishing predictions for the year, and one of them was almost always that Barnes and Noble is going to finally close, which was a reversal of fortune for it because if you remember in the ‘90s and the 2000s and even the early part of the 2010s, Barnes and Noble was the juggernaut in the publishing industry. They had forced out of business a lot of smaller indie bookstores and what Barnes and Noble wanted in the publishing industry, Barnes and Noble got. Then just as Barnes and Noble disrupted all the smaller book chains and independent bookstores, Amazon came along and disrupted Barnes and Noble. And so for a while it looked like Barnes and Noble was going to go out of business, but Barnes and Noble's revenue actually grew 1.6% in fiscal year 2024, and their foot traffic is up significantly. They're planning 60 new stores after a wave of closures in previous years.
A few years ago, as I said, they seemed headed for extinction, yet a combination of unpredictable factors and good decisions helped turned around Barnes and Noble. What are some of those factors leading into it? I suspect one of them is that many people are forced to be on screens all day and can find this frustrating or stressful, especially when schooling and work were virtual. I've talked to some teachers over the past couple of years and they would tell me stories of, for example, younger children who will burst into tears at the site of a Chromebook just because the experience of remote learning via Chromebooks was so stressful and miserable in 2020 and 2021 (and places that held onto that policy for probably longer than they should have). So much socialization nowadays is conducted online too through TikToks and chats and text messages and so forth.
Because of this, many now feel like print books are a break from being constantly online. Various social media people such as TikTokers and Instagrammers make Barnes and Noble trips and hauls, showing off giant stacks of the latest books, filling up feeds. Home book displays are also a trend online, as collectors show off carefully style collections of books. Owning physical books and browsing the shelves at Barnes and Noble has become cool again. Truly history is a wheel that keeps on turning.
So what lessons can you take from this turnaround as a writer (even if your physical books aren't stocked by Barnes and Noble and you don't sell that many eBooks through them)? How they approach their relationship with their readers and their customers still has a few lessons to provide writers.
#1: Focus on your primary mission and also double down on what actually works. Barnes and Noble started to devote much of their store space to a confusing, aimless mixture of toys and gifts mixed in with the books. The stores began to look cluttered and much of this merchandise did not actually sell to their customers. They also wasted a large sum of money trying to compete with Amazon, Apple, and tech companies with their Nook tablets and kept Nook ereaders as a strong store presence long after it was clear they had lost the battle for the ebook market. There was even an extremely ill-advised foray into Barnes and Noble restaurants. Customers were quick to reject $13 avocado toast and $7 oatmeal from a mall chain bookstore.
One, when the company focused on returning to selling print books and making the store a better place to browse, sales improved. Many stores moved the gifts and games away from the book areas and back into the dedicated sections, which cleaned up the layout and made it easier for customers wanting non-book items to find what they were looking for. Since most of the customers were actually there to buy books, that made it easier to buy books.
How to apply this as a writer? Your job as a writer is to create and sell books. Getting lost in side quests, like overly frequent social media posting, creating courses or webinars, and selling merchandises are only taking time away from what your readers actually want the most from you: more books. So double down on writing more books, just as Barnes Noble doubled down on selling more books.
#2: Target the right people. Barnes Noble's display spaces and tables were taken up by books that publishers paid to place there. This led to their prime store space being taken up by books that were often poor sellers or not a good fit for their local customers. It was better to turn down the short-term money but have more targeted displays, including putting similar books in “thematic nooks.”
By focusing much of their marketing on the BookTok/Bookstagram groups of heavy readers, they were able to find ways to appeal to a younger and growing customer base. Since this group loves books both as content and décor, showcasing exclusive or “aesthetic” special editions was a way to bring these customers back into the store and keep them from buying cheaper copies online. These readers were also willing to spend a few dollars extra for the experience and to ensure that the books they were buying weren't damaged, which is often a complaint when you buy books online, that they sometimes aren't packaged properly and arrive damaged in transit. Store space was also devoted to manga readers, another group that reads voraciously and enjoys the experience of reading the print version and later collecting the print version as opposed to the electronic one.
Now, how do you apply this as a writer? Appeal to your core audience. Instead of trying to appeal to everyone, find your core “thematic nook” (as Barnes Noble puts it), meaning similar authors and titles. There are resources like Publisher Rocket that can help you do this. Focus your advertising on finding these readers instead of the general population.
For myself, I've experienced this lesson personally in the last four years because in the last four years I've tried three different new things: The Cormac Rogan Mysteries, the Stealth and Spells LitRPG book, and the Rivah Half-Elven series. And of the three, Rivah was by far the most successful because it was another form of epic fantasy, which I think is what my core audience really wants from me and not contemporary mysteries or LitRPG. So this is the lesson I can attest to through personal experience.
#3: Give customers a good experience. Barnes and Noble spent money on repainting, installing brighter lighting, and changing store layouts. The CEO James Daunt stated it was their aim to make the store feels like “places of discovery.” Chairs were even added back to some stores to allow readers to browse in comfort.
Now, how can you apply this to being a writer? First, you want to make sure that your readers have the easiest possible experience, the most pleasant possible experience in buying books from you. One way to do this is keep your website updated and check for broken links, which is easier said than done. I know, especially for me since Ghost in the Assembly will be my 160th novel, and that is a lot of links to check and my website had gotten complex enough that I finally hired someone to overhaul it and make sure all the links were working. But I think we've had good results since traffic is up and I get much fewer complaints now about dead links.
It's often a good idea to refresh ad images to keep potential readers’ attention. For Facebook ads, I think based on my experience, the best you can hope for is two to three weeks of good results with a single image. For BookBub, maybe three or four days. So it's good to have a supply of ad images you can rotate out often. Finally, incentivize readers to read your newsletter by keeping it brief and providing some kind of special reward, like a discount or bonus content, which is why I give away a lot of short stories in my email newsletter.
#4: Be willing to change it up or try new things. Barnes and Noble's leadership also ceded more control of the selection and displays to the individual stores, allowing them to better customize the stores towards the taste of the community. For most of Barnes and Noble's history, if you walked into the store and you saw the displays in the front and on the end caps where books were highlighted. Publishers paid through the nose for the privilege of having their books stocked that way. And while there is still some of that, obviously the new regime at Barnes and Noble has changed things around so that more local stores have greater control of what to put where, which means they can put out more books that their local community is more likely to buy. If you walk into a Barnes and Noble in Illinois, for example, you're much more likely to see a large display of Illinois local history than you would have otherwise.
For another example, I once visited a Barnes and Noble in a large suburb that had a very large teenage population that had the Young Adult section wedged in a single cramped back corner by the bathrooms. It was extremely unpleasant to browse, especially if one person was already in the aisle. And of course, if there was a line for the bathroom, which is often the case, teenagers typically want more physical space from strangers. This decision to put the Young Adult section in a cramped corner in the back of the store was clearly made by someone who did not a lot of experience talking to or working with teenagers. After Daunt’s changes, Young Adult was moved to the center of the store. The aisles in the new section were extra wide to accommodate groups of teens browsing together, and it was now full of colorful displays, many of which were handmade by staff members. In the times I visited this Barnes and Noble since, it is always the busiest part of the store.
Another surprise area of growth was the refreshing of the stationery and planner section. The previous selection was stale and heavily reliant on older licensed properties like Disney. It wasn't reflective of the trends in the category being popularized (once again by Instagram and TikTok), such as dot grid notebooks with high quality paper and guided journals (like the influencer favorite, the Five Minute Journal, which offers a few brief prompts to reflect on the day).
Barnes and Noble bought the stationery brand Paper Source, which brought in fresh designs to its cards and stationery. They also changed their selection to adapt to two of the biggest trends in stationery, bullet journaling and customizable Japanese planners. Stationery enthusiasts were willing to pay a premium to be able to see stationery items in person before buying, since that allows you to avoid counterfeit versions that are sold online and ensure that the product was in pristine condition and would not arrive through the mail damaged. Since the margins on stationery are way higher than they are in books, this was a wise decision.
Now how can we apply this lesson as a writer? One of the advantages of being self-published is the ability to change quickly based on data and reader feedback. For example, the Stealth and Spells Online series was originally called the Sevenfold Sword Online. Once I realized that readers were confusing this series with the main Sevenfold Sword series, I changed the title to help prevent confusion and emphasized that the series was in fact a separate one. I also changed the cover to reflect trends in the LitRPG series, such as characters’ faces usually not being shown and a more diffused, animation-influenced color palette.
If one of your books isn't connecting with readers, it may be worth your time to update your blurb and cover trends based on your categories. Another similar experience I had was with the Silent Order covers where I went through five different iterations with that cover before I settled on the version I have now, which definitely sells the best.
#5: Do what Amazon can't. The new CEO of Barnes and Noble focused on what Amazon couldn't do: provide a physical environment for browsing. Browsing aisles of books with a cup of coffee (from the Barnes and Noble Café) in hand is a relaxing experience for many people. Amazon famously tried to set up its own chain of physical bookstores, and it didn't work out because the experience for customers tended to be industrial and unpleasant in a way that made an airport newsstand seem downright cozy in comparison. The bookstores were stocked with just a very limited selection of popular books on plain shelves with electronic price tags. Nothing about it inspired browsing or finding new books, the most important way physical bookstores inspire readers to buy additional books.
This was an example of Amazon doing the opposite of our first lesson. Rather than doubling down on what was working, they tried something that was away from their core competency of low prices and fast delivery, which was a physical bookstore. In fact, one of these Amazon bookstores opened across the street from author Ann Patchett's Parnassus books, which is an indie bookstore in Nashville that provides lots of help from friendly, knowledgeable staff, autographed books from authors like Patchett, and a full calendar of events with local authors. Reviewers who have visited this indie bookstore rave about the friendly and helpful staff and the cozy atmosphere.
Even though Parnassus offered higher prices than the Amazon bookstore across the street, the experience was so much better that it's not surprising that the Amazon bookstore did not work and that Parnassus outlasted this physical Amazon bookstore that opened across the street. As many people have found out the hard way, it is very difficult to compete with Amazon on price. Instead of constantly discounting books with buy two get one free promotions or providing steep discounts through its membership program, Barnes and Noble stopped trying to compete with Amazon on price and turned their attention to something that Amazon couldn't do, which is the physical experience of the store. Events like children's story times and special events (complete with gift bags) for popular releases like Onyx Storm brought in people who hadn't been to a physical store in a while.
Now, the point of this isn't to indulge in Amazon bashing because Amazon does get criticized a lot, sometimes fairly, sometimes not fairly. The point is that trying to compete with Amazon on its core competencies of low price and fast delivery is not a good idea. And so instead, you need to try and find a way to do something well that Amazon can't do or Amazon isn't interested in doing. Even if Amazon remains a big part of your business as an indie writer, you can diversify your profits and readership by looking beyond Amazon.
What can't Amazon do for your readers? You can engage with your readers directly through your newsletter and social media. That's why I try to post at least once a day and respond to comments when possible. You can find ways to provide special content for loyal readers, which I do personally in the form of free short stories, discounts, Coupon of the Week (which we always talk about every week). Giveaways, et cetera provide something that Amazon can't or won't.
For example, direct sales platforms like my Payhip store can provide DRM free ebook files, multiple file formats with each purchase, and special bonus content for readers buying direct and so forth. If you buy a book off My Payhip store, you can download the epub file and a PDF file, which you can't do from Amazon anymore.
On a related note, give people who don't want to buy from Amazon a place to buy your books, whether that be other ebook vendors or your own direct sales page (or ideally both). I should mention that personally of my (soon to be) 160 books, only 14% of them are currently on Kindle Unlimited (which means Amazon exclusivity), which is a fortunate position I'm able to be in because Kindle Unlimited is also a big part of the market. I'm able to essentially play in both worlds where I have the majority of my series available wide (and available on my Payhip store with files and the other things we were talking about), while also providing some books for Kindle Unlimited readers, which also is a big part of the pool. I'm fortunate enough to be able to play in both worlds there and continue to do that.
To sum up, Barnes and Noble recovered by focusing on what it does best and finding the people who respond best to that. As a writer, I think your main focus should be on putting out new books and targeting your advertising is the best way to make that approach work for you. If you have a long series, it might be a good idea to make the first book free and advertise that if you want to connect more with your readers, giving away short stories is a good way to do that, especially in your newsletter. So to sum up, perhaps the best way forward for all writers is to remain flexible and to double down on your core competencies and core strengths.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week’s episode, we continue our discuss about how seeking prestige can be dangerous for writers, specifically in the form of traditional publishing and the New York Times Bestseller list.
This coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book #2 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store:
DRAGONSHIELD50
The coupon code is valid through March 21, 2025. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
00:00:00
Hello, everyone. Welcome to Episode 241 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 28th, 2025. Today we are continuing our discussion of how to escape the trap of prestige for writers, specifically traditional publishing and The New York Times Bestseller List. Before we get to our main topic, we will do Coupon of the Week, an update on my current writing and audiobook projects, and then Question of the Week.
This week's coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, Book Two in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. That coupon code is DRAGONSHIELD50. As always, I'll include the coupon code and the link to the store in the show notes. This coupon code is valid through March 21st, 2025. So if you need a new audiobook as we start to head into the spring months, we have got you covered.
Now an update on my current writing projects. I'm pleased to report I am done with the rough draft of Ghost in the Assembly. I came in at 106,000 words, so it'll definitely be over a hundred thousand words when it's done. I'm about 20% of the way through the first round of edits, so I am confident in saying that if all goes well and nothing unexpected happens, I am on track to have it out in March. I am also 10,000 words into Shield of Battle, which will be the fifth of six books in the Shield War series and I'm hoping to have that out in April, if all goes well.
In audiobook news, recording for both Cloak of Dragonfire and Orc-Hoard is done. I'm just waiting for them to get through the processing on the various stores so they're available. There is also an audiobook edition of Half Elven Thief Omnibus One and Cloak Mage Omnibus Three that hopefully should be coming in March. More news with that to come.
00:01:55 Question of the Week
Now let's move on to Question of the Week. Question of the Week is intended to inspire interesting discussions of enjoyable topics. This week's question: what is your favorite subgenre of fantasy, high fantasy, epic fantasy, sword and sorcery, historical fantasy, urban fantasy, LitRPG, cultivation, or something else? No wrong answers, obviously.
Cindy says: Epic fantasy or those with a good history for that world. The Ghost Series are fantastic at this.
Thanks, Cindy.
Justin says: I enjoy all those sub-genres, if they are done well. In times past I would've said comic fantasy, but that is because Terry Pratchett at his best was just that good.
Mary says: High fantasy.
Surabhi says: I'd honestly read anything fantasy that's written well and has characters I'm attached to, given that it's not too gritty. Bonus points if there's humor! Also, I love your books so much and they're the perfect blend of fantasy, adventure, and characters. Your books were what really got me into Sword and Sorcery.
Thanks, Surabhi.
Matthew says: See, that's difficult. I love my sabers, both light and metal. I would say urban fantasy crosses the boundary the most. If it's a captivating story, it will be read.
John F says: I can't choose one- Lord of the Rings or LWW, The Inheritance Cycle, The Dresden Files, Caina, Ridmark, or Nadia. I think what draws me is great characters who grow. The setting/genre is just the device. That's why I keep coming back to your books. You create great characters.
Thanks, John F.
John K says: I think I'm partial to historical fantasy. I enjoy all genres, but when I think of my favorites, they tend to be derivations of historical settings. Think Guy Gavriel Kay or Miles Cameron. That said, I was weaned on Robert E. Howard, Fritz Lieber, Michael Moorcock, Karl Edward Wagner, Jack Vance, so a strong sword and sorcery second place.
Juana says: High fantasy. Belgariad, Tolkien, dragons, et cetera.
Jonathan says: Sword and sorcery in space! Prehistoric sword and sorcery, sword and sorcery always.
Quint: says Sword and sorcery!
Michael says: Sword and sorcery.
For myself, I think I would agree with our last couple of commenters and it would be sword and sorcery. My ideal fantasy novel has a barbarian hero wandering from corrupt city state to corrupt city state messing up the business of some evil wizards. I'm also very fond of what's called generic fantasy (if a fighter, a dwarf, an elf, and a wizard are going into a dungeon and fighting some orcs, I'm happy).
00:04:18 Main Topic of the Week: Escaping the Prestige Trap, Part 2
Now onto our main topic for the week, Escaping the Prestige Trap, Part 2, and we'll focus on traditional publishing and the New York Times Bestseller List this week. As we talked about last week, much of the idea of success, especially in the United States, is based on hitting certain milestones in a specific order. In the writing world, these measures of success have until fairly recently been getting an MFA, finding an agent, getting traditionally published, and hitting The New York Times Bestseller List. Last week we talked about the risks of an MFA and an agent. This week, we are going to talk about two more of those writing markers of prestige, getting traditionally published and having a book land on The New York Times Bestseller List. Why are they no longer as important? What should you devote your energy and focus to instead?
So let's start with looking at getting traditionally published. Most writers have dreamed of seeing their book for sale and traditional publishing for a long time has been the only route to this path. Until about 15 years ago, traditional publishing was the way that a majority of authors made their living. Now that big name authors like Hugh Howie, Andy Weir, and Colleen Hoover have had success starting as self-published authors (or in the case of authors Sarah J. Maas and Ali Hazelwood, fan fiction authors) and then are getting traditional publishing deals made for them for their self-published works.
It's proof that self-publishing is no longer a sign that the author isn't good enough to be published traditionally. Previous to the rise of the Kindle, that was a common belief that if you were self-published, it was because you were not good enough to get traditionally published. That was sort of this pernicious belief that traditional publishing was a meritocracy, when in fact it tended to be based on who you knew. But that was all 15 years ago and now we are well into the age of self-publishing. Why do authors still want to be traditionally published when in my frank opinion, self-publishing is the better path? Well, I think there are three main reasons for that.
One of the main reasons is that the authors say they want to be traditionally published is to have someone else handle the marketing and the advertising. They don't realize how meager marketing budgets and staffing support are, especially for unknown authors. Many traditionally published authors are handling large portions of their own marketing and hiring publicists out of their own pocket because publishers are spending much less on marketing. The new reality is that traditional publishers aren't going to do much for you as a debut author unless you are already a public figure.
Even traditionally published authors are not exempt from having to do their own marketing now. James Patterson set up an entire company himself to handle his marketing. Though, to be fair to James Patterson, his background was in advertising before he came into publishing, so he wasn't exactly a neophyte in the field, but you see more and more traditionally published authors who you think would be successful just discontented with the system and starting to dabble in self-publishing or looking at alternative publishers like Aethon Books and different arrangements of publishing because the traditional system is just so bad for writers.
The second main reason authors want to be traditionally published is that they want to avoid the financial burden of publishing. This is an outdated way of thinking. The barrier to publishing these days is not so much financial as it is knowledge. In fact, I published a book entirely using free open source software in 2017 just to prove that it could be done. It was Silent Order: Eclipse Hand, the fourth book in my science fiction series. I wrote it on Ubuntu using Libre Office and I edited it in Libre Office and I did the formatting on Ubuntu and I did the cover in the GIMP, which is a free and open source image editing program. This was all using free software and I didn't have to pay for the program. Obviously I had to pay for the computer I was using and the Internet connection, but in the modern era, having an internet connection is in many ways almost a requirement, so that's the cost you would be paying anyway.
The idea that you must spend tens of thousands of dollars in formatting, editing, cover, and marketing comes from scammy self-publishing services. Self-publishing, much like traditional publishing, has more than its fair share of scams or from people who aren't willing to take the time to learn these skills and just want to cut someone a check to solve the problem. There are many low cost and effective ways to learn these skills and resources designed specifically for authors. People like Joanna Penn have free videos online explaining how to do this, and as I've said, a lot of the software you can use to self-publish is either free or low cost, and you can get some very good programs like Atticus or Vellum or Jutoh for formatting eBooks for very low cost.
The third reason that writers want to be traditionally published is that many believe they will get paid more this way, which is, unless you are in the top 1% of traditionally published authors, very wrong. Every so often, there's a study bemoaning the fact that most publishers will only sell about $600 worth of any individual book, and that is true of a large percentage of traditionally published books. Traditional publishers typically pay a lump sum called advance, and then royalties based on sales. An average advance is about the same as two or three months of salary from an office job and so not a reflection of the amount of time it typically takes most authors to finish a book. Most books do not earn out their advance, which means the advance is likely to be the only money the author receives for the book. Even well-known traditionally published authors are not earning enough to support themselves as full-time authors. So as you can see, all three of these reasons are putting a lot of faith in traditional publishers, faith that seems increasingly unnecessary or downright misplaced.
I think it is very healthy to get rid of the idea that good writing comes from traditional publishers and that the prestige of being traditionally published is the only way you'll be accepted as a writer or be able to earn a living as a full-time writer. I strongly recommend that people stop thinking that marketing is beneath you as an author or too difficult to learn. Whether you are indie or tradpub, you are producing a product that you want to sell, thus you are a businessperson. The idea that only indie authors have to sell their work is outdated. The sooner you accept this reality, the more options you will have. Self-publishing and indie publishing are admittedly more work. However, the benefits are significant. Here are five benefits of self-publishing versus traditional publishing.
The first advantage of self-publishing is you have complete creative control. You decide what the content of your book will be; you decide what the cover will be. If you don't want to make the covers yourself or you don't want to learn how to do that, you can very affordably hire someone to do it for you and they will make the cover exactly to your specifications. You also have more freedom to experiment with cross-genre books. As I've mentioned before, publishers really aren't a fan of cross genre books until they make a ton of money, like the new romantasy trend.
Traditional publishing is very trend driven and cautious. Back in the 2000s before I gave up on traditional publishing and discovered self-publishing, I would submit to agents a lot. Agents all had these guidelines for fantasy saying that they didn't want to see stories with elves and orcs and dwarves and other traditional fantasy creatures because they thought that was passe. Well, when I started self-publishing, I thought I'm going to write a traditional fantasy series with elves and orcs and dwarves and other traditional fantasy creatures just because I can and Frostborn has been my bestselling series of all time in the time I've been self-publishing, so you can see the advantages of having creative control.
The second advantage is you can control the marketing. Tradpub authors often sign a contract that they'll get their social media and website content approved by the publisher before posting. They may even be given boilerplate or pre-written things to post. In self-publishing, you have real time data to help you make decisions and adjust ads and overall strategy on the fly to maximize revenue. For example, if one of your books is selling strangely well on Google Play, it's time to adjust BookBub ads to focus on that platform instead of Amazon.
You can also easily change your cover, your blurb, and so forth after release. I've changed covers of some of my books many times trying to optimize them for increased sales and that is nearly impossible to do with traditional publishing. And in fact, Brandon Sanderson gave a recent interview where he talked about how the original cover of his Mistborn book was so unrelated to the content of the book that it almost sunk the book and hence his career.
You also have the ability to run ad campaigns as you see fit, not just an initial launch like tradpub does. For example, in February 2025, I've been heavily advertising my Demonsouled series even though I finished writing that series back in 2013, but I've been able to increase sales and derive a significant profit from those ads.
A third big advantage is that you get a far greater share of the profits. Most of the stores, if you price an ebook between $2.99 (prices are USD) and $9.99, you will get 70% of the sale price, which means if you sell an ebook for $4.99, you're probably going to get about $3.50 per sale (depending on currency fluctuations and so forth). That is vastly more than you would get from any publishing contract.
You also don't have to worry about the publisher trying to cheat you out of royalties. We talked about an agency stealing money last episode. Every platform you publish your book on, whether Amazon, Barnes and Noble, Kobo, Google Play, Smashwords and Apple will give you a monthly spreadsheet of your sales and then you can look at it for yourself, see exactly how many books you sold and exactly how much money you're going to get. I have only very rarely seen traditional publishing royalty statements that are as clear and have as much data in them as a spreadsheet from Google Play or Amazon.
A fourth advantage is you don't have to worry about publishers abandoning you mid-series. In traditional publishing, there is what's called the Publishing Death Spiral where let's say an author is contracted to write a series of five books. The author writes the first book and it sells well. Then the author publishes the second book and it doesn't sell quite as well, but the publisher is annoyed enough by the decrease in sales that they drop the writer entirely and don't finish the series. This happens quite a bit in the traditional publishing world, and you don't have to worry about that in indie publishing because you can just publish as often as you want. If you're not happy with the sales of the first few books in the series, you can change the covers, try ad campaigns, and other strategies.
Finally, you can publish as often as you want and when you want. In traditional publishing, there is often a rule of thumb that an author should only publish one book a year under their name. Considering that last year I published 10 books under my name, that seems somewhat ridiculous, but that's a function of the fact that traditional publishing has only so much capacity and the pieces of the machine involved there are slow and not very responsive. Whereas with self-publishing, you have much more freedom and everything involved with it is much more responsive. There's no artificial deadlines, so you can take as long as you want to prepare it and if the book is ready, you don't have to wait a year to put it out because it would mess up the publisher's schedule.
So what to do instead of chasing traditional publishing? Learn about self-publishing, especially about scams and bad deals related to it. Publish your own works by a platform such as KDP, Barnes and Noble Press, Kobo Writing Life, Apple Books, Google Play, Smashwords, and possibly your own Payhip and/or Shopify store.
Conquer your fear of marketing and advertising. Even traditionally published authors are shouldering more of this work and paying out of their own pocket to hire someone to do it, and if you are paying your own marketing costs, you might as well self-publish and keep a greater share of the profits.
The second half of our main topic, another potential risk of prestige, is getting on The New York Times Bestseller List. I should note that I suppose someone could accuse me of sour grapes here saying, oh, Jonathan Moeller, you've never been on The New York Times Bestseller List. You must just be bitter about it. That is not true. I do not want to be on The New York Times Bestseller List. What I would like to be is a number one Amazon bestseller. Admittedly though, that's unlikely, but a number one Amazon bestseller would make a lot more money than a number one New York Times Bestseller List, though because of the way it works, if you are a number one Amazon bestseller, you might be a New York Times Bestseller, but you might not. Let's get into that now.
Many writers have the dream of seeing their name on the New York Times Bestseller List. One self-help guru wrote about “manifesting” this milestone for herself by writing out the words “My book is number one on The New York Times Bestseller List” every day until it happened. Such is the mystique of this milestone that many authors crave it as a necessity. However, this list has seen challenges to its prestige in recent years. The one thing that shocks most people when they dig into the topic is that the list is not an objective list based on the raw number of books sold. The list is “editorial content” and The New York Times can exclude, include, or rank the books on the list however they choose.
What it does not capture is perennial sellers or classics. For example, the Bible and the Quran are obviously some of the bestselling books of all time, but you won't see editions of the Bible or the Quran on the New York Times Bestseller List. Textbooks and classroom materials, I guarantee there are some textbooks that are standards in their field that would be on the bestseller list every year, but they're not because The New York Times doesn't track them. Ebooks available only from a single vendor such as Kindle Unlimited books, ebook sales from not reporting vendors such as Shopify or Payhip. Reference Works including test prep guides (because I guarantee when test season comes around the ACT and SAT prep guides or the GRE prep guides sell a lot of copies) and coloring books or puzzle books. It would be quite a blow to the authors on the list to realize that if these excluded works were included on the list, they would in all likelihood be consistently below To Kill a Mockingbird, SAT prep books, citation manuals, Bibles/other religious works, and coloring books about The Eras Tour.
Publishers, political figures, religious groups, and anyone with enough money can buy their way into the rank by purchasing their books in enormous quantities. In fact, it's widely acknowledged in the United States that this is essentially a legal form of bribery and a bit of money laundering too, where a publisher will give a truly enormous advance to a public figure or politician that they like, and that advance will essentially be a payment to that public figure in the totally legal form of an enormous book advance that isn't going to pay out. Because this is happening with such frequency, The New York Times gave into the pressure to acknowledge titles suspected of this strategy with a special mark next to it on the list. However, these books remain on the list and can still be called a New York Times Bestseller.
Since the list is not an objective marker of sales and certainly not some guarantee of quality, why focus on making it there? I think trying to get your book on The New York Times Bestseller List would be an enormous waste of time, since the list is fundamentally an artificial construction that doesn't reflect sales reality very well.
So what can you do instead? Focus on raw sales numbers and revenue, not lists. Even Amazon's bestseller category lists have a certain amount of non-quantitative factors. In the indie author community, there's a saying called Bank not Rank, which means you should focus on how much revenue your books are actually generating instead of whatever sales rank they are on whatever platform. I think that's a wiser approach to focus your efforts.
You can use lists like those from Publishers Weekly instead if you're interested in what's selling or trends in the industry, although that too can be manipulated and these use only a fairly small subset of data that favors retail booksellers, but it's still more objective in measuring than The New York Times.
I suppose in the end, you should try and focus on ebook and writing activities that'll bring you actual revenue or satisfaction rather than chasing the hollow prestige of things like traditional publishing, agents, MFAs, and The New York Times Bestseller List.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's behavior, we discuss how seeking prestige can be dangerous for writers, specifically in the form of MFA degrees and literary agents.
This week's coupon code will get you 50% off the audiobook of Dragonskull: Sword of the Squire, Book #1 in the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store:
SQUIRE50
The coupon code is valid through March 14, 2025. So if you need a new audiobook for spring, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 240 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 20th, 2025, and today we are discussing how to escape the trap of prestige that can sometimes catch writers, specifically in the form of MFA degrees and literary agents. Before we get into greater detail with that, we will start with Coupon of the Week and then an update on my current writing projects and then also a Question of the Week before we get to the main topic.
But first, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Sword of the Squire, Book One of the Dragonskull series (as excellently narrated by Brad Wills), at my Payhip store. And that coupon code is SQUIRE50. The coupon code is valid through March 14th, 2025. So if you need a new audiobook as we head into spring, we have got you covered.
Now let's have an update on current writing projects. I am 94,000 words into Ghost in the Assembly. I had two 10,000 word days this week, which really moved the needle forward. We'll talk about those a little bit more later. I'm on Chapter 18 of 21, I believe, and if all goes well, I should hopefully finish the rough draft before the end of the month because I would like to get editing on that as soon as possible. For my next book, that will be Shield of Battle and I am 8,000 words into that and I'm hoping that'll come out in April. Ghost in the Assembly will be in March, if all goes well.
In audiobook news, recording for Cloak of Dragonfire (as excellently narrated by Hollis McCarthy) is finished and also recording on Orc-Hoard, the fourth book of the Half-Elven Thief series (as excellently narrated by Leanne Woodward). Both of those should be coming out sometime in March, if all goes well. So that's where I'm at with my current writing projects.
00:01:45 Question of the Week
And now let's move on to Question of the Week. Question of the Week is intended to inspire interesting discussions of enjoyable topics. This week's question, if you have off work or school because of a snow day or extreme cold or other intense weather, what do you do with the day? No wrong answers. We had a number of responses to this.
Surabhi says: Ha, jokes on you! It never snows where I live. We do sometimes bunk school on rainy days, though. What I mostly do then is catching up on homework or listening to the rain.
Justin says: We're having a snow day here; schools and many businesses are closed. So Lord of the Rings Extended Edition movie marathon! Popcorn popped, hot cocoa and cold soda prepped.
I have to admit, that seems like a very good idea.
Mary says: Read, write, watch the snow fall, try to exercise inside.
Michael says: That hasn't happened to me since about 1985, but I seem to recall it was on my birthday and boy was I happy to miss school on my birthday! I think I read fantasy books, drank tea, and played video games.
Juana says: curl up with a book and hot chocolate or tea.
John says: Haven't had a snow day since I was a child, but I did either play in the snow or read a book (at that age, Andre Norton, Lester del Rey, or Ben Bova). I'm relocating later this year back to colder climes, but since I now only work remotely and have for the past six years, sadly my days change very little.
Jenny says: Usually shovel snow, make a pot of warm food, more snow removal, watch movies or shows.
Bob says: I'm retired now, so probably not much different than any other day, but when I was working, I'd probably be out shoveling snow so I can get to work whenever the roads were clear. Of course, that necessitated more shoveling when the snowplow dumped its load across the end of my driveway and that's why I moved south, where I rarely see snow.
Yes, if you live in a colder climes and you have a driveway, you know that you'll shovel the driveway and then immediately when you're done, these snowplow will come and block up the end of the driveway.
Finally, Dan says: For myself, I enjoy a free day. However, soon the home duties encroach on this free time.
For myself, the answer is clearly that I write 10,000 words on the first snow day and then again on the second day because I just had two days in a row where it was too cold to leave the house. So what I did was stay home and wrote 20,000 words of Ghost in the Assembly.
00:03:54 Main Topic: Escaping the Trap of Prestige, Part I
Now onto our main topic of the week, Escaping the Trap of Prestige, Part I-as it pertains to MFA (Master of Fine Arts) degrees and agents. I'd like to preface this by saying that I'm not looking to knock anyone who has a MFA or who has a literary agent, especially if it's working out for you and you're happy with it. What I'm trying to do here is warn younger writers who are just starting out about the potential consequences of these things, which can be very severe if you choose wrongly. So that is my goal with this episode, to help writers escape the potentially bad consequences of the prestige trap because newer writers in particular want validation. I mean, we all want validation, but writers especially want validation and new writers are very vulnerable to wanting validation to the point where it's been well known for years that there's a large scam industry of various things that take advantage of newer writers looking for validation such as vanity publishers, scammy agents, and a wide variety of other online publishing scams.
This isn't to say that MFAs and literary agents are scams, though some literary agents have committed serious crimes (as we'll discuss later), but again, to warn against the danger of wanting prestige too badly and the bad decisions that can lead you to make. And some of this comes from the idea of success in life, especially in the United States and large parts of the Western world, is hitting certain milestones in a specific order. Like you graduate from college, you get a good job, you get married, you buy a house, you have your first kid, and if you don't do these things in the right order, there's something wrong with you and you have made mistakes in life, which isn't necessarily true, but is something that people can fall fall prey to and use to make destructive decisions. In the writing world, some of those measures of success have until fairly recently been getting a Master of Fine Arts degree, finding an agent, getting traditionally published, and hitting the New York Times list.
As of this recording, I have sold well over 2 million books without following that normal route to writing success. In fact, I think it's closer to 2.25 million now, and I mention that not to toot my own horn, but to say that there are routes outside of the potentially dangerous prestige paths I'm talking about. And despite that, many aspiring writers feel they must follow that specific route to writer success, otherwise they aren't real writers. They’ve got to get the MFA, the agent, traditionally published, and then the New York Times list. The quest for prestige can keep writers from succeeding in two ways that are more significant, getting their work in front of readers who want to read it and deriving income from writing. So today in the first part of this two part episode series, we're going to talk about two of those writing markers of prestige, MFAs and literary agents. Why are they no longer as important? What should you devote your energy and focus to instead?
So number one, the Master of Fine Arts trap. The Master of Fine Arts in writing has often been seen as a marker of writing ability, especially in the world of literary fiction. And I think the big problem, one of the big problems with MFA, first of all is cost. Getting a Master of Fine Arts degree is expensive, especially if you are not fortunate enough to receive scholarships or assistantships and so have to rely on student loans. The average cost of an MFA program is in the mid five figures when all is said and done, not even counting living expenses and textbooks and so forth. If you have to take out student loans to pay for that, that is a considerable loan burden, especially if you already have loans from your undergraduate degree.
Even the people who get their MFA paid for (usually in exchange for teaching introductory writing classes to first year university students), the opportunity cost of taking two to three years to get this degree means you're sacrificing other things in your personal and professional life in order to get this MFA. It's a huge outlay of time and energy, especially if you're moving across the country for a residential program. And what are you getting in exchange for this massive outlay of time, money, and effort?
You probably aren't going to learn the practical non-writing skills that you need in the modern writing world like marketing, data collection and analysis, and publication strategies (all of which I do on a fairly regular basis in addition to writing). All of these skills are important for writers now, even if they are traditionally published. The problem with many MFA programs is that they rarely, if ever teach these skills. It seems that what MFAs train their students to do is to become adjunct faculty professors with semester to semester contracts, which can pay around $2,000 to $4,000 USD per writing or literature course at most small to mid-size colleges and universities in the United States. Being an adjunct professor does not confer any benefits like health insurance or retirement funds.
I was talking about this episode with my podcast transcriptionist and she mentioned once she was at a faculty meeting where an adjunct professor in English with an MFA did the math and realized based on her hourly wage (based on all the actual hours she put into a semester), if she worked at the local gas station chain, she would be making $7 per hour more at the local gas chain and she would be only working 40 hours a week. That can be a very dismaying realization, especially after all the work you have put into getting an MFA and teaching.
Many defenders of the MFA degree will say that the real value of the degree is learning how to take criticism and learning to edit. But if you're writing in a genre outside of literary fiction, poetry, and memoirs, you are not likely to find a lot of useful advice. To return to my transcriptionist’s tales from her time inside academia, she once told me of meeting a faculty member who confessed that he never read a fantasy book and had no idea how to critique or help these students, and he was a writing professor. He meant well, but he's not even remotely an outlier in terms of MFA instructors and their familiarity with mysteries, romance, and science fiction works and fantasy, which is what most genre fiction is nowadays. Also, the quality of advice and help you receive varies wildly based on the quality of your cohort and instructors and their willingness to help others. It's a steep investment with very, very uncertain returns.
So in short, an MFA takes a huge outlay of time and money with very few tangible benefits, especially with genre writers. In all frankness I would say an MFA is the kind of degree you should not go into debt to get and you should only get if you can have it paid for through scholarships or assistantships or so forth.
So what should you do, in my opinion, other than an MFA degree? I think you should write as much as possible. You get better by practicing. You should read extensively. You will learn about writing by reading extensively, ideally in more than one genre. If you read enough and write enough, eventually you get to the moment where you read something and think, hey, I could do a better job than this. This is a major boost in confidence for any writer.
It might be a good idea to join a local or online writing group if you'd like critique from other writers. A warning that writing groups can vary wildly in quality and some of them have a bad case of crab bucket syndrome, so you may have to try more than one group to find one that works for you.
Another thing to do would be to listen to advice from successful writers. I saw a brief video from an author who recently pointed out that many people online giving writing advice aren't current or successful writers. One of the downsides of the Internet is that anyone can brand themselves an expert, whip together a course, and sell it online for a ridiculous fee. And people like this, their successes in creating methods or courses that turn writing into something more complicated to make aspiring writers reliant upon that process. Aspiring writers may end up spinning their wheels following all of these steps instead of getting to the actual work of churning out drafts. They may be spending money they can't afford in order to learn ineffective or even damaging strategies.
Many successful writers offer sensible advice for free, such as Brandon Sanderson posting his writing lectures for free on his YouTube channel. If you're looking for writing advice, you could do a lot worse than watching those lectures. And if you're going to take advice from anyone you read on the internet, it's probably better to take advice from successful writers who have demonstrated that they know what they are doing.
And finally, this may be more general advice, but it's a good idea to be open to learning and observing new experiences. It's probably a good idea to go to museums and cultural events, read about the latest developments in science and history, go on a hike in a new place, and observe the world around you. New writers often ask where writers get their ideas come from, and they very often come from just serendipitous things you can observe in the world around you. And that is also a good way to get out of your own head. If you're worried too much about writing, it's probably time to go for a long walk.
So why are agents potentially dangerous to writers? For a long time (for a couple decades, in fact), from I'd say from maybe the ‘80s and the ‘90s to the rise of the Kindle in the 2010s, the only realistic way to get published for most writers in terms of fiction was to get a literary agent. Publishers did not take unsolicited submissions (most of them did not), and you had to go through an agent to send your manuscript to a publisher. The agents were very selective for a variety of reasons.
Because of that, a lot of newer writers still idealize the process of getting agents. You'll see this on Twitter and other social media platforms where new writers will talk constantly about getting agents and what they have to do. And the ones who do get a request from an agent to send in the full manuscript after sending a few query chapters are just besides themselves with joy. And those who do get agents can sometimes sound like they're showing off their new boyfriend or girlfriend, like my agent says they like my book, or my agent says this or that. And as you can probably imagine from my description, this is an arrangement that has a lot of potential danger for the writer.
The traditional first step in this time period I was mentioning after finishing a book has been to get as prestigious of an agent as possible to contact publishers and negotiate deals on their behalf. The agent takes 10 to 20% of what a publisher pays a writer, but in theory can get a writer a better deal and are acting in their best business interests. And as I mentioned before, most significantly, most publishers are not willing to read submissions that are not submitted by an agent. If getting traditionally published is the goal, an agent is the crucial first step. I mean, that's the ideal that we've been talking about. In reality, traditional publishing is as cautious and risk averse as it has ever been. Agents have followed suit. It takes industry connections and/or a significant social media presence to even get an agent to look at your book.
Writing query letters and trying to get an agent also takes away from writing and is a completely separate skillset, as is the networking and social media work that is part of this process. Some people have spent months or even years working on query letters and getting an agent when they could have finished another book or more in the same time. Alright, so that is the practical and logistical reasons it's a bad idea for a writer to seek out an agent, and I frankly think you'd be better off. And now we get to the potentially criminal ones.
The thing about literary agents is there's no licensing or requirement or anything of that nature. You can set up a website and call yourself a literary agent. If you consider something like a lawyer, by contrast, I'm sure those of you who are lawyers in the United States will have many complaints and stories about your state bar, which is in charge of licensing lawyers. But the point is that the state bar exists, and if a lawyer is behaving in an unethical or unscrupulous matter, that can be brought as complaint to the state bar.
Nothing like that exists for literary agents at all. And because of that, scammy agents are everywhere. Some try to get writers to pay a fee upfront or other made up fees, or they get cuts from scammy book publishers or book packaging services. Or in general, they just try to squeeze every penny possible from aspiring writers. And this is often sadly very easy to do because as we've mentioned, many newer writers still think getting an agent is a major mark of prestige and humans crave prestige. And even if you get a prestigious and seemingly legitimate agent, that can potentially lead to life ruining problems because many of the legitimate agents are very sticky fingered.
Several years ago, the firm of Donadio and Olson, which represented Fight Club author Chuck Palahniuk, Godfather author Mario Puzo, and Catch 22 author Joseph Heller found out that one of their accountants had been stealing millions from their authors for many years.
Although the accountant was sentenced to two years of prison, it’s unlikely those authors will receive the money back fully. As Palahniuk put it in a blog post, “the legal process will be long and offers an iffy reward.” Mr. Palahniuk also lost out on money from touring to promote his books because of this crisis and said he was unable to support himself financially as a result of these stolen royalties.
By not filtering your royalties and earning statements through a literary agency that can falsify reports about these documents (as the accountant in question did), you have a full sense of what you are earning and what amounts you should be receiving. Amazon is open to many criticisms because of its decisions, but they pay monthly and they send a very detailed spreadsheet monthly to any Kindle authors of what books sold and what they expect to earn. It's sometimes almost too much data to process. The traditional publishing world would never even consider showing that to writers and agents often keep that from their writers. Palahniuk trusted his agency and accepted the explanations that rampant piracy and financial difficulties in the publishing world were keeping over a million dollars in royalties from him. He even later found out that this accountant was keeping non-financial correspondence from him.
Returning to the topic of Brandon Sanderson, I recently saw an interview between him and a podcaster Tim Ferris. He made the interesting point that the power centers in publishing have shifted from traditional publishing agents to the platform holders and the writers, the platform holders being people like Amazon, Apple, and Google who have the platforms that sell the books and the writers who bring the books to those platforms. The power is shifted away from agents and publishers to the platforms and writers. And because of that, in my frank opinion, literary agents are obsolete for those wishing to publish independently.
And my frank opinion is also that you should be independently publishing and not trying to get an agent or go with a traditional publisher. There's no reason to give someone 15% when you can upload the files to a service like KDP yourself. An agent will not be able to get you a better royalty from KDP. Amazon does not negotiate royalty rates at the agent level, and you have to be a writer on the scale of J.K. Rowling or maybe Dean Koontz to get any kind of special deal from Amazon.
So what should you do instead of seeking out an agent? Publish independently or self-publish. Be wary of excuses and explanations that prey upon emotional responses or a sense of loyalty to individuals, such as the case of Chuck Palahniuk, where they preyed on his fears of piracy and the instability of the publishing industry, as well as sympathy for someone who claimed to be taking care of a family member with a terminal disease. That was one of the excuses they used for why the records weren't right. Ask for facts and verify everything regularly. Publishers and agents are not your friends and not your family, and do not accept that approach in your business relationship with them.
Learn how to read and interpret any financial statements you receive. Don't trust a third party to do this for you, or if you must do that, make sure they're being audited regularly by a third party, not from just someone else at their firm.
So the conclusion is that in my opinion, the prestige of getting an MFA and an agent are currently not worth the trade-off and there are considerable risks that you take if your main goals are to build a following and sell books. Prestige is not going to put food on the table. And in fact, if you have five figures of student loan debt from an MFA, it may be keeping you from putting food on the table. So if you want to be a writer, I think both seeking out an MFA and seeking out an agent would be a waste of your time and possibly counterproductive.
Next week in Part Two, we'll discuss two more prestige traps in writing: getting traditionally published and hitting the New York Times Bestseller List.
That is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I discuss eating frozen pizza after a decade-long hiatus, and rate my favorite brands and styles of frozen pizza.
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to episode 239 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 14th, 2025 and today we are rating the different brands of frozen pizza I tried over the last several months. I know that is an odd topic for a writing podcast, but it's my podcast and I like frozen pizza, so we're going to talk about frozen pizza this week. Before we do that, we will have Coupon of the Week and an update on my current writing projects.
So let's start off with Coupon of the Week. This week's coupon code will get you 25% off the eBooks in the Dragonskull series at my Payhip store. That is all nine ebooks and this coupon code will get you 25% off any of them. That is DRAGONBOOK25. We'll have the links and the coupon code in the show notes. Someone pointed out that I've only been giving away coupon codes for audiobooks instead of ebooks, which is a fair argument, so that's why we're doing this. The coupon code will be valid through March 7th, 2025. So if you need a new series to read for spring, we have got you covered.
Now an update on my current writing projects. As of this recording, I am 67,000 words into Ghost in the Assembly, which puts me on Chapter 13 of 21. I think this book will be in the Hundred Thousand Words Club, maybe a little less, maybe a little more, we'll see. I'm still hoping to have it out in March, if all goes well. My secondary project right now is Shield of Battle, the fifth of six books in The Shield War series, and I'm 5,000 words into that. Once Ghost in the Assembly is complete, it will be full speed ahead on Shield of Battle.
In audiobook news, recording for Orc-Hoard (as excellently narrated by Leanne Woodward) and recording for Cloak of Dragonfire (as excellently narrated by Hollis McCarthy) are both done and those should be showing up on audiobook stores soon. They haven't quite gotten through processing yet, but it is close.
In regards to Cloak Mage and Half-Elven Thief, I am planning to work on those in the second half of 2025 once Ghost Armor and The Shield War are done, since there are only two books left in Shield War and I'm just about through the fourth book of six for the Ghost Armor series, that won't be too much longer. So that's where I'm at with my current writing projects and let's move on now to Question of the Week.
00:02:22 Question of the Week
Question of the Week is intended to inspire enjoyable discussions of interesting topics. This week's question, what is your favorite kind of frozen pizza? No wrong answers, obviously. The inspiration for this question is that it's the topic of the episode, so here are the answers we got from people.
Justin says: We do the Walmart Great Value rising crust frozen pizzas at my house. I add eight ounces of shredded cheese and sprinkle Italian herb mix on top.
I've found that's a good idea myself. If you buy some of the cheaper frozen pizzas, you can add extra pepperoni, oregano, or whatever you want to it and that will enhance the flavor.
John says: Trader Joe's. They have an Italian-made margherita that's quite good.
Scott says: Red Baron Classic Crust, either Supreme or Four Meats.
MW says: The one they sell in my country, brand name Dr. Oetker Ristorante with salami, mozzarella cheese, and green pesto. I often top it up with some goat’s cheese.
Doug says: Digiorno’s Supreme.
Juana says: Half pepperoni, half Canadian Bacon.
Brooks says: Depends on the mood. We typically don't eat frozen pizza. If we do, it's usually Digiorno’s, although when I'm craving something junk food-ish and pizza at the same time, I will totally go for Totino’s. Plus the story behind that brand and how it revolutionized the frozen pizza business in general is amazing.
Brandy says: I don't have a full size oven at the moment, so Totino's is my favorite because I like cheese pizza and it fits in my toaster oven. Otherwise, I make my own.
Gary says: Generally a smaller local brand-they seem to be a little fresher with higher quality ingredients than larger brands.
Parker says: Totino's, hands down-my favorite junk food.
JT says: I either eat 7-Eleven pizzas or eat Totino's. Otherwise, my pizzas are almost as fresh as the day Adam and Eve were introduced to the concept in Eden.
For myself, my answer will be the main topic of this episode, which we're going to get to right now.
00:04:15 Main Topic: Winter 2024/2025 Frozen Pizza Roundup
I used to joke that if I lived long enough and could afford to retire, I wanted to start a YouTube channel that consisted entirely of different reviews of frozen pizza. The idea came from the sitcom Community. I always enjoyed the show since it's about a community college. I used to work in higher ed, so I could definitely relate to most of the jokes. One of the recurring gags is an elderly student named Leonard (who was played by the late actor Richard Erdman) has a YouTube channel where he reviews potato chips, frozen pizza, and other snack foods. Anyway, one member of my family gets quite ill if any gluten is consumed. So for about the last decade, I've been buying and eating gluten-free frozen pizzas, which are very nearly almost as good as the real thing these days.
However, I eventually realized I could just buy myself a frozen pizza made with delicious, delicious gluten and get several lunches out of it over the course of the week. So that is what I did. Since I haven't had normal frozen pizza on a regular basis for nearly a decade, I decided to try a new brand every week. So here is the Winter 2024/2025 Frozen Pizza Roundup. Unlike my movie reviews, the pizza reviews will be in chronological order based on when I ate them. Grades are totally subjective and based on my own opinions and nothing else. I'll also be rating the pizza by eating it hot and eating it cold, since cold pizza is a different experience than hot pizza. Cold pizza for lunch the next day is something to look forward to, especially during a busy day.
I should also mention that I bought each pizza myself. No one sent me any free stuff, so while my opinion is subjective, it is nonetheless unbiased. Additionally, I exactly follow the preparation directions for each pizza since I wanted to avoid the phenomenon you sometimes see on recipe blogs where a commenter will complain that a recipe didn't work and then will later admit that they took out the butter, cut the sugar in half, replaced the flour with cornstarch, and substituted canola oil for frosting.
In terms of the health of eating this much pizza, I should point out I lost about five pounds during the time period here. Pizza, like most things, is perfectly fine when consumed in moderation. Eating an entire frozen pizza in one sitting is bad. I could do that when I was 20 years old and working as a truck unloader. Doing that when I'm a middle-aged man who spends most of his time sitting down and typing is a much worse idea. Besides, getting three meals out of a pizza is better and definitely more economical and I'm at the age where if I can lose a pound a month and keep it off, I'm doing well. With that rather lengthy introduction out of the way, on to the pizzas.
First up is the Pothole Pizza Meat Sweats, which I ate on November 15th, 2024. Kwik Trip is a large brand of gas stations and convenience stores in the Upper American Midwest. They're known for having a wide variety of foods. Pothole Pizza is the store brand of frozen pizza, so for my first week of trying a non-GF pizza, I got one of those specifically the Meat Sweats variant with a lot of meat, specifically a whole bunch of pepperoni, sausage, ham, and bacon. It was really quite good.
The crust was on the thicker side without being dough or bready. The sauce had a pleasant garlic flavor to it. The cheese was good and the pepperoni and sausage were ample. The sausage also had a pleasant spiciness to it as well. The abundance of cheese means that it is a little greasy but not unduly so. When cold, it is also good. You can't really taste the sauce, but the cheese sets well and the sausage tastes just as good cold as it does hot.
Overall grade: A+
Next up is the Cheese Mountain Four Meat pizza, which I had on November 22nd, 2024. Cheese Mountain is Kwik Trip’s take and bake pizza, which isn't frozen (technically). The advantage of take and bake is that it's easier to cook since it hasn't been frozen, though you really should cook it on the same day that you buy it.
Overall, I like this about the same as Pothole Pizza. The sauce on Pothole Pizza is better, while the crust on Cheese Mountain is superior. I do think the cheese on the Pothole is slightly better as well, which is ironic given that this pizza is named Cheese Mountain, but the cheese is still good. When cold, I don't think it's quite as good as the Pothole Pizza. Both the sausage and pepperoni aren’t as spicy as the toppings on the Pothole version. This was still good, but I still prefer the Pothole.
Overall grade: A-
Next up is Heggie’s pepperoni pizza, which I ate on December 6th, 2024. Heggie’s is a pizza company based out of Minnesota that distributes to the Upper Midwest and the Dakotas. I admit I don't go to bars all that often, but I've been told that Heggie’s is the official bar pizza of much of that region, so I decided to try that next.
Having never tried it before, I came in with no expectations and was therefore quite pleasantly surprised by how good it was. It's a thin crust pizza, though a bit on the thicker side, which gives the crust some satisfying heft. The sauce had an excellent tang. The pepperoni was good and the cheese flavorful. When cold, it is likewise excellent. The spiciness of the pepperoni overcomes the more subdued taste a pizza often has while cold. Honestly, this is a superb example of a pepperoni pizza.
Overall Grade: A
Next up is Lottza Motzza Four Meat pizza, which I tried on December 13th, 2024. This was made by Brew Pub Pizza, which is itself owned by Bernatello’s, a Wisconsin based frozen pizza manufacturer and distributor. I quite like this one as well. The crust is thin and just a bit flaky, which is nice. The cheese was excellent and as the name indicates, there was indeed a lot of mozzarella cheese. When eaten cold, it is also a good meal. The large quantity of cheese helps, the crust remains flaky, and the spiciness of the sausage is highlighted when it is cold.
Overall Grade: A
Next up is Legit Three Meat Pizza, which I ate on December 20th, 2024. Legit Three Meat Pizza is made by Pep’s Pizza Company, which is based out of Green Bay in Wisconsin. I admit I didn't like this quite as much as the other ones on the list. The meat was good, but the cheese and sausage weren't quite as strong as the other examples on the list so far. I don't think it had quite enough sauce, which is actually amusing because I accidentally dripped a bunch of sauce in my shirt while I was eating it (which might be why I thought it didn't have enough sauce, because some of the sauce ended up on my shirt). Eaten cold, I actually think it tastes better cold than it does hot. However, this is one of the few pizzas on this list where I would recommend you add some oregano, frozen pizza spice, or garlic salt (depending on your preferences) because it's not quite as flavorful as others on this list.
Overall Grade: B
Next up is the Screamin’ Sicilian pepperoni pizza, which I tried on January 3rd, 2025. Screamin’ Sicilian pepperoni is produced by the Palermo’s Pizza Company, which is based in Wisconsin.
I realized when I was writing this that a lot of pizza companies are based in Wisconsin, so I did some research. The reason is quite logical. Wisconsin is one of the leading producers of cheese in the United States, and so the pizza companies want to be closer to the supply, so to speak. Wisconsin is also generally considered to be more small business friendly than the neighboring states of Minnesota and Illinois. Having visited both Minneapolis and Chicago, I can hazard a guess that the only thing harder than running a small business in Minneapolis would be running one in Chicago.
Anyway, back to the pizza. I quite like this one. It has abundant cheese and a very generous layer of pepperoni. There's enough pepperoni that the top layer of it becomes quite crispy. Crispy
pepperoni is delicious. Additionally, the cheese is very good. I'd say the biggest weakness in the pizza is the crust, which is somewhat bland and a bit on the bready side. Eaten cold, it remains a good experience. The cheese sets well and the pepperoni retains the taste. As I said before, the crust remains the only weakness.
Overall Grade: A-
Next up is Pothole Pizza Pep Rally, which I ate on January 10th, 2025. This is another pizza from Kwik Trip’s Pothole brand, specifically an all pepperoni pizza, and frankly it was just superb. It has the same high quality crust, tasty sauce, and excellent cheese as the Meat Sweats version above. The pizza also has a generous layer of pepperoni, enough that crisps a bit in the oven. The combined flavor is just excellent.
Eaten cold, it tastes just as good. The cheese, the pepperoni, and the sauce (especially the sauce) retain their flavor. I think a strong sauce is key to having pizza taste good while cold. The only thing I can say that’s negative about this pizza is that I think it would taste better with sausage, which is why they have the Meat Sweats pizza.
Overall Grade: A
Next up is Pep’s Drafthouse Double Pepperoni Doppelboch Pizza, which I ate on January 17th, 2025. This is another pizza from Pep’s Pizza Company, also did the Legit Three Meat pizza from several weeks ago. I like this one quite a lot better than the Legit Three Meat pizza.
The crust was a bit thicker but much more flavorful. The pepperoni and the sauce both tasted good. The pizza had a mixture of mozzarella and provolone cheese, which I wasn't sure would work, but it really did. It gave the cheese a somewhat sharper flavor than the straight mozzarella that combined well with the pepperoni. Eaten cold, it isn't quite as good as hot, but granted that's true of many things. The sauce is definitely better when hot, though the cheese and pepperoni still carry the day.
Overall Grade: A-
Next up is Seventh Avenue Pepperoni and Meatball Pizza, which I ate on January 24th, 2025. Seventh Avenue is a regional frozen pizza in the Upper Midwest, specifically based out of Minneapolis. I have to admit, that makes me root for them a bit since as I mentioned above, running a small business in Minneapolis is a bit like playing the small business game on hard mode. Anyway, the pizza is quite good when it's hot. The cheese is on the higher end and the sausage is excellent. The crust isn't quite as good as the other ones on the list, but overall, the pizza is quite tasty. Eaten cold, I actually liked it a bit better. The sauce sets well and the cheese and toppings have strong flavor. I can tell that the cheese was very high quality because I needed to take three lactase pills before I ate it.
Overall Grade: A-
Next up is Tombstone pepperoni and sausage, which I ate on January 31st, 2025. I wanted to close out this review tour by trying some of the larger corporate pizzas, since all the pizzas I tried for this on the list came from relatively smaller, US-based companies. Tombstone was originally one of the oldest frozen pizza companies in the US, founded by Pep and Ron Simek in the ‘60s. Pep Pizza's company (mentioned above) is an effort to carry on that legacy. Tombstone is now owned by a very large multinational corporation that has something of a questionable reputation in certain areas (they're litigious, so you can Google them if you're curious). They're the kind of company whose “Controversies” Wikipedia article is as long as the actual article on the company itself.
So honestly, I wasn't sure what to expect. The multinational company in question bought Tombstone way back in 2010, and I haven't had a Tombstone pizza since a couple of years before that. In all honesty, it wasn't bad. Eaten hot, the crust is crisp and a little bit on the thicker side and the sausage is good. I like the sauce as well. The cheese isn't as good as the others on this list, but it's by no means bad. Eaten cold, it's adequate, but as I said, not as good as most of the others on this list.
But in all fairness, the biggest advantage of Tombstone is price. If I remember right, it's at least $2 cheaper than the next cheapest pizza I tried on the list. The downside of buying pizzas from smaller companies is that they tend to be proportionally more expensive. Given how bad the economy remains, this is an important fact, which in all fairness is one of the advantages of a larger company like the multinational food company we've been talking about- it is possible to drive down the cost and deliver a product that might not be as good as some of the others on this list but it is still good enough at a lower price.
Overall Grade: B+
The next large corporate pizza I tried, and the last one we'll mention in this episode, is the Digiorno’s Classic Crust pepperoni pizza, which I tried on February 10th, 2025. Digiorno’s, like Tombstone, is part of the same food conglomerate I mentioned for the Tombstone pepperoni and sausage pizza, which makes sense because honestly, this tasted almost exactly the same as the Tombstone pizza. I thought that pepperoni was slightly better, but overall, it tasted very nearly the same.
Eaten cold, I don't think it was quite as good. The crust definitely got a bit soggier than the others on the list. I think Digiorno’s is mostly known for their thick crust pizza, so I might try one of those instead and see what the difference is. But again, this had the significant advantage of being cheaper than many of the other options I tried. Granted, I still like the Tombstone pizza better, but this wasn't a bad pizza, either.
Overall Grade: B
So now we come to the conclusion. Overall, the Pothole Pizza Meat Sweats, Heggie’s pepperoni pizza, and the Lotzza Motzza Four Meat Pizza were my favorites. For the more budget conscious diner, I think the Tombstone Pizza offers the best value for price out of everything on this list. Given that I didn't give anything on this list a lower grade than a B, you might conclude that I like frozen pizza, and you would be right.
I very much enjoy frozen pizza, and I very much enjoy having come back to gluten based pizza after a decade, after finally deciding that, you know what? When I have pizza, I'm going to buy a glutenous pizza and a non-gluten pizza for the family member who has trouble with gluten. Still, frozen pizza in general is really a miracle of technological achievement, isn't it? Making pizza from scratch is a lot of work, but you can go to the store, buy an entire pizza for under $10, and cook and eat it with minimal prep time. That would've been an unfathomable wonder for the vast majority of human history, and I think that is to be admired. So to celebrate this achievement, I think I'm going to eat some cold pizza now.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I promise that next week I will go back to talking about writing topics instead of movies or frozen pizza. I hope you found the show enjoyable. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at the movies and streaming shows I watched in winter 2024/2025, and share my opinions on them. I also take a look at my ebook advertising results from January 2025.
This week's coupon code will get you 50% off the audiobook of Half-Orc Paladin, Book #3 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store:
PALADIN50
The coupon code is valid through February 28, 2025. So if you need a new audiobook for the bad February weather, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 238 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 7, 2025 and today we are discussing the movies and streaming shows I watched in Winter 2024 and 2025. Before that, we will do Coupon of the Week, an update on my current writing projects, Question of the Week, and my ad results from January 2025.
First, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Half-Orc Paladin, Book Three in the Half-Elven Thief Series (as excellently narrated by Leanne Woodward) at my Payhip store. That coupon code is PALADIN50. This coupon code will be valid through February the 28th, 2025, so if you need a new audiobook to get you through the bad February weather, we have got you covered.
Now for an update on my current writing and audiobook projects. As I mentioned last week, Shield of Deception is now out and you can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords and my Payhip store. It is doing quite well. Thank you all for that. I hope you enjoy the book and I've been hearing good things about it from people who read it.
Now that Shield of Deception is done, my main project is now Ghost in the Assembly and I am 36,000 words into it as of this recording, which puts me almost on Chapter 8 of 21. So I'm about one third of the way through the rough draft, give or take. If all goes well. I'm hoping that book will be out in March. My secondary project is Shield of Battle, which is the sequel to Shield of Deception and I am about 2,000 words into that. I'm also 50,000 words into what will be the third and final Stealth and Spells book, Stealth and Spells Online: Final Quest. It was originally named Reactant, but I decided to change the name to Final Quest because that sounds better and if all goes well, that will probably be out in the middle of the year, give or take.
In audiobook news, Cloak of Masks (as excellently narrated by Hollis McCarthy) is now out at all audio stores, including Audible, so you can listen to that there. Work is almost done on Cloak of Dragonfire. It's being proof-listened to as I record this and hopefully that should be out before too much longer. So that is where I'm at with my current writing and audiobook projects.
00:02:19 Question of the Week
Next up is Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's topic, which ties into our main topic: what was the favorite movie you saw in 2024? No wrong answers, obviously (including “I hate everything I saw in 2024”). We have a few responses for this.
JD says: It was either Transformers One or Deadpool and Wolverine.
Mary says: I didn't see any movies in 2024.
Doug says: Dune was one of the books I read in the ‘70s. Like your books, I never got enough back then. I was buying Hardcovers. I still have six of them. I have seen the two versions of the books. Can't wait to see this version of the books. I have seen the first movies. Hope to see more.
David says: Godzilla versus Kong was pretty much the only one from last year I saw. I just bought Gladiator 2 but haven't watched it yet.
Davette says: I enjoyed both Dune 2 and The Fall Guy and Inside Out 2 and Deadpool and Wolverine. My favorite was Wicked, mainly because I've been waiting on that movie for years.
Bonnie says: I haven't seen any movies or watched TV in years.
For myself, I think it would be a tie for my favorite movie of 2024 for between Dune 2 and The Fall Guy. The two Dune movies, for all the stuff they changed from the book, are probably the most faithful adaptation it was possible to make with that very dense and very weird book. I thought The Fall Guy was just hilarious and I had no idea it was based on TV series from the ‘80s until I read up about it on the Internet after I saw the movie. It was interesting that we didn't have very many responses to this question the week and of those responses, one third of them was “I didn't see any movies in 2024.” So if the movie industry is wondering why it's in so much trouble, I think we might have just found the answer here in that nobody wants to go to see movies in the theater anymore.
00:04:09 Ad Results for January 2025
Now onto our next topic, how my ads performed in January 2025. Now as usual for my books in January, I used Facebook ads, Amazon ads, and BookBub ads, so let's break them down by category- first, by Facebook ads. As usual, I advertised The Ghosts and Cloak Games/Cloak Mage.
GHOSTS: $4.08 for every dollar, with 22% of the profit coming from the audiobooks.
CLOAK GAMES/MAGE: $3.38 for every dollar, with 6% of the profit coming from the audiobooks.
So that went pretty well. I’m hoping that percentage will go up once Cloak of Dragonfire is done and we can put together Cloak Mage Omnibus Three.
I also did some Amazon ads – specifically for HALF-ELVEN THIEF, STEALTH & SPELLS ONLINE: CREATION, and THE LINUX COMMAND LINE BEGINNERS GUIDE.
Remember, for an Amazon ad to be effective, it usually needs to be generating at least one sale for every eight clicks on the ads.
HALF-ELVEN THIEF: $4.65 for every dollar spent, 1.85 sales for every click. It’s just an amazing ratio-thank you for that.
STEALTH & SPELLS ONLINE: CREATION: Lost $0.15 for every dollar spent, 1 sale for every 4.76 clicks.
THE LINUX COMMAND LINE BEGINNER’S GUIDE: $3.16 for every dollar spent, 33% of the profit from audio, 1.34 sales for every click.
The standout was HALF-ELVEN THIEF, which actually had more sales than clicks on the ads. That hardly ever happens!
You can see there’s a reason I’m going to conclude STEALTH & SPELLS with the third book, because it just doesn’t sell well. All of the advertising experiments I have tried to make it sell well have not responded to date. That said, we did improve from December, where I only got a sale for every 14 clicks.
Additionally, Amazon ads work really well with nonfiction books, since they respond a lot better to keyword ads.
Finally, I used Bookbub ads for THE GHOSTS on Apple. That went pretty well.
THE GHOSTS: $4 for every $1 spent.
So, all in all, a pretty good month for ads, though STEALTH & SPELLS remains the weak point. As always everyone, thank you for buying the books and listening to the audiobooks.
00:06:50 Main Topic: Movie/TV Show Reviews of Winter 2024/Early Winter 2025
Now onto our main topic, the movies and streaming shows I watched in Winter 2024 and early winter 2025. As always, my ratings are totally subjective and based on nothing more concrete than my own opinions.
Our first one is Red One, which came out in 2024. This was a strange mashup of genres, a holiday movie, urban fantasy, a thriller, and just a little bit of existential horror. Dwayne “The Rock” Johnson plays Callum Drift, who is the head of Santa Claus's security. Meanwhile, Chris Evans plays an unscrupulous hacker and thief named Jack O'Malley. Jack unwittingly helps unknown malefactors kidnap Santa Claus and so Callum and Jack have to team up to rescue Santa from his kidnappers. This sounds like a lighthearted holiday movie, but it really isn't. The movie is rather dour and takes itself very seriously. Callum acts like he's in a Jason Bourne movie and deals with various supernatural creatures like a special forces operator assessing targets.
Additionally, there are some urban fantasy elements with the vast government agency dedicated to hiding the supernatural world from normal people. I don't think the dissonance really worked at all. It had pieces of a light holiday movie and pieces of a thriller and they really didn't mesh. It's not hard to see why this one didn't do well in the theaters, on top of its enormous budget.
Overall Grade: D (In the spirit of Christmas generosity)
Next up is Argylle, which came out in 2024. This was a dumb movie, but I enjoyed it, kind of like Murder Mystery with Adam Sandler and Jennifer Aniston on Netflix. I mean that wasn't exactly Shakespeare or Milton, but I would be lying if I said I didn't enjoy myself while watching it. Same thing applies to Argylle. The plot is that the protagonist Ellie Conway is a bestselling spy novelist. Ellie is a bit of an eccentric personality and travels everywhere with her cat in a backpack that has a window in it so the cat can see what's going on.
However, it turns out that Ellie's novels are accurately predicting events in real life espionage, so several sinister spy agencies are hunting her down to learn her secret. A spy named Aidan saves Ellie, claiming that he's the only one she can trust. Of course, this is the kind of movie that has a shocking betrayal and plot twist every eight minutes or so, and the revelation of the central twist made me face palm a bit. There is a fight scene at the end involving colored smoke that's absolutely bonkers. It was on Apple Plus or Apple TV or whatever it's called, but that means all the characters did all their computing on shiny new Apple devices, which is always amusing.
Overall Grade: D+ (but barely)
Next up is Venom: The Last Dance, which came out in 2024. It wasn't as good as the first two since so many of the characters did not return, but it brought the Venom Trilogy to a mostly satisfying conclusion. Eddie Brock and Venom are on the run after the events of Venom: Let There Be Carnage. Unbeknownst to either of them, the US government has a secret facility holding captured symbiant aliens and the agency that runs the facility is hunting for them. Unbeknownst to the US government, the creator of the symbiotes, an evil entity named Knull is preparing to escape his prison and to do that, he needs Eddie/Venom delivered to him alive, so he dispatches his creatures to Earth hunt down Eddie and Venom, with disastrous results. The best part of the movie was the comedic duo of Eddie and Venom since the movie takes the absurdity of their situation and leans into it.
Overall Grade: B-
Next up is the Lord of the Rings: The War of the Rohirrim, which came out in 2024. I read an interview with Brandon Sanderson where he said that a big part of the problem with movie adaptations of books is that the filmmakers often want to tell their own story, not the books’. So they basically used the book as a framework for telling their own story, which inevitably annoys the readers of the book. I suspect that was what happened with The War of the Rohirrim. This movie was a mixture of strong points and weaknesses. Apparently it only exists because New Line needed to put out something or they’d lose film rights to Tolkien’s stuff, and so The War of the Rohirrim was fast-tracked.
The strong points: the animation looked pretty, the battle scenes were fun to watch, the voice performances were good, and the music was also good.
The weak points: it felt too long and slow-paced. I think a good half-hour could have been cut of the characters looking pensive and thoughtful (and saved the animators a lot of work in the process). Additionally, I don’t think the changes to the plot quite worked. It’s based out of the Appendices of The Lord of the Rings, specifically the history of Rohan. In the book, the plot is touched off when the corrupt Lord Freca demands that King Helm’s daughter Hera marry Freca’s son Wulf. Helm takes exception to this and ends up killing Freca. His son Wulf swears vengeance, gathers an army from Rohan’s enemies, and sets out to seize the crown for himself. In the book, Helm’s sons are killed, and Helm himself dies in the defense of the Hornburg (which later becomes known as Helm’s Deep), but his nephew Frealof gathers an army, kills Wulf, and becomes the new king of Rohan.
That would have been perfectly good for the plot, but as we mentioned above, I think the screenwriters decided they wanted to write about a Strong Female Character, so they massively expanded Hera’s part and made her the protagonist. The problem with this as an adaptation is that Hera is only mentioned once in the book, so the script has to make up a lot of extra stuff to justify Hera’s presence, which always weakens an adaptation of a book. This version of Hera would have been in danger of becoming a stereotypical #girlboss character, but she acts more like a Japanese anime protagonist, which does work better in this sort of movie than an Americanized Strong Female Character.
So, in the end, not a bad movie, but I think it would have worked better if they had stuck closer to the original plot in the book.
Overall Grade: B-
Next up is Golden Era, which came out in 2022. This is a documentary about the making of the classic Nintendo 64 game Goldeneye and the company behind it. Until I watched this, I never knew that Rare, the company that made Goldeneye, was based in the UK.
I admit I really didn’t play Goldeneye back in the ‘90s and early ‘00s. I did a few times at various social events, but I never really got into it since I didn’t own a game console from 1998 to 2019. Nonetheless, Goldeneye was a very influential game that left its mark on all first-person shooter games since. The documentary interviews most of the people who were involved in the making of Goldeneye, and it was fascinating to see how they more or less accidentally created a genre-defining game.
If you enjoyed Goldeneye or are interested in video game history at all, the documentary is worth watching. After many years of official unavailability, Goldeneye is now available on Nintendo Switch and Xbox, so I may have to give it a try.
Overall grade: B
Next up is Wonka, which came out in 2023. I didn’t really intend to watch this, but it was on in the background while I was playing Starfield…and Starfield has a lot of loading screens. This movie wasn’t made for me, not even remotely, but I thought it was a competently executed example of a movie musical.
Anyway, the plot revolves around a young Willy Wonka coming to a city that seems like a weird hybrid between Paris and New York. Wonka sets out to start selling his innovative chocolates, but soon runs into stiff opposition from the corrupt local candy industry, the corrupt local police chief, and his equally corrupt landlady, who has somehow transitioned from hospitality to luring people into debt slavery. Wonka makes allies from his fellow indentured workers, and soon he is conducting local chocolate manufacturing like a heist.
Like I said, this really wasn’t made for me, and I’m sure people who actually like musicals would have many more detailed opinions. But this had some genuinely funny bits. Hugh Grant as an Oompa Loompa was hilarious, and so was Rowan Atkinson as a corrupt bishop. The best line: “Judgment has come…in a most unexpected form!”
Overall grade: B
Next up is Man on the Inside, which came out in 2024, and this is a Netflix comedy series from Mike Schur, who created Parks and Recreation, The Good Place and Brooklyn 99. To describe this show, think of a meditation about accepting the inevitability of aging and death through Schur’s comedic style, and you’ll be there.
Anyway, Ted Danson stars as a recently widowed retired professor of engineering named Charles. His daughter is worried that he’s not handling things well and becoming too isolated, so suggests that he find a hobby. Charles answers a classified ad for an “older man who can use technology” and finds himself recruited by a private investigator named Julie. Julie’s company has been hired to find a thief within a retirement home, and Julie is about 35 years too young to convincingly infiltrate a retirement home. Hence, Charles pretends to be a new resident, and finds himself befriending the residents he is supposed to investigate. All the while, he tries to deal with the remaining grief from his wife’s death, which he never got around to processing in the moment.
In my opinion, The Good Place and Brooklyn 99 both kind of fell apart in their final seasons, but Man on the Inside avoids that in its final episodes, providing good resolution to both the conflict and the emotional stakes. I thought it was both bittersweet and quite funny, and I approve that there’s going to be a 2nd season.
Overall grade: B
Next up is Minted, which came out in 2023, and this was an interesting documentary about the rise in the fall of the NFT, which in the early 2020s we were assured was going to be the next big thing, but it just turned out to be yet another scam.
The documentary follows an interesting course, first explaining what an NFT is, and then interviewing artists who made life-changing money from minting their early NFTS. But then the speculators arrived, and followed swiftly by the scammers. As of 2025, of course, NFTs are quite worthless, like so many much-vaunted Web 3.0 style technologies.
I think the documentary’s biggest weakness was assuming that NFT technology was around to stay and would find a use that would help artists. I agree that it’s around to stay, but I don’t think it adds value to anything at all. Nevertheless, an interesting look into the NFT fad and the impact it had on artists.
Overall grade: B
Next up is Gladiator 2, which came out in 2024. This is basically the same movie as the original Gladiator, just reshuffled a bit and with twenty years of improved technology. The main character Hanno is a soldier in an African city that rebels against Rome. After the rebellion is inevitably crushed, he is taken as a slave and ends up as a gladiator in Rome, determined to take his vengeance on the Roman general who ordered the death of his wife. However, the general was only carrying out the orders of the insane twin emperors Geta and Caracalla. For that matter, Hanno’s owner, the charming and affable Macrinus, has his own agenda. As Hanno seeks revenge, he finds himself drawn into the deadly game of imperial politics and must confront the secrets of his own past.
The movie is only very vaguely accurate in terms of history, but it does a good job of capturing the corruption and decadence of the Roman Empire at that time. The empire was in very bad shape, and in fact was only a few years from what historians call the Crisis of the Third Century, a fifty year period of continual civil war, assassination, usurpation, and economic meltdown that resulted in the empire breaking into three separate states for about fifteen years. Everyone knows that the Roman Empire fell in 476 AD, but it very nearly didn’t make it even to 300 AD. So the ending of Gladiator 2 is a total fantasy, like one of those alt-history books where the Roman Empire ends up conquering the Americas or expanding into outer space.
That said, I enjoyed the movie. Denzel Washington, Pedro Pascal, and Connie Nielsen in particular gave very good performances, with Denzel Washington’s Macrinus as the standout.
Overall grade: B
Next up is High Sierra, which came out in 1941, and this is 1940s true crime grimdark. A common misconception is that black and white films are generally more sanitized and saccharine than modern fare. This definitely isn’t true – there wasn’t any gratuitous violence and nudity in ‘40s movies, but some of them were very cynical and dark. High Sierra definitely falls into that category. Humphrey Bogart plays Roy Earle, a bank robber currently in Indiana state prison. His former boss Big Mac arranges a pardon for him, and brings him out to California for one last big job.
Unfortunately, the other people on Earle’s crew are idiots, and he has a growing sense of impending disaster. Additionally, Earle gets emotionally entangled with two women – Velma, a sick woman from his hometown, and Marie, a woman inured to the lifestyle of criminals. As Earle prepares for the job and attempts to deal with the two women, things get more and more complicated.
Definitely on the darker side as I mentioned, but well worth watching, both as a historical artifact and a crime story in its own right.
Overall grade: B+
Next is Star Trek: Lower Decks Season 5, which came out in 2024. Lower Decks is an example of a parody of a thing that is so good that it sort of loops around the horseshoe and becomes a good example of the thing it is parodying. Season 5 is the undeserved end to the very funny Lower Decks series. Paramount really, really wants to get purchased by Skydance, and that’s probably going to happen in 2025, so there’s a lot of clearing the decks at Paramount, and I expect Lower Decks was one of the casualties.
Then again, our protagonists are no longer lower deckers but junior officers, so perhaps it was a natural place to end the show. So Lower Decks went out pretty strong with a collection of funny and good episodes. All the characters experienced plot arcs and development. The lower deckers matured from the callow ensigns they were in Season 1, and the senior officers likewise experienced character growth and development. (I liked Commander Ransom’s triumphant battle cry of “high intensity interval training!”)
I’d say the only weakness is that the show ended with multiverse stuff, and I don’t like multiverse stuff in general. Still, the show made a compelling argument for the multiverse as a concept, and the multiverse plot did give an excuse to bring back various Trek actors for speaking parts. And, to be fair, Star Trek has been doing multiverse stuff long, long before the Marvel movies ran the concept into the ground – Captain Kirk was dealing with alternate universe stuff back in the 1960s.
The last episode was a satisfactory conclusion to the series. Lower Decks might be over, but once the Skydance acquisition settles down, maybe the character will return in a new show called Junior Officers? One can hope!
Overall grade: B+
Next up is the Frasier reboot Season 2, which also came out in 2024. I liked this about as much as I liked Season 1, which is to say I enjoyed it and found it funny. Frasier’s and his son Frederick’s relationship seems to have reached equilibrium, so the season spent more time on more 1940s style screwball comedy, which is not a bad thing. Some of the best comedy remains the conflicts between Frasier and Frederick, which is of course an echo of Frasier’s own conflicts with his father back in the original show in the 1990s.
I think the best episode was the return of Frasier’s scheming, Machiavellian agent Bebe and her daughter Phoebe, who did not exactly fall far from the maternal apple tree. The 10-episode format for the season does seem rather cramped compared to the 20-ish episodes per season of the original show, but that was a different era.
Frasier remains, as one of the characters said in the previous season, the same well-meaning buffoon who goes “that extra, ill-advised mile.” I hope we get a Season 3, but with the shakeups we mentioned at Paramount, that seems unlikely.
Overall grade: A-
Finally, let's close with the three best things I saw in Winter 2024/2025.
The first of my favorite three is Saturday Night, which came out in 2024. This is a biopic about the chaotic first night of Saturday Night Live back in the 1970s. Quite hilarious in a vicious sort of way, and (from what I understand) it accurately captures the sheer chaos of live TV. Of course, the chaos surrounding SNL is probably a bit higher than usual for standard live television.
After I watched it, I looked it up, and it seems the movie compresses about three months’ worth of events into the hour and a half before the launch of the very first episode. What’s amusing is that the more outlandish an event in the movie was, the more likely it was to have actually happened in the leadup to the show’s launch. It was the mundane stuff that was made up, not the crazy stuff.
JK Simmons was hilarious as Milton Berle. Nowadays, SNL is an Institution, so it was amusing to see it back when everyone thought it was a bad idea that would fail catastrophically. The movie convincingly captured the “look” of the 1970s – all the characters looked like they were made of nicotine, cholesterol, and cocaine, and in some instances, a lot of cocaine. That stuff is bad for you, as several SNL stars later found out to their sorrow.
It really shows the randomness of history – watching the creation of SNL, you wouldn’t expect it to have lasting cultural impact, but it did.
Overall grade: A
The second of my three favorite things I saw was The Thin Man, which came out in 1934. This is based on a novel by Dashiel Hammett (most famous for writing The Maltese Falcon), and was made pre-Hays Code, so the female lead tended to wear outfits that show off a bit more skin than you would otherwise expect in a 1930s movie. Interestingly, The Thin Man is a fusion of a noir detective movie and a screwball comedy, not two genres that are usually connected, and somehow it all works.
Anyway, the movie centers around detective Nick and his wife Nora, who have returned to New York after a four-year sojourn to California. Nick used to be a private detective, but then he married the wealthy Nora, and wanted to retire to a life of ease and parties with a lot of alcohol. Except everyone in New York assumes that Nick isn’t retired and is back on the case, and so he gets dragged into the disappearance of an eccentric factory owner and a string of murders that pop up around it. Of course, Nick isn’t as reluctant to come out of retirement as he pretends.
As is often the case in many movies made in the 1930s, many of the rich characters are shown as malicious buffoons, especially the factory owner’s ex-wife. Nick and Nora, as the protagonists, are of course exempt from this.
This is considered a classic, and deservedly so – the characters are sharply drawn, the dialogue is good, the performances are excellent, the movie manages to portray a fairly complex plot in 90 minutes. You’ll want to watch it with the captions on, of course, because while human nature may not have changed in the ninety years since this movie came out, audio technology has sure improved.
Fun fact: Nick and Nora’s dog is named Asta, which is apparently a frequent answer in crossword puzzles due to the double vowels.
Overall grade: A
Now, for the third of my three favorite things I saw in Winter 2024/2025, that would be Star Wars: Skeleton Crew, which came out in 2024.
This is Star Wars meets The Goonies meets Pirates of the Caribbean, and despite that very odd combination of influences, the show was really quite good. The show opens on the idyllic planet of At Attin, which looks like an idealized version of 1980s suburbia filtered through Star Wars. Everyone on the planet has the same job – contributing to the Great Work (whatever that is). Since our four protagonists are kids, they don’t pay much attention to that or the concerns of the adults. When one of the children discovers a derelict spaceship in the woods, they accidentally activate it and fly off-planet.
This is a problem because At Attin is protected by a Barrier that doesn’t allow travel, and the galaxy is a dangerous place with a lot of pirate gangs roaming around looking for prey.
However, the children fall in with Jod, who claims to be a Jedi who will help the kids get back to their home. Everyone they meet warns them that Jod is a con artist and not to be trusted, but he demonstrates Force powers again and again (which would seem to support his claim that he’s a Jedi). And the kids’ home of At Attin has a mysterious secret, one that Jod desperately wants to claim for himself.
This is very entertaining all the way through. Star Wars really works best as a kids’ adventure show (in my opinion), though I’m still looking forward to the second season of Andor, which is Star Wars crossed with a John le Carre spy thriller.
Overall grade: A
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at five tips for outlining your novel. I also take a look at audiobook sales for 2024.
This week's coupon code will get you 50% off the audiobook of Wizard-Thief, Book #2 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store:
WIZARD50
The coupon code is valid through February 21, 2025. So if you need a new audiobook for spring, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 237 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January 31st, 2025, and today we're discussing five tips for outlining your novel. Before we get to that, we will have Coupon of the Week, an update on my current writing projects, Question of the Week, and then a look at how my audiobooks performed in 2024.
First up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Wizard Thief, Book Number Two in the Half-Eleven Thief series (as excellently narrated by Leanne Woodward) at my Payhip store. That coupon code is WIZARD50. Both the coupon code and the link to the store will be in the show notes for this episode. This coupon code will be valid through February the 21st, 2025. So if you need a new audiobook to get you through the February doldrums, we have got you covered.
And now an update on my current writing and audiobook projects. I am very, very, very pleased to report that Shield of Deception, the fourth book in The Shield War series, is done. As soon as I am finished recording this episode, I'm going to start publishing it at all the stores. So by the time this episode goes live, you should be able to get it at your favorite ebook store. I'm very pleased this is done because I think this is the longest book I have written in the last four years, which of course I picked to do over the Christmas holiday and was in the process of switching over to a new desktop computer. Great planning on my part, but the book is done and hopefully you should be able to enjoy it soon at your favorite ebook store.
Now that Shield of Deception is done, my next project will be Ghost in the Assembly and I'm pleased to report I'm 20,000 words into that. So I'm hopefully on track to have that come out sometime in March. My secondary project is also going to be Shield of Battle, the fifth book in the Shield War series, and hopefully that will be in April, if all goes well.
In audiobook news, Cloak of Masks is now finally available at all audiobook stores: Audible, Amazon, Apple, Google Play, Chirp, and all the others. A reminder that you can also get Ghost Armor Omnibus One, the combination of the first three Ghost Armor books (as excellently narrated by Hollis McCarthy), at Audible, Apple, and Amazon.
00:02:15 Question of the Week
Now it's time for Question of the Week, which is intended to inspire enjoyable discussions of interesting topics. This week's topic: do you watch the special features on the DVD when you watch a movie? I'm talking about the making of and the director and cast and crew interviews and so forth. Not all DVDs have them of course, but some do. We have a few responses to this question.
Justin says: It depends on the movie. The special features in Monty Python and the Holy Grail Special Edition are a must-see in my opinion.
John says: I watched all the Lord of the Rings Extended Edition extras. Really great material. I know I've watched others, but I can't recall offhand. Definitely the gold standard.
Tom says: My general pattern is to watch the trailer, then the movie, then the deleted scenes. Sometimes I'll watch parts of the special features if their name caches my eye, not often though.
James says: With On-Demand through my cable provider, I just watch the movies. Being part of the PC Master Race, I've never had a gaming console to play DVDs on. I haven't bought a DVD in ages. I used to belong to Redbox, but they're not even in business anymore.
- Elizabeth says: Sometimes, or play in another language with English subtitles.
Brandy says: Sometimes. I watched The Lord of the Rings special features and enjoyed it. I also watch historical extras or look them up.
Bonnie says: I think I may have once? I usually just watch the movie, haven't watched anything in ages, though.
Juana says: Yes. After the feature things are interesting!
Tracy says: I do.
For myself, the inspiration for this question was that I couldn't think of anything to watch, so I was watching the special features on The Lord of the Rings Extended Editions box set, which a few people have already mentioned. I really think those are the gold standard for DVD special features. Not too many special features have middle aged literature professors discussing the origins of the book that inspired the movie. There's like six discs worth of special features in the Extended Edition Lord of the Rings DVDs, and if you watch all of them, it's really a very interesting and comprehensive documentary on how those three movies were made. If you get the Oppenheimer Blu-ray, the special features that come with that are also quite interesting and worth watching in my opinion.
00:04:18 Audiobook Sales in 2024
Now let's talk a little bit about how my audiobooks did in 2024. Ebook sales were down a bit from 2023 to 2024, but my audiobook sales were up from 2023 to 2024. So here are my Top 10 bestselling audiobooks of 2024. It's nice to note that audio (at least for me) was up, in 2024 in a time of general economic contraction. So that's nice. Now my Top 10 audiobooks:
- The Ghosts: Omnibus One 2. Frostborn: The Gorgon Spirit 3. Frostborn: The Dark Warden 4. Frostborn: The Broken Mage 5. Frostborn: The World Gate 6. Frostborn: The False King 7. Frostborn: Excalibur 8. Frostborn: The Dwarven Prince 9. Dragonskull: Omnibus One 10. Frostborn: The High Lords
So I have to admit, it's nice to see the Frostborn books still in the Top 10 there because they've long ago made back their production costs. So now it's just a pure profit at this point, which is nice. And it's also amusing that The Ghosts Omnibus One remains my bestselling audiobook of all time just because it's so long. Now let's see how those sales broke down by vendor because as you know, I sell my audiobooks through several different platforms. And so let's see how they did:
- ACX (Audible, Amazon, Apple): 76.54% 2. Google Play: 9.84% 3. Storytel: 5.08% 4. Hoopla: 2.73% 5. Spotify: 2.27% 6. Chirp: 1.05% 7. Under 1%: Kobo, Scribd, Audiobooks.com, Overdrive, TuneIn, Bibliotheca, Nook, and Anyplay
So as we can see, Audible in the form of ACX is still pretty dominant, but there is growth on the other platforms, especially Google Play. I was not expecting Google Play to come in second. I would've thought it would've been Chirp or Spotify, but it seems Google Play did very well for me for audiobooks for 2024. So thanks for listening everyone, or at least listening to the audiobooks. We're not done with the podcast yet, so let's now move on to our main topic.
00:06:34 Main Topic: 5 Tips for Creating an Outline for Your Novel
Now let's move on to our main topic, five tips for creating an outline for your novel. In the fiction writing community, there's generally two schools of thoughts, outliners (of which I am definitely one), and discovery writers, who feel that starting with outlines sort of drains the process of its fun and magic.
Though I heard an interesting point from one of Brandon Sanderson's videos recently where he said that all outliners do have a little bit of discovery writer in them because if you look at your outline, it'll say something like “there is a chase scene.” Then when you get to that part of the book, you write out eight to ten pages of the chase scene or whatever that you come up with on the spot and then later refine and improve through editing. So that's a good point, but I do think outlining is more useful in general for writing than not outlining is.
So why outline? As I mentioned, many writers do not outline, but I do think outlining does help, especially with beginning writers. For one, it saves time because if you follow the outline, you're less likely to go down a blind alley and realize you have to drop the last 10 or 20,000 words you wrote.
It helps prevent getting stuck and not knowing what to write next. And it also really helps because it'll save you time in editing because you're less likely to have to rewrite large portions of the book. And it's also helpful for maintaining continuity as well.
I found also that outlining in advance is good because it forces you to think about things before you start because we all know writers who get really excited about writing, get a third of the way through, and then don't know where to go next. It's because they haven't thought it through. Outlining forces you to really think through the middle, which is where a lot of writers get stuck, and it also forces you to think through the ending and make sure it properly resolves the conflicts and stakes raised in the story.
As an example, I know a beginning writer who did not create an outline when setting out to write for the first time, although she had a strong setting and liked her characters, she realized about halfway through that the conflict wasn't enough to carry her whole story and that changing the conflict or raising the stakes would change the tone of the story too much. And unfortunately, she decided to abandon the draft. You could look at that one way, that it was months of wasted effort for her that could have been prevented with a couple hours of outlining, though I think it's better to look at it as a valuable learning experience where she learned that yes, outlining really will help me with my writing and just sort of had to learn that the hard way through attempting to write without an outline first.
#1: So our first tip for outlining novels is to learn story structure. It's hard to write an outline without understanding good story structure, but the flip side is if you do understand story structure and put good story structure into your outline, it will be all the easier to write your novel. The basic story structure that everyone learns in English class when they're talking about short stories (or should learn an English class when they're talking about short stories), is introduction, conflict, rising action, climax, and resolution. That is essentially basic short story structure that's in short stories and in novels, however long. A longer novel of course we'll have subplots and sort of sub conflicts and maybe false ends and red herrings, but that basic story structure is there throughout.
So our first tip for good outlining is to understand story structure. And if you try to hold to that basic five step story structure when you're first starting out, especially when you're first starting out, you'll probably find it a lot easier to go.
#2: Start with the problem. What do we mean by that? First, think of the main conflicts and then start outlining to move the characters/locations around them accordingly. Work the hardest on understanding your central conflict. Your protagonist must have a problem that results in a serious conflict. Now, serious conflict doesn't necessarily imply violence, though in genres such as a thriller and mystery, it can. The conflict must be emotionally significant and serious for the protagonist where there are real stakes involved.
The example I usually go to for this is the movie The King Speech, which is a highly fictionalized version of Britain's King George VI learning to overcome his stutter to speak in public. At no point in the movie is George VI in any physical danger. His wife and children love and respect him, and he's generally well regarded by everyone who knows him. However, the problem is he can't speak in public effectively, and this is a huge emotional problem for him. And frankly, one with serious stakes after his brother abdicates and he becomes king. He needs to be able to speak effectively in public or he won't be able to carry out his duties well. So this conflict of dealing with his stutter and his speech impediment is central to the movie. And even though he's not in any physical danger, it nonetheless has very high stakes for him, which is why I say that the problem has to be emotionally significant and have high stakes for the protagonist.
And there are ways to do that without violence, though of course, if you're writing fantasy or a thriller, you can use all the violence you want. You can help create a significant conflict and problem for your character by asking yourself a few questions. What conflicts and actions lead up to it? What is causing this conflict to happen? What are the stakes? What will happen if it doesn't resolve favorably? And why is the character involved? What must they do to resolve the conflict?
For an example from my own books, I'm going to talk about Half-Elven Thief, which is available on Amazon and Kindle Unlimited if you want to go read that. In Half-Elven Thief, the main character is Rivah, who is a member of a fantasy Thieves Guild in her city. She's massively in debt to her immediate superior in the Thieves Guild who hates her and has been using that debt to exploit work from her and considering selling her into slavery to recover the debt. However, a massive and very dangerous job comes to the Thieves Guild, and Rivah is the one assigned to take the job, and if she pulls off the job, her debt will be repaid and she doesn't have this debt hanging over her head anymore.
But the job is to steal a spell book from a very dangerous and powerful wizard, so there's every chance she'll be killed in the process. So the central conflict of Half-Elven Thief, that Rivah needs to steal this spell book from this very dangerous wizard, and the stakes for that is so she can get out from under this debt her superior has been holding over her head for the last three years. So hopefully that is a helpful example of a conflict with serious stakes for the protagonist.
#3: Our third tip is to start with simple. What is the book's blurb or elevator pitch for this story? Write that first. There's a couple different ways you can do that. I've sometimes described my Cloak Games/Cloak Mage series as Shadow Run meets The Dresden Files, which can be a starting point. I've heard people describe the Caina series as Black Widow meets Conan the Barbarian, which is another way to do it.
To return to our previous two examples, in The King’s Speech, the precise pitch is “faced with becoming King George VI must overcome his speech/stutter and face his emotional problems in order to effectively exercise his office.” And with my book Half-Elven Thief, the elevator pitch was, “in order to escape a dangerous debt, a thief is forced to steal a spell book from a dangerous wizard.” So that is the one sentence starting point, and you can use that to build the conflict.
Another potential way to do this is to write the blurb for your book and then build the conflict off that. For example, here is the blurb for another one of my books, Ghost in the Serpent, which is available at all ebook stores.
Anyway, the blurb: “A deadly poison. A hidden cult of sorcerers. Only Caina can find the truth. Caina is a countess of the Empire, an advisor and friend of three powerful monarchs, but she was once a nightfighter with the Ghosts, the spies and assassins of the Emperor and faced lethal sorcerers and corrupt lords. And when a hidden cult of malevolent sorcerers emerges from the shadows, Caina will show them that she has forgotten none of her old skills.”
So what is this blurb doing? It is introducing the setting and the characters, Caina and the Empire, focusing on the conflict and stakes and focusing on how they relate to Caina. And that allows us to sort of expand out into the conflict. If you read the book, you know that the plot is someone tries to poison Caina and fails. As she investigates what happened, she discovers that her husband had two children that he didn't know about, and for some reason this mysterious cult is trying to kill both Caina and these children, which pulls her deeper into the mystery. So that is the stakes and the conflict, and that is how I was able to build the book around them.
#4: Our fourth tip is to just start. Just pick a time, grab your laptop or your notebook or whatever, and just start writing down an outline for your short story or a synopsis. Don't research things about your story while you're outlining. You can just write “TO BE RESEARCHED LATER” in capital letters, which is what I do sometimes. Don't research the perfect way to make an outline, just sit down and make an outline.
How I outline personally is what I usually do is I have the central conflict in mind, like the example with Rivah, and then I sit down and write a synopsis of what I want to happen and then I chop up the synopsis into chapters and I go from there. My outlines tend to be about 1,000 to 2,000 words long, depending on the length of the book.
For example, Shield of Deception, which I just published, was on the longer side. It came to about 120,000 words and the outline was about 2,000 words. And it basically started out as a long synopsis I wrote, and then I chopped up the synopsis into chapters and went from there. I included major story beats, where the characters were going to go, and what they did. It doesn't get too detailed. Each chapter…the book had 30 chapters. So each chapter generally was described with about 80 words in the outline, maybe a hundred words, depending on what goes on. The detail varies. Basically, like in a chapter outline, I'll say “Character X comes and confronts Character Y and then they fight.” Then I will extemporize and make up the conversation when I actually get to the writing.
What I try to include in all the outlines is story beats that have to be in the story. The character has to be here or the plot doesn't make sense, or they have to go this location or it's a massive plot hole, or they have to think of this or it causes a plot hole, that kind of thing, which is part of the value of the outlining process is that it forces you to think of these things in advance. What I don't include is that I don't get too super detailed because to return to the Brandon Sanderson example from earlier in the show, when you get to the actual scene, there is a bit of discovery writing, like where I'll write where Character X confronts Character Y about whatever they're arguing about. Then the actual conversation I will just write when I arrive there.
#5: And our fifth and final tip, try a different style of outlining if you're struggling. There are different outlining techniques and styles out there. Here are two examples.
There's the Snowflake Method by Randy Ingermanson, which is where you start with a one sentence summary, build up to a paragraph, and continue to add detail in depth. There’s also Dean Koontz's story structure from his book, How to Write Bestselling Fiction. His story structure is:
- Get your character into trouble as quickly as possible
- Their plans backfire
- Things escalate until defeat seems inevitable
- Victory against all odds
If you're having trouble starting an outline, that might be a good way to do it. That said, there is no magic bullet. There is not a magic outlining style or perfect outlining style that will guarantee success. So don't get lost in endless reading or studying different kinds of outlines. A finished outline is better than waiting for a perfect one. And in that vein, a book that you have actually written, even if it's not as cool as you want it to be, is still infinitely better than a book that exists only in your head.
And all that said, those five tips for outlining, I'm about to do all that myself. There is in the tech industry a phrase called “eating the dog food” or “eating your own dog food,” which means if you make a product and sell a product, you should probably be using the product a great deal. And Microsoft in particular was known for leaning on this. And for myself, I'm going to be doing everything I just talked about here because over the next few days, I'll be writing the outline for Shield of Battle, which at the moment consists of only four sentences I jotted down when I had ideas. I'll be applying all those techniques myself to write the outline for Shield of Battle, and hopefully it will work well for me. I think it will. I think these tips, if you want to start outlining your novels before you write them, would hopefully be helpful for you as well.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at five ways to use short stories to market your books.
This week's coupon code will get you 50% off the audiobook of Half-Elven Thief, Book #1 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store:
HALF50
The coupon code is valid through February 14, 2025. So if you need a new audiobook for the January/February doldrums, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 236 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 24th, 2025. Today we are discussing how to use short stories for marketing. Before we get into that, we'll start with Coupon of the Week. I have an update on my current writing projects and then do Question of the Week.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Half-Elven Thief, Book One in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store. That code is HALF50. You can find the link and the coupon code in the show notes for this episode. This coupon code will be valid through February the 14th, 2025. So if you need a new audiobook for the January/February doldrums, we have got you covered.
Now on to an update on my current writing projects. As of this recording, I am 56% of the way through the first round of edits on Shield of Deception. I am still hoping to have the book out early in February, if all goes well. Once that is out, my main project will be Ghost in the Assembly. I am 16,000 words into that. So that is good news there.
In audiobook news, as I mentioned in the previous show, the audiobook of Ghost Armor Omnibus One (as excellently narrated by Hollis McCarthy) has come out and you can get that at Audible, Apple, and Amazon. Cloak of Masks should be coming soon and a recording for Cloak of Dragonfire is almost done, so we should have some more audiobook news coming pretty soon.
00:01:45 Question of the Week
Now onto Question of the Week, which is designed for an enjoyable discussion of interesting topics. This week's question: what is your favorite kind of Italian food? No wrong answers, obviously, including not liking Italian food. We had quite a few responses on that.
Justin says: Ah yes, pizza, the food of company team building exercises and RPG tabletop sessions. You can't go wrong with pizza. Another dish I adore would be Italian sausage and peppers with penne pasta. It goes together quickly, tastes great, and is easy to clean up afterwards. Alas, I can no longer partake- the green and red pepper has given me gas worse than any bean dish.
Mary says: Ravioli! The right brands, because the cheese mixes vary. I like a number, but not all.
Surabhi says: Pizza wins, without a doubt!
Juana says: Pizza hits all the notes.
Denny says: I love North American pizza. Italian pizza is its own thing and not something I enjoy. I've eaten very little actual Italian food, but generally I do enjoy pasta.
John says: Definitely lasagna. There is a little place in Southern California where the chef makes a deconstructed lasagna that is out of this world.
I have to admit, I didn't know there was such a thing as deconstructed lasagna.
Jenny says: Fettuccine Alfredo and Chicken Parmesan are so good, but I love getting some of both so I get the red and white sauces blended and with tasty cheesy chicken.
Brooks says: While I love a lot of Italian dishes, I really like a type of lasagna that is cream based versus marinara based. Usually it's considered a veggie type lasagna. It just adds a different twist. Basically alfredo meets lasagna.
Olaf says: Any kind of pasta (linguini, tortiglioni, rigatoni, farfalle) or gnocchi with a slow cooked bolognaise. My self-made pizza, then of course lasagna and all kinds of pasta with salsicce and let not forget tiramisu and a latte macchiato.
James says: It's funny what we call “foreign food.”” Your Taco Bell style taco originated in Texas. What Americans consider Chinese food originated in San Francisco and pizza as we know it originated in New York City.
Bonnie says: Chicken parm and my husband's lasagna.
A different John says: I love a really good risotto, specifically with porcini mushrooms and pancetta. Also the truffle pasta I had in Rome about 10 years ago, but the best pasta I had was rabbit ragout with handmade pappardelle (which I'm pretty sure I didn't say correctly) at a restaurant here in California. My family loves my homemade spaghetti with meatballs. My granddaughter's favorite is actually spaghetti with clams.
Gary says: Almost anything with pesto.
Andrew says: Cannoli.
James says: Only reason I know this is because of the Food Network, but a true pizza (Italians in Italy don't have pizza) order in Italy doesn't sound appetizing to me. I want a supreme with everything but anchovies on it. While pizza, as we know it is an American invention, what an Italian in Italy would order has only tomato sauce, mozzarella cheese, and basil.
Finally, Michael says: Spaghetti.
For myself, I think my answer would be pizza, which I think as we just heard is true of many people, but pizza is kind of a category all its own, especially American pizza, which as we heard is American invention and not an Italian one. For non-pizza, I would say lasagna and spaghetti carbonara.
00:04:56 Main Topic of the Week: Using Short Stories for Marketing
Now onto our main topic this week, how to use short stories for marketing. Many authors, myself included (which if you haven’t subscribed to my new release newsletter, which you should really do), create short stories for marketing. It can be an effective way to connect with your readers, but why do it?
Two caveats I should get into before we get into why you should use short stories for marketing and the big one is if you don't actually enjoy writing short stories, you shouldn't do it. Marketing tactics work only if you actually enjoy doing it or you can find it at least tolerable. If you actively dislike writing short stories and prefer to write novels, then you should not try to write short stories unless you actively enjoy the process at least as much as you enjoy writing novels. The second caveat is to remember that short stories really don't sell well outside of certain very specific categories like erotica or anthologies (and even anthologies don't sell as well as full length novels). Recently I saw an interview with a longtime fantasy author who lamented because of TikTok and YouTube (and whatever) that young people nowadays prefer shorter books/quicker books and books will have to get shorter. I have to admit that has not been my experience at all.
I think of the 158 books I've published, I've never had anyone write to me afterwards and say, hey, you know what? This book was too long and should have been shorter. No, they say the book should have been longer. So I think that might just be an illusion caused by that author in question being mostly traditionally published and having to deal with printing costs and the publishers being stingy on paper. But my own experience has been that readers really prefer longer works, which means that they don't want to pay for short stories and that therefore you're not going to make a lot of money from your short stories. That doesn't mean you can't use your short stories to make money, but the short stories themselves (if you sell them) are probably not going to make a lot of money and therefore giving them out for free is probably a good idea.
Obviously, this is not a new idea. Nonfiction writers, especially in the self-help and business genres, have long given out charts, worksheets, and other bonus content to their newsletter subscribers. Short stories can work well as what's called a reader magnet in the indie author space. The reader magnet is where you give away something for free and hope that the people who pick it up like it enough to go on and try your paid content. I do this all the time myself with my free series starters like Cloak Games: Thief Trap or Child of the Ghosts or Sevenfold Sword: Champion, where if you read that book since it's free and enjoy it, hopefully you go on to purchase the rest of the books in the series. Short stories also generally don't sell for very much. I almost always sell mine for $0.99 USD when they're not free, so it's not a major loss of revenue or “devaluing the work” if you give it away for free, especially if it's only temporary.
Another advantage is that people very obviously love free stuff, especially digital content that doesn't take up physical space. Whether you live in a one room efficiency apartment or a four bedroom house, there is only so much space to go around and you can only have so much stuff and in fact, people are always looking to declutter. This is not a problem with digital goods and if you're giving away the short stories for free in digital format, your readers can receive it whenever it's most convenient for them and it's not a burden for them to keep or maintain it like a pile of freebie clutter from a conference (like pens and tote bags, for example). Also, the idea that giving away something for free means that it is low quality is just not a value that most modern readers have. It is more a legacy of a tradpub/print books that is probably going to fade over time.
Being the one to provide the free content directly to readers is a way to keep their interest and hopefully build enough of a relationship with the reader that they're willing to try out the non-free content. This is the concept of the loss leader, where you give away something for free and hopefully people will go on to buy the paid products that are connected to it. In marketing speak, this is called the Marketing Funnel, where the free thing you give away is the top of your funnel and hopefully people take the free thing and like it and they'll get drawn further into the funnel and will become paying customers. Giving away things for free also has the benefit of building up a positive association with you in the reader's mind. So hopefully when you send out a newsletter or they see that you have a new book available on Amazon or Kobo or Google Play or wherever, that they will have a positive reaction and then purchase the book.
With all that in mind, and now that we've had our caveats and laid the groundwork, let us have five reasons to give away short stories.
#1: It can keep people connected with the characters/world between books and keep up interest for the next book in the series. If there are gaps between the books in your series, new short stories keep people engaged with characters and help them to remember what happened in the previous books. A short story can also excite them for what comes next in the series, especially if it alludes to what's about to happen in the next book. I have found generally it's a good idea to avoid massive spoilers for things in the books in the short stories, though some of that may be unavoidable depending on where it's written and how it's set.
#2: It gives readers insight into characters and events that don't fit into the larger narrative but are still fan favorites or interesting to fans. My main approach when I write short stories is I don't really want them to be standalone, but I don't really want them to be spoiler-y, so I tend to treat them as DVD extras or like bonus scenes on the DVD, like everyone knows that the Lord the Rings movies came out in the theaters 20 years ago in a specific form, but when the Lord the Rings Extended Editions came out in DVD, they had many extra scenes that had been cut from the movie for time or budgetary reasons or whatever.
That is how I view the short stories I give away for free when I publish a new book. It is bonus content that gets included like bonus content from the DVD. A prominent example of that would be Trick or Treat and Blood Walk and Iron Drive short stories from the Cloak Mage series, all of which are written from the perspective of the character Casimir Volansko. These have proven to be very popular short stories for me because Casimir offers the chance to see Nadia's world from a more normal perspective because Nadia, by this point in the series, is a superpowered wizard with many responsibilities, whereas Casimir is a truck driver who just wants to retire. So that makes for an interesting contrast and looking at the world through Casimir’s eyes is not something I would probably do in a main book in the series but does make for a fun bonus in the short stories.
You can also do the backstory of a character that isn't central to the narrative. A couple of times I've done that where in a short story I have fleshed out more of a character's backstory, especially with the Frostborn series where I had The Orc’s Tale, The Thief's Tale, The Assassin's Tale, The Soldier's Tale, and so forth where we delved into the backstory of some of the point of view characters in the series that we didn't have time to go through in the books.
#3: It will give people a clear, easy to understand reason to sign up for your email newsletter. “Subscribe and receive two free short stories” is a more compelling argument than “subscribe to my newsletter.” If anyone subscribes to my newsletter, they get three free novels to start with: Frostborn: The Skull Quest, Blade of the Ghosts, and Malison: Dragon Curse, I believe are the three right now. But I also emphasize that if you do sign up for my new release newsletter, you do get free short stories on a fairly regular basis.
If fact, I'm planning a newsletter for the 27th that will also give away more short stories. So I do send out a couple of newsletters a month whenever I have a new book come out, and there are short stories given away with all of those. So that is a good way to help build loyalty and reader engagement for your newsletter, which leads directly into reason number four.
#4: It is a carrot, not a stick to motivate people to open and read your messages, which helps with your messages getting flagged as spam. As I've mentioned before, I do enjoy writing short stories. I wouldn't do it if I didn't enjoy it, but the main marketing reason, the big one I write short stories for, is to drive engagement for my newsletter, which has a very practical benefit. Many of the anti-spam systems nowadays are very sophisticated and track a lot of what you do in the email and the more you interact with an email, the less likely it is to get classified by spam, so that way if people are clicking on links in the newsletter to get the free short story, that means they're interacting more with the newsletter and that the email is less likely to be classified as spam.
For a while in 2018 and 2019, I thought writing short stories was too much work, so I decided to phase it out, but my newsletter engagement just dropped. I realized it was because so many fewer people were clicking on the links in the emails and therefore they're getting listed as spam. So I thought, you know what? I better get back to writing short stories. If your newsletter messages are just long diary style entries, people will at best skim them or start to tune out. Having reader magnets for the newsletter gets people used to thinking there is some incentive for them to personally keep checking your updates, which of course turns back to the original point, that this will also help drive engagement and meaning your newsletter is more likely to be opened and less likely to be classified as spam.
#5: And finally, the fifth and final reason is making short stories free for a limited period of time instead of permafree gives subscribers and followers an incentive to read your posts and newsletters frequently and closely. Fear of missing out (or FOMO, as it's commonly known), is a powerful force. Having the item be free for limited time and exclusive for newsletter subscribers creates a sense of urgency to keep up with your updates. Exclusive content such as never selling the short story but only making it available to newsletter subscribers is also a big incentive for people to subscribe. Many readers (in fact, I would say most readers) are completionists and don't want to miss out on anything in a series, even for just a single short story in that series.
So those are five reasons to use short stories in your marketing to give them away for free. But there are a couple of caveats I want to add.
First, free content is part of the marketing plan and not the entire marketing plan. After being an indie author for almost 13 years now (wow, that's a long time), I've come to realize there is no single magic silver bullet for marketing, but if you do a lot of different things that have a little effect on their own, that does add up over time.
Second, free content should be in line with reader expectations/interests. For example, I'm writing epic fantasy with the Shield War series, so the short story that comes out with Shield of Deception should really be epic fantasy as well. A mystery writer who gives away romance short stories would probably baffle the reader. Likewise, if I published a Caina book and then gave away a short story that was totally unrelated to the Caina series, or indeed not even in the fantasy genre at all, that would probably confuse and annoy readers.
The third caveat is that content besides short stories can also work, such as deleted scenes and alternative point of view chapters or preview chapters. I know writers who have done that, but it needs to be substantial. For example, subscribing to a newsletter and finding out that the special preview is only a paragraph is not going to create goodwill with new subscribers and you're probably going to get a lot of immediate unsubscribes.
And fourth, and finally, the story you're giving away needs to feel professional. It needs to be formatted and edited and put together properly and the cover needs to look good. That is something I struggled with for a long time because at the start, I would hire out my novel covers and do the short story covers myself, but I didn't really know what I was doing, and eventually I learned to use Photoshop and got better at that so I could have better looking short story covers, which paid off in the long run, but it was a lot of work to get there.
So that is something to consider if you're giving away short stories, is how much you want to spend on the cover image for it. It might be a good idea to just do something simple for a short story you're giving away for free, like finding an appropriate stock image and then putting some appropriate typography on it. It doesn't have to look amazing. It just has to look good and professional enough. Those are four caveats to our five previous thoughts.
That is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at five reasons to buy direct from authors through platforms such as Shopify and Payhip. We also take a look at my choice of computing platforms for 2025.
This week's coupon code will get you 50% off the audiobook of Ghost in the Tombs, Book #3 in the Ghost Armor series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
TOMBS50
The coupon code is valid through February 7, 2025. So if you need a new audiobook for next week's cold weather, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 235 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 17th, 2025 and today we are discussing the advantages of buying direct from the author. I will also share an update on what I've done for my writing computers this year and we also have Coupon of the Week, Question of the Week, and an update on my current writing projects. So let's get right to it.
Let's start with Coupon of the Week. This week's coupon code is for the audiobook of Ghost in the Tombs, as excellently narrated by Hollis McCarthy. That is Book Three of the Ghost Armor series, and this coupon will get you 50% off the audiobook at my Payhip store: TOMBS50. This coupon code will be valid through February 7, 2025. So if you need a new audiobook for next week's cold weather, we have got you covered.
Now let's share an update on my current writing projects. As of this recording, I am 116,000 words into Shield of Deception, which puts me on chapter 28 of 31. So I'm hoping before too much longer I will be able to be done with the rough draft, which I think I'm hoping I'm going to be able to finish it on Monday the 20th if all goes well, but we'll see how things work out. I think it's going to end up being around 125,000 words, which will make it the longest book in the Shield War series and probably the longest book I've written since the end of my Dragontiarna series back in 2021. I kind of wanted a break from really long, complex epic fantasy, but I had my break. I'm rested and now we're doing it again. I'm also 13,000 words into Ghost in the Tombs, which will be the fourth book in the Ghost Armor series, and I'm hoping to have that out in March and Shield Deception out in February.
In audiobook news, Cloak of Masks is entirely done and working its way through processing. As I mentioned last week, it should be up on a couple of the stores like Google Play, Kobo, and Chirp, though it is not up on Audible yet. On Audible, though, is Ghost Armor Omnibus One (again narrated by Hollis McCarthy). That is an omnibus bundle of the first three books in the Ghost Armor series. That is available in audio at Audible, Amazon, and Apple. If you're on Audible, it is 31 hours of listening for just one credit, which in my opinion is a pretty good deal. That is where I'm at with my current writing projects.
00:02:32 Question of the Week
Now let's move on to Question of the Week. Question of the Week is intended for enjoyable discussions of interesting topics. This week's question: what is your favorite Mexican dish? No wrong answers, including not enjoying Mexican food. A little bit about semantics. I'm aware that Mexican food is a very broad net and like all such definitions is prone to a substantial bit of haziness. Mexican cuisine is not the same as Tex-Mex, which is not the same as Puerto Rican cuisine, which is not the same as Guatemalan cuisine and so on. And the various regions of Mexico itself all have their own distinct culinary traditions. But this is true of all cuisines. By Mexican food, I mean Mexican food as it is generally defined in the United States, which tends to be an assemblage of various foods from the American Southwest, Mexico, and Latin America. And as you might expect, we had numerous responses.
Our first response is from Justin who says: We have taco night here once a week or so, but no actual tacos are used. A pan of seasoned crumbled hamburger meat along with standard toppings is available for folks to make what they want. That generally becomes beef and cheese burritos and taco salad (regular bowl, corn chips added as desired).
Hollis (who narrates the Ghost and Cloak audiobooks as we as mentioned) says: Quesadillas. Taste decadent but can pack in healthy spinach and peppers and whole wheat tortillas with decadent meat and cheese.
Juana says: burritos, loaded!
Tracy says: chicken and guacamole with roasted veggies.
Becca says: Chile en nogada, basically a meat stuffed grilled chili. I have had it with chicken and beef, usually comes with pomegranate or other fruit containing sauce.
John says: Three barbacoa tacos with cilantro, onion and the green salsa and three beef fajita tacos the same way. With large horchata from a sketchy food truck usually found in front of the local tire shop.
I have to say some of the best Mexican food I've had has come from somewhat sketchy food trucks in front of local tire shops.
Bob says: Any kind of mole. One nearby restaurant had a duck mole that was excellent.
A different John says: I'm always searching for a great cheese enchilada. At least three, please.
Cheryl says: Never had Mexican, so can't comment.
Jenny says: Queso dip, especially when it's got beef and chili seasoning (not like chili peppers, but the southwest chili seasoning and beef).
Scott says: Anything Al Pastor (burritos taco, et cetera).
Steve says: Fish tacos, any way I can get them.
Yet another John says: Brisket quesadillas.
I've actually had those and they're very good.
Andrew Abbott says: Quesadilla.
Gary says: Al pastor.
Mandy says: Carnitas.
For myself, I think my favorite would be arroz con pollo with mushrooms. Tasty, very filling, and so long as you don't go too heavy on the cheese, it's not too terribly bad for you. I've had a couple of different variations of it, including one that had carrots and I admit I was dubious when it came out with carrots in the arroz con pollo, but it was really good. Steak fajitas would be a close second in my Mexican food preference list.
The inspiration for this question was that I made homemade nachos for dinner twice this week and I also made tacos twice for dinner this week because if you make up enough taco mix, you can get a couple of meals out of it. So that's it for Question of the Week.
00:05:37 Work Computers/Writing Computer for 2025
Now I thought I'd talk a little bit about what I'm going to use for a computer in 2025. The reason for this is a couple of weeks ago, I posted a meme about choosing a new computer on Facebook and promptly forgot I had done so, but then I looked back a week and a half later to see it had gone viral and people are still arguing about the best computer in the comments, which is good summary of social media, isn't it? You can carefully consider a 1,500 word post that will get like three likes at the most but toss a meme up and forget about it and you'll come back in a week to see it had thousands of views and almost 300 comments, all of them arguing for or against specific computing platforms. So that is the reason I thought I would share what I actually picked for my computing needs in 2025.
Three caveats: One, for your own computing requirements, pick whatever meets your needs and that your budget will allow. Windows, Mac OS, Linux, a tablet, whatever. It doesn't really matter. Honestly, I think 90% of people can do 95% of what they need in a web browser nowadays anyway and maybe use a cheap laser printer to print something out like every other month or so. I recently helped an elderly relative with a computer problem and she does about 95% of her computer needs on her Kindle Fire tablet and only breaks out her laptop when a webpage doesn't render properly on mobile. She can even print from her Kindle Fire.
That said, I definitely fall into that 10% that cannot use a web browser for everything. Caveat two, my objective isn't to have the best computer or the most powerful computer, it's to have the computer that will be the most efficient in helping me write and publish books. And finally, caveat three. I worked for a long, long time in IT support and I did in fact write an internationally bestselling book about the Linux command line. I have done tech support for operating systems that no longer exist. Remember Windows CE on phones, Palm OS, Windows Phone, getting Mac OSX to talk to Windows Print Services, getting Mac OSX to talk to Active Directory, and Windows Millennium Edition (ugh)? I remember them and none too fondly. That means whatever objection you may have to Windows, Mac OS, Linux, or any other operating system, I probably know about it already have personally experienced it and have in fact tried to fix it while on the phone with someone having a panic attack about that particular problem.
So with all that in mind, this is what I will use for computers in 2025 and hopefully for several years longer than that. For my writing/editing computer, I have picked a Mac mini M4. I've mentioned before that I'm increasingly unhappy with Windows 11 because of Microsoft's turn towards AI. I thought long and hard about either Linux or Mac OS and in the end, I decided on Mac OS because I have several subcontractors who all use Excel. Granted, you can install Excel on a Linux system with an emulation layer, but it never works 100% right. Some of the more advanced Excel stuff, which I do use, freaks out with it. There are a number of excellent spreadsheet programs available for Linux as well, but none of them have 100% compatibility with Excel, which is what I need.
Additionally for ebook and paperback formatting, I use Vellum, which is Mac only. I have been very happy with Vellum since 2018, which means I've it to format around 60 different eBooks and paperbacks. So based on all that, I chose the Mac mini M4. I've been reasonably happy with it so far, since I've written about half of Shield of Deception on it. It's quite fast, which shows there are some advantages to the same company producing the CPU and the operating system. Microsoft Word is definitely faster on the M4 and the M Series Macs than it was on the Intel based Macs. I wasn't expecting this, but the overall lack of distraction in Mac OS is nice. It's very unobtrusive. Windows 11 is a very cluttered environment by default with lots of distractions and it is very annoying how Microsoft has been encrusting ads throughout the operating system. You can turn on quiet mode of course, but it's pleasant to have the overall lack of distraction be the default.
So the Mac mini M4 will be the computer I use for writing, editing and book layout, but that's not all I do. My everything else computer will be a Windows 11 Intel Core I7 desktop. My previous computer before the Mac mini, a Windows 11 box with Intel Core I7, will also remain in use. The thing about being an indie publisher is that writing and editing isn't all I do. I do my own covers now, which means Photoshop and DAZ3D. Both of those applications are big, fat memory hogs. I definitely did not want to shell out the money for a Mac with that much memory. There's also advertising, which means a lot of spreadsheets and using Photoshop to make those ad images and other miscellaneous tasks like recording expenses, web design, audio proofing, podcast recording, and so forth. In fact, I'm recording this podcast on that computer right now, so my Windows 11 box is now my everything else computer.
It doesn't have an NPU chip, which means that Windows 11’s more odious features like Recall won't work on it, therefore I plan to nurse it along as long as possible. I have to admit there was an unanticipated pleasant psychological effect to this. When I write, I go to my writing computer and when I need to do something else, I use my everything else computer, so it's easier to avoid getting distracted by something else I need to do while I'm writing.
I should mention gaming. I don't really use desktop computers for gaming any longer. They’re for work. If there's a PC game I want to play, it needs to be able to run on my laptop while I sit on my couch. Otherwise, it's not going to happen. In the past five years, I spent more time playing games on the Switch and the Xbox than on desktop PC. So that is my computer plan for 2025, write on the Mac, do everything else on the PC.
I should mention that the day before I started recording this, Microsoft pushed out an update that added this big ugly Copilot AI button to Word and Excel. So while I'm going to finish Shield of Deception in Microsoft Word, I am probably going to write Ghost in the Assembly in either Libre Office Writer or maybe MobiOffice. I need something that's cross compatible between Windows and Mac, so I'll be investigating other word processor options with all this Copilot stuff they're jamming into Word, but in the end, I'm grateful I'm able to use two different desktop computers and hopefully I will use these computers to produce many good books for you to read in 2025.
00:12:00 Main Topic of the Week: 5 Reasons You Should Buy Direct from Authors
Now on to our main topic, five reasons you should buy direct from authors. What do we mean by selling direct? It's when the author has his or her own store hosted on a site like Shopify or Payhip that allows the author to sell eBooks, audiobooks, and sometimes paperbacks direct to readers.
I should mention this is not intended in any way to be shaming or bullying. If you are most comfortable buying your eBooks from Amazon or Kobo or Apple Books or Google or any other platform, that is what you should do. This is just to talk about the advantages for both readers and writers for buying direct from authors. Payhip and Shopify are the two most popular platforms for selling direct to readers. I use Payhip since I'm mostly interested in selling eBooks and audiobooks direct and not paperbacks. You can actually look at my Payhip store, which is https://payhip.com/jonathanmoeller. The links are also available on my website and indeed in the show notes for the show for Coupon of the Week.
So why even bother with direct sales when most people are now locked into a platform like Amazon or Kobo and their libraries? Why take the time to convince readers to buy directly from the author? What are the advantages to the author and more importantly, what are the advantages to the reader? And there are five of them, which we'll discuss now.
#1: Faster access to new releases. The reason Payhip is always the first platform to become available for one of my new books by about a day or so is that when a new title releases, it's because I'm uploading it myself. With Amazon or other sites, my books are essentially put into a line with many, many other titles and I can't control or predict when it will become available for customers. Various stores can take longer to process or be unavailable/down when a new book releases. Kobo glitched quite badly at various points throughout 2024. In 2021, Barnes and Noble suffered a ransomware attack that blocked the ability to upload new books to the platform for about a month, and all the other stores have had various technical glitches throughout time. That's just the nature of running a large website, but having a site like Payhip gives me a place where people can turn to when it happens. Quite a few people bought Cloak of Illusion from Payhip because Kobo was down for a week when I was trying to upload the book to the site.
#2: The second reason, which is a big advantage for both readers and writers, is that I can control discounts and permafree so it's easier to get discounts from an author's store. It's easier to provide discounts on Payhip because I'm getting a higher profit margin. Even with the 50% discount on Ghost in the Tombs we mentioned this week, I still would make from that discounted audiobook more than on Audible and pretty close to what I get from some of the more generous sites like Chirp or Google Play or Kobo.
Just like with the uploads, I also have complete control over when the discounts happen on Payhip. Otherwise, as I mentioned earlier, I'm at the mercy of when the uploaded book processes on various stores, just like with release dates. It's hard to promote discounts or short-term freebies on those other platforms because the price change move slowly (and often unreliably) there, whereas they're instant on Payhip. Payhip is also my hub for providing free content to my readers beyond my Permafree series starters. Keep an eye on my blog and Facebook page for Coupon of the Week, where as I mentioned earlier in the show, I give out codes with steep discounts for my Payhip store. I also provide free short stories on my Payhip store for a limited time when new books release. Subscribe to my newsletter if you'd like to know when those free short stories become available.
I also make a dozen older short stories (both ebook and audiobook) free on my Payhip at the end of each year, an event called 12 Days of Short Story Christmas. If you follow my website and blog, you might remember that from recently. It would take too much time away from writing to do all these things on all the other platforms, and it often isn't technically possible. Using Payhip frees up my time to do more writing instead of trying to work with the tech support of six different vendors when something doesn't switch price in time to run a specific promotion.
#3: A third advantage, and that is a big advantage for readers, is I am not interested in your data and I am not spying on you the way that a large e-commerce site might be. Payhip basically just shows me the buyer's email for an individual’s data. I can't see any other purchases you make. I can't see any individual demographic data and I can't see anything that would be uncomfortable for me to know. Basically all I see is your email address and your geographic location (your rough geographic location), which obviously the store needs in order to calculate sales tax liability. I intentionally set up the Payhip store so that you don't need a user account to buy books or audiobooks there. We also try and turn off the more annoying site settings like follow up emails that request reviews. Even the aggregate data on the Payhip app dashboard is extremely limited compared to other platforms. I can see a map shaded in with countries of visitors, which isn't accurate or useful in an age where you can use a VPN to switch your location with the click of a button.
[We can see] if users are accessing the link directly from a Google search and the raw number of clicks on the page. Compared to the amount of data collected by other sites, [that is very minimal]. For example, other sites can show that men ages 23 to 28 who like Taylor Swift, own a cat, and live in Canada are looking at your page at midnight on Tuesday. That is much less data than Payhip collects, so therefore, if you're concerned about data privacy, Payhip is a stronger choice than most other ebook and audiobook platforms. For details about what Payhip tracks separate from what the individual author does, check out their privacy policy.
#4: The fourth advantage is the reader gets a choice of file formats and you can send files to another ebook library. With Amazon or indeed any of the other ebook stores, you get your chosen format for an ebook and can't switch that format without using third party software. At my Payhip store, you get three ebook formats: epub, PDF, and when possible, the ancient .mobi format (which is kinda depreciated and gradually going away). I've noticed that people who like PDFs really like PDFs, and so if you want your ebook in PDF form, you can get them in PDF form from my Payhip store.
Having a choice of different file formats allows you to more easily import the books into the platforms you already use like Kindle or Kobo. It's a pretty simple process to send files to your Kindle, Kobo, iPad, or other device so you have access to them in your library there. All my eBooks are integrated with Book Funnel, so if you have a Book Funnel account, they automatically show up in your library. Book Funnel also has directions for sideloading the files onto your various devices.
#5: The fifth advantage, and this is a really big one for readers, is all the files you buy from me on Payhip are DRM free files that you can self-archive. Digital rights management limits your ability to transfer books and audiobooks through apps, devices, and so forth. It controls the way that you access things you have purchased. It's often said that you don't buy digital content, you have a conditional lease on it that's controlled by the platform you buy it from.
The content that you buy can disappear, especially when a platform is sold or closes. We've all heard horror stories of people whose accounts at various online retailers get closed for some reason, and then they lose their access to the library of any media they have purchased there or a platform can go out of business. There was a minor, well, actually a fairly major scandal a few years ago when a romance themed ebook store went out of business and everyone lost their access to their libraries. And for a while Microsoft was offering eBooks for sale through the Edge browser, but as we know, Microsoft tends to change mind about things a lot, and that went away and eventually people lost their ability to access any eBooks they had purchased through the Microsoft store. And this isn't even the first time Microsoft did this. Way back in the ‘90s and early 2000s, Microsoft was trying to be become a music retailer to compete with Apple's iTunes store, and they used a kind of a DRM called Play For Sure. Eventually they got out of that business and shut down Play For Sure’s servers and anyone who had purchased music locked to that DRM could no longer play it.
Our Payhip store has DRM free files. These allow you to store and archive the files separate from the ebook and audiobook stores so that doesn't happen. It allows you to actually own the content that you buy and build a library that best suits your needs. So that way, if for some reason (let's say for example, your audiobook store account gets hacked and you get locked out of it), you won't lose all your eBooks that you bought through my Payhip store if you downloaded them and stored them on a local storage device or some other kind of archive system.
One final advantage that is more for the author than for the reader, it is a better profit margin for direct sales than is for any of the other stores. The best percentage you can get in the ebook sales on any of the other stores is Amazon, which offers 70% for eBooks between $2.99 and $9.99. Whereas with Payhip, I get about 85% of each sale (minus sales tax and credit card processing fees). The Coupons of the Week we have been doing so far this year are a good example of that. I'm selling the Ghost audiobooks connected with the coupon for 50% off and the standard sales price is $11.99, which means you get them for about $5.99. Even though that's cheap, I still get almost as much money from a $5.99 sale than I would from a purchase on Audible or any of the other major audiobook platforms. Those are five reasons to buy direct from an author. I should note, it's just not good for the author. It offers many advantages for the reader as well.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at why it is good for writers to read outside their genre, and consider how writers develop with experience.
This week's coupon code will get you 50% off the audiobook of Ghost in the Veils, Book #2 in the Ghost Armor Series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
VEILS50
The coupon code is valid through January 31, 2025. So if you need a new audiobook for the January weather, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 234 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 10th, 2025. I have just finished shoveling some snow and today we are going to discuss how writers develop. Before we get to our main topic, we will do Coupon of the Week, an update my current writing projects, and then Question of the Week.
So let's start off with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Ghost in the Veils, book number two in the Ghost Armor series (as excellently narrated by Hollis McCarthy), on my Payhip store. That coupon code is VEILS50 and that is VEILS50. The coupon code and the link will be in the show notes. The coupon code is valid through January 31st, 2025, so if you need a new audiobook for the chilly January weather, we have got you covered.
Now let's take a look at where I'm at with my current ebook writing and audiobook projects. As of this recording, I am 82,000 words into Shield of Deception, which puts me on chapter 19 of 31. As I've said before, this is going to be a long one. I think the rough draft is going to end up around 110 to 115,000 words long. We'll see when I get there. I was hoping to have it out in January, but now I am definitely planning that it's going to slip until February just because it's so long. My secondary project is Ghost in the Tombs and I am now 10,000 words into that, I'm pleased to say, and that should be out in March. I'm also 37,000 words into Stealth and Spells Online: Reactant, but that won't be out until this summer.
In audiobook news, recording and proofing is done for Cloak of Masks, as excellently narrated by Hollis McCarthy. If all goes well, that should be out on all the audiobook stories before too much longer. And in fact, I think it's already shown up on Chirp and Kobo and few of the other ones, but it's not up on Audible or Apple yet. Hollis has now started work on Cloak of Dragonfire, so that will be the next audiobook out once Cloak of Masks comes out. Leanne Woodward is working on Orc-Hoard, which would be the fourth book in the Rivah Half-Elven series and hopefully that should be out sometime in February, if all goes well. So that's where I'm at with my current writing projects.
00:02:19 Question of the Week
Now let's move on to Question of the Week. It's time for Question of the Week, which is intended to inspire enjoyable discussions of interesting topics. This week's question: what game are you playing in 2025 so far? No wrong answers obviously, including not playing games at all. The inspiration for this question was of course the fact that 2025 is a new year.
Surabhi says: I've never been much of a gamer myself. The farthest I got was playing Subway surfers on my phone, but apart from that, I don't really get an appeal to play. Some video games are more complex and thoughtful and they can even prompt new writing ideas. It's something that's been on my mind for a while as an aspiring author and I think I give some games a try just in case they give me plot or vibe ideas. Wondering what you think about that.
That is in fact an interesting thought and one I've thought about before, and I will probably go into that in future blog posts and podcast episodes, just not on Question of the Week.
Michael says: I have been continuing my long play through Horizon Forbidden West (which is epic), also dipped into Path of Exile 2, which makes my brain hurt with all the character build options.
Ioana says: Does Words of Wonders on my phone count?
Yes. Yes, it does.
A different Michael says: I've been playing Final Fantasy 14 for the last 11 years. It's a great game, but I am taking a break. At the moment, I am playing the newest version of 7 Days to Die on PlayStation 5. Now that it has been upgraded to the latest version available on PC, it's an awesome game. It has its glitches, but that's okay. I enjoy it.
Juana says: PlayStation 5 Diablo 2 Reforged.
Adeline says: Still playing Overwatch on the PC but also branched into a virtual jigsaw puzzle. On the phone, it's mostly word/puzzle games, Word Collect, Blockudoku, Sudoku, Traffic Escape, and Cryptogram.
Scott says: I'm playing my second play through of the new Dragon Age. Indiana Jones is next or another run of Dragon Age.
Becca says: Right now, the yearly replay of the Mass Effect series.
Cole says: I've been playing Civilization 6 and New World: Aeternum. Both I've played in the past and just got back into them again.
A different Scott says: I got hooked on Assassin's Creed Valhalla. I also play some second edition and fifth edition Dungeons and Dragons games that have been going on for years now.
JKM says: Path of Exile 2 and Discovering the Galaxy and Elite Dangerous.
Ann-Marie says: PC -Minecraft and World of Warcraft. On phone/tablet, Fallout Shelter and Mob Control.
For myself, I have been playing Iratus: Lord of the Dead and enjoying it. It's a roguelike and it's basically reverse darkest dungeon. In darkest dungeon, you need to send your adventurers deeper and deeper into the dungeon until you get to the final dungeon (the darkest dungeon) and fight the evil boss. Iratus is the opposite. You play as the sinister necromancer at the bottom of the dungeon and you send your minions higher and higher into the dungeon fighting heroes and harvesting the remains to build your undead minions. I enjoy it partly because it's easy to play it in bite-sized pieces, which works well with my schedule. Darkest Dungeon was a great game, but honestly the save structure wasn't all that great, and if you were doing a large dungeon and you had to save and quit, you could lose a lot of progress on the run. By contrast, you can do one battle in Iratus, save your game, and then get on with your day.
On my phone, I mostly play chess.com. In fact, the other day I was just waiting in my car to pick someone up, had nothing else to do, so I pulled up my phone and did chess puzzles on chess.com until the person I was there to pick up arrived. So that is what I've been playing so far as we are 10 days into 2025.
00:05:51 Main Topic: Development as a Writer
Now let's move on to our main topic, which was inspired by a question Michael (in fact, the first Michael from Question of the Week), who wrote in to say, “in a post or podcast months ago when talking on a similar theme, he gave some advice that authors should read outside of their genre and said something like, “you can tell when a sci-fi author has only ever read sci-fi.” I was pondering this to work out what you meant. Have you ever elaborated on that in another podcast somewhere?”
I have not elaborated on that on the podcast, but let's do so now. Having read only inside one genre is a problem that tends to be faced by newer or younger writers who haven't read very much outside of their favorite genre and haven't really developed their own voice yet. There are generally two signs of this problem, one heavy over-reliance on the cliches of a specific genre and two, real world things that intrude on the book tend to be outlandish and not developed very well. Now, what do I mean by this?
#1: Over-reliance on genre cliches. What do I mean by that? Think of a science fiction novel that's very obviously a pastiche of Star Trek and Star Wars or a fantasy novel that's clearly The Lord of Rings with a lot more romance or in the romance genre, you have a heroine who's adorable, clumsy, and describes herself as average, yet draws the attention of the brooding troubled billionaire with stormy eyes and tragic backstory, who somehow has time to maintain six pack abs while running the largest corporate conglomerate in the history of the world. In mystery, you have the divorced alcoholic detective whose superiors want him off the case, and it turns out the case goes all the way to the top.
In Young Adult, the main character is the chosen one who will overthrow the dystopia or is the most special student ever at an incompetently run wizard school. (I'm just imagining the education accreditation inspectors I've met in previous careers reacting with horror to Hogwarts School of Witchcraft and Wizardry.) In literary fiction, the protagonist is a middle aged alcoholic creative writing professor who is having an affair with a graduate student or students.
The characters themselves will be exaggerated. The villains will be really villainous and the protagonists really heroic. Now, this can actually work because a significant number of readers love genre cliches and don't like to read outside them. Very famously, there have been successful romance novels that started off as either Twilight fan fiction or Kylo Ren/Rey Star Wars romance fan fiction, and then the writers changed all the character names and removed the trademark material and were able to sell them.
However, these writers often tend to struggle to write more books after that because it becomes sort of locked within their genre and therefore have a hard time writing outside those genre cliches.
#2: Real world things that intrude on the book tend to be outlandish, not developed very well, or hand waved away causing a lack of verisimilitude.
This I think tends to be simply a function of insufficient life experience, which usually resolves itself over time or failing to recognize that a little research is necessary at times. Like I once read a book where a protagonist’s elderly relative had to pay her property taxes to the city government in two weeks (despite never having missed a payment before) or she would be immediately kicked out of her house and become homeless. Now, that's a good setup that makes for a dramatic tension in the plot, but it's not at all how property taxes usually work in the United States.
First, in the US, property taxes are usually paid at the county level, not the municipal. Though, to be fair to the writers, there are exceptions and the United States has this variance in local governments that you can't always 100% generalize. Second, you have to be behind on payments for several years, normally two, and then the local county issues a notice of foreclosure and then the county will sell the house and you get evicted. This, however, tends to be a long process with a lot of lawyers and court summons and a lot of potential off-ramps and compromises before an actual seizure and eviction happens. Additionally, returning to our theme of variation in localisms, some states and local areas may have laws that specifically govern or restrict home evictions. It's usually easier to foreclose on a commercial or industrial property than a residence where someone is actually living. (As is often the case throughout history, in foreclosures the poor and those unable to navigate bureaucracy are more likely to get the short end of the stick than the wealthy and those who understand which forms to file and who to talk to.)
But the writer in question overlooked all those facts and set up the situation where the sheriff was waiting to shove the elderly relative on the street within two weeks. It was clear from the text that the writer didn't actually know how property taxes worked and more to the point, didn't actually know she could have done research to find out. I've written before how you need verisimilitude in fiction, just enough details that it feels real, and a small rewrite could have improved the situation quite a bit. The protagonist could have realized that her elderly relative had been behind on property taxes for years and had been lying about it out of embarrassment and been hiding the notices from the county on the topic. This would have added quite a bit verisimilitude to the situation. Another possibility would've been that the local sheriff was corrupt in taking kickbacks from a bank that wanted to buy the house (sadly, there have been cases similar to this in real life), but that wasn't what was happening in the book.
The problem with the lack of verisimilitude is that you can shatter the reader's suspension of disbelief. It's not possible to maintain suspension of disbelief for all the readers all the time, but you do want it as much as possible. There are some readers who would not have their suspension of disbelief broken by the example we've just discussed, but quite a few would. So I think those are the two tells for writers who are just starting out and haven't read very much outside their favorite genre, an over-reliance on genre cliches and real life situations that don't make sense or not very well researched, but all that is fine. It's just part of the development process of a writer or another creative person, in my opinion, anyway.
I suspect that writers and other creatives go through a five-step process in their development.
#1: They're inspired to create you or read something amazing, the Lord, the Rings, Star Wars, Sherlock Holmes, Pride and Prejudice, The Bourne Identity, whatever, and have the urge to create your own version of the thing that you thought was amazing.
#2: You practice and fail. You try to create something amazing and similar to the thing you like, but it doesn't go very well, like you can never quite finish or you realize you're only writing fan fiction of the thing you like. Many people get stuck at phase two and give up. Those who keep trying will eventually improve and jump to the next step, which is step three, realizing that you can do better than something you've read.
#3: A major milestone in the development of any creative person is when they read a book, see a painting or watch a TV show that is successful and yet think to themselves, this is no good and I can do better than that. This is a necessary step in building confidence.
#4: Struggle to assimilate influences. Any writer or artist is going to have influences, and it's often a struggle to integrate them. Like you can tell when a beginning fantasy writer is heavily influenced by Tolkien or Martin or Robert Jordan or whoever. Again, there's nothing wrong with this, and it is a necessary step. Eventually, you can be inspired by something without having it dominate your style.
#5: You settle on your own style. Finally, if you persist long enough, you settle on your own style and voice. That's where you have your own voice but are confident enough to assimilate influences without being dominated by them. The only way to reach this final step, I'm afraid, is through time and practice.
Now, where does reading outside your genre help with this? It allows you to draw in other influences that will strengthen your writing within your chosen genre.
For example, I don't usually write mystery novels, but I've read a lot of them. I think that has strengthened both the Ghosts and Cloak Games/Cloak Mage series quite a bit since every other book seems to be Caina or Nadia have to solve a mystery for somebody. Ghosts is epic fantasy/ sword and sorcery and Cloak Mage is primarily urban fantasy, but by adding mystery elements into the series, I think the books are strengthened for it.
If you read widely enough, you could also approach genre cliches from a fresh direction or with a twist, like the brooding billionaire is an actor hired by the actual billionaire to provide a public front while the actual billionaire gets on with the business of making money, or a Star Wars pastiche with space wizards who are less illogical than the Jedi, or a brooding alcoholic genius detective who suddenly becomes a lot better at his job once he gives up alcohol and cigarettes. So these five steps of writer evolution are only a theory of mine, but I do think this is something that has some truth to it and is my current theory of development for writers.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at what goes into writing 10,000 words of a rough draft in a single day.
Coupon of the Week returns! This week's coupon code will get you 50% off the audiobook of Ghost in the Serpent, Book #1 in the Ghost Armor series, (as excellently narrated by Hollis McCarthy) at my Payhip store:
SERPENT50
The coupon code is valid through January 24, 2025. So if you need a new audiobook for the new year, we’ve got you covered!
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to episode 233 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January 3, 2025, making this the first episode of 2025, and we are a quarter of the way through the 21st Century. Today we are looking into what goes into a 10,000 word writing day and how I managed to do ten 10,000 writing word days in 2024. We’ll also do Coupon of the Week, an update on my current writing projects, and Question of the Week.
So let's start off with Coupon of the Week. As you might remember from last year, I did do Coupon of the Week for the blog last year, but I sort of fell off doing it in June and never got back around to it. But the new year is time for new endeavors, so we're doing Coupon of the Week again (hopefully in a more organized and sustainable way this time).
So this week's coupon code will get you 50% off the audiobook of Ghost in the Serpent, Book One in the Ghost Armor series, as excellent narrated by Hollis McCarthy at my Payhip store. The coupon code is SERPENT50, and that is SERPENT50 (all in caps). Again, that is SERPENT50. The coupon code is valid through January 24th, 2025. So if you need a new audiobook for the new year, we've got you covered. The coupon code and the store link will be in the show notes below. So that is this week's Coupon of the Week.
Now let's move on to my current writing projects. Every year for the past couple of years, I've published a short collection with all the short stories I published in the previous year, and I'm pleased to report that 2024: The complete Short Stories is available now and you can get it for $0.99
USD at Amazon, Barnes and Noble, Kobo, Google Play Apple Books, Payhip, and Smashwords. It's only going to be 99 cents for the month of January, so now would be a good time to get that. I'm surprised how many people buy the anthology because I give away the short stories for free with all my newsletters throughout the year, but people have told me it's more convenient to have one bundle of the short stories that they just get for $0.99. So that's what we're going to do. You can get that for $0.99 through January 31st.
In writing progress, I am now currently 50,000 words into Shield of Deception, which puts me on chapter 12 of 31. So I think I'm between 35 and 40% of the way through the rough draft. It depends on how long the book's going to end up being, but I think it's going to be around 110 to 120,000 words. I'm also about 7,000 words into Ghost in the Assembly, and if all goes well, I'm hoping Shield of Deception will come out this month and Ghost in the Assembly will come out in February, but that may slip by a month because as I said, Shield of Deception is going to be a very long book.
In audiobook news, proofing is underway for Cloak of Masks, so I'm confident that will be out in January and that is excellently narrated by Hollis McCarthy. Leanne Woodward is currently recording Orc-Hoard, the fourth book in the Rivah Half-Elven series. So that is where I'm at with my current writing projects.
00:03:06 Question of the Week
Now let's do Question of the Week, which is intended to inspire enjoyable discussions of interesting topics. This week's question: do you make New Year's Resolutions? No wrong answers, obviously. The inspiration for the question was the fact that I posted this on New Year's Day. I had a few responses to this.
Mary says: No, I did do a few things getting cleaned up on the day and switched the calendars at midnight.
Bob says: Never have. I feel it's best to resolve problems as they occur.
Cheryl says: Not anymore. I never kept them, so I gave up making them.
Gary says: Not resolutions per se. It is a good time though, to take stock and evaluate whether I'm doing the things I should be doing to get where I would like to be.
Tracy says: Nope, roll the dice and go! LOL.
Jean says: I'm just good with making it through the year. Still intact, LOL.
I can't argue with that.
Venus says: The last resolution I made, many years ago, was to never make another New Year's Resolution.
For myself, no, I don't really do New Year's Resolutions. I suppose my writing goals for 2025 might qualify, but I have enough books that I essentially own a small publisher now, so it's just sensible to make good business goals for the year.
In my personal life, if I need to make some kind of change, I try to do it at once. The most successful personal changes I've made throughout my life usually tend to be in late spring or summer, not at New Year's Eve. What I actually did on New Year's Eve instead of making resolutions was eat mozzarella sticks, watch a movie, and play video games, which made for a pretty enjoyable New Year's Eve. I wonder if New Year's Resolutions are kind of a zombie cultural artifact since it seems like not too many people actually make them anymore, but that would be beyond the scope of this podcast episode.
00:04:51 Main Topic of the Week: Anatomy of a 10,000 Word Day
(side note: all times are based on a 12 hour, not 24 hour clock)
Now let's move on to our main topic for the week, the anatomy of a 10,000 word day. On December 2nd, 2024, I wrote 10,000 words of Orc-Hoard in one day. It was my ninth 10,000 word day of 2024. A few people who are interested in writing asked about the logistics of it, like how did I actually pull it off, that kind of thing. That seems like a reasonable question since not too many people have 10,000 word days.
So let's discuss this a bit. I think for myself, the main two components of a 10,000 word day are one, I don't have anything else I absolutely have to do that day. Two, I don't have any unexpected interruptions that require time and attention. Since I had a grand total of ten 10,000 word days in 2024, you can see how rare these two circumstances are. If there are 365 days between January 1st and December 31st, then the conditions for a 10,000 word day only happen 2% of the time.
First, let's take a look at precisely what I actually did on December 2nd, 2024. I should note this is lightly censored to protect family details, but overall, it is accurate for my schedule on December 2nd. At 6:45 AM, I woke up. At 7:10, I made coffee, checked various accounts to make sure nothing got hacked overnight, checked and answered email, set up social media posts for the day, and wrote 250 words of Shield of Deception because that was my secondary project at the time.
At 8:30, I proceeded to the gym and spent an hour exercising. At 9:30, I returned from the gym, showered, and cleaned up. At 9:45, I used the electric leaf blower to get some light snow off the sidewalk and porch. Thankfully, this did not take very long because if there had been enough snow that I would need to break out the shovel and the snow blower, then there wouldn't have been a 10,000 word day. At 10:00, I started writing and I did absolutely nothing else but write for the next several hours. At 12:00 PM I stopped for lunch, and at that point in the day I had written 2,700 words of Orc-Hoard so far. At 12:45, I finished lunch and returned to writing and did nothing else until 2:00. At 2:00, I made some coffee and paused to answer some texts and emails that had come in, and at that point I had written 5,100 words of Orc-Hoard for the day.
At 2:20, I resumed writing, did nothing else but write for the next several hours, and by 4:45, I reached the 10,000 word mark of Orc-Hoard. At 5:00, I made dinner and cleaned up afterwards. At 6:00, I wrote another 250 words of Shield of Deception and I set up social media and blog posts for the next day. I answered a few emails and texts and I checked various ad platforms to see how they were performing. At 7:00, I stopped doing writing and work-related things for the day.
As you can see on December 2nd, I didn't have any unexpected interruptions that demanded attention, and I didn't have anything else that I had to do that day, which as I've mentioned before, is really rare. So I'm pleased that I made the most of it.
By contrast, let's look at the next day, December 3rd. I only wrote 6,500 words that day, which is still a good number, but I had numerous other things I had to do and there were several interruptions.
I needed to email some people with tax questions. I needed to fill out a fair bit of paperwork for tax compliance related to those questions. I had to make several changes to my ads, and I also needed to go grocery shopping. Additionally, several people came to the front door and a couple of packages were delivered, and therefore I had to stop writing and go answer the door a bunch of times. Obviously, none of these things were bad or particularly onerous. Even the tax paperwork wasn't all that bad as these things go, but they still took up time and had to be done.
Additionally, interruptions are sometimes tricky because in all honesty, I'm not as mentally agile as I used to be when I was younger, and I have a harder time switching tasks abruptly. Like 14 years ago, I could go on my lunch break, slam out 2,000 words, and then go back to work without missing a beat. But that was 14 years ago/15 years ago now. Nowadays, I find it harder to get back to what I was doing before I was interrupted. So the fewer interruptions I have, whether planned or unplanned, the more I will write. When I say do nothing else but write for the next two hours, that is exactly what I meant. No internet browsing, no social media, no playing with my phone, no Photoshop, no checking one thing quickly, just a word processor and a lot of typing.
For those long stretches, I typically use what's called the Pomodoro Method, 25 minutes of uninterrupted activity followed by five minute break before doing it again. I used to check email during those five minute breaks, but that can quickly get out of control. So instead I started playing classic Super Mario Brothers on the Switch during those five minute breaks. That is different enough from writing that makes for a good mental reset and the game loads quickly so I don't waste my break time waiting for the game to load.
Similar vintage platform games also make for good Pomodoro breaks. For the actual timer part, I just use the timer app on my phone since that's good enough for what I need it to do. I've had a couple days where I was at like 8,000 words by 3:30 PM and something came up, so then I powered through an extra 2,000 words at night. I try to avoid writing a lot at night because it's good to give the brain rest, but I will if I decide it's necessary. I should note that I've been a full-time writer for nearly a decade now, so that means I have the time to do a 10,000 word day when the circumstances are right, and indeed it's in my best interest to do so.
Back when I had a full-time job, I think I only had one 10,000 word day ever. I was snowed in on a Saturday and there was nothing else to do, so I wrote 10,000 words that day. I think it was for Frostborn: The Master Thief, if I remember right, specifically the part with the wyvern. But since I am now a full-time writer, obviously it is in everyone's best interest if I get as many words down as possible every day when I'm working on a rough draft. I should also note that I don't really think this kind of workflow, the one that I've been using for years, is mentally right for most people. If I'm really interested in something like writing, I focus on it to an intense degree that I think most people would find unsustainable and mentally unhealthy if they tried to do it. So if you're a writer and a 10,000 word day sounds unimaginable, I really don't think you should beat yourself up about it.
So that is how I do a 10,000 word day. Circumstances have to be just right, which is why it doesn't happen all that often, but it's probably for the best. A 10,000 word day is, I have to admit, a lot of mental effort, which is why I very rarely have them back to back.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you listen to all the back episodes on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.
In this week's episode, I take a look back at my writing goals for 2024 and see how many I met, and look ahead to my writing goals for 2025.
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 232 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the 20th, 2024 and today we're looking back to see if I met my writing goals for 2024 and looking ahead to see what my writing goals will be in 2025. This will also be the last episode of 2024 so I can take a few days off for Christmas and New Year's, so tune back in 2025 for some more exciting episodes.
In the meantime, we'll start with an update on my current writing projects and then do Question of the Week. My main project right now is Shield of Deception, the fourth book in the Shield War series. I am at 33,000 words into it as of this recording, which if my math is right means I'm about 24% of the way through the rough draft. I’m hoping that will come out in January, but there's good chance it will slip to February because I'm think it's going to be pretty long. My secondary project right now is Ghost in the Assembly and I am 2,000 words into that and I'm hoping to have that out in February, but if Shield of Deception slips to February, then it'll probably be out in March.
In audio news, recording for Cloak of Masks, the eighth Cloak Mage book, is nearly done and I expect to have some files to proof for that before much longer. That will be narrated by Hollis McCarthy. Leanne Woodward has started working on the audiobook version of Orc Hoard, so both of those should be coming along shortly in 2025. So that's where I'm at with my current writing and audiobook projects.
00:01:34 Question of the Week
And now let's move on to Question of the Week. Question of the Week is designed to inspire enjoyable discussions of interesting topics. This week's question: what is your favorite movie or TV version of A Christmas Carol by Charles Dickens? No wrong answers, obviously. The inspiration for this question was I was scrolling through movies on various streaming services and of course this time of year you can watch a billion different versions of A Christmas Carol.
Todd says: my personal favorite of A Christmas Carol is from 1971. This animated classic had the original Scrooge and Marley actors voice the respective characters. Another Christmas television program would also have to be Emmett Otter's Jug Band Christmas. It's got Frank Oz!
I have to admit, I have never heard of Emmett Otter's Jug Band Christmas before this comment.
Justin says: I would have to say the 1951 version with Alastair Sim, although the Muppets are a close second.
Bonnie says: This is one of my hubby's favorite Christmas traditions. Unsure of how many different versions we have. His two are American Christmas Carol with Henry Winkler and the George C. Scott one. I like the Albert Finney musical version and the Alastair Sim one.
Paul says: Yes, sentimental favorite is the George C. Scott version from 1984. I like the version with Patrick Stewart as Scrooge as well. We'll watch many versions through the season if I see them on. The Muppet version is great as well. Not a fan of the Jim Carey cartoon version. It is okay, but prefer the first three mentioned.
Andrew says: The Muppet version is the best.
Randy says: Another vote for Kermit here! “Light the lamp, not the rat!”
Jenny says: OMG Yes, the Muppet's version!
Jeremiah says: Alastair Sim version for classic and modern, the Patrick Stewart version.
Catriona says: The Muppets- just iconic!
Gary says: The Muppets.
Tom says: Yes, A Muppet’s Christmas Carol, nothing else comes close.
Becca says: Muppets
Tracy says: I like the one with Patrick Stewart.
For myself, I pretty much closely agree with the commenters here. I think my sentimental favorite is the George C. Scott version from 1984, since that's the one I used to watch when I was younger. Rewatching it as an adult, it's impressive how Scott doesn't even attempt a British accent. It's actually rather surprising that his version of Scrooge is actually pretty funny, with a dry wit.
That said, as many of the commentators here already said, I think the best overall best version of A Christmas Carol is Muppet Christmas Carol from 1992. It works because Michael Caine plays it stone dead serious even when he is sharing the screen with a bunch of Muppets. Caine famously said that he played against the Muppets like he was playing against the Royal Shakespeare Company, and the contrast with Caine’s serious performance against the silliness of the Muppets creates a sort of alchemy that works really well. Also, The Man Who Invented Christmas from 2017, a highly fictionalized version of Charles Dickens writing a Christmas Carol, is definitely worth watching even though it takes a few, well, more than a few creative liberties with the facts.
So that is it for Question of the Week this week.
00:04:26 Writing Goals 2024/2025
Now let's look back at my writing goals for 2024, see if I was able to meet them or not, and then look ahead to my writing goals for this coming year of 2025. First of all, I would like to very much thank everyone who bought one of my books or audiobooks this year. I am glad you enjoyed them. I would also like to thank the narrators I worked with this year, C.J. McCallister, Hollis McCarthy, Brad Wills, and Leanne Woodward, who actually did the work of creating amazing audiobooks. Additionally, I would also like to thank my podcast transcriptionist, my Excel bookkeeper, and my audiobook proof listener (all three of whom wished to remain anonymous), who really helped out and took a lot of work off my plate this year so I could focus on writing.
2024 for me on a personal level was a pretty good year. However, I admit it was a rough year for book sales. I was down about 12% overall. This came from two causes. One, a significant portion of the book reading American public disappeared into doomscrolling their news and social media apps from July to about November. Two, I scattered my attention too much across too many series. I think in 2025, I'm going to focus up and do an Andomhaim book every other month like I did from oh, 2013 to 2023 or so. But all that is to come. Let's first look back and see if I met 2024’s writing goals.
#1: Write as many words as possible while trying to hit 1 million new words. I did it! I am very pleased to report that I published 1 million words of new fiction in 2024, for the first time since 2020. In 2021, I only published 971,000 words. I figured I had slipped and would get to it the next year. In 2022, however, I only published 814,000 words. This happened due to a combination of a lot of travel and various real-life stresses. In 2023, I published 935,000 words, a significant improvement over the previous year, but I had COVID twice pretty close together in the early spring/summer of that year and that really messed me up for a couple months.
But in 2024 (as of Orc-Hoard), I published 1,490,000 new words of fiction for the year. My ten 10,000 word days for 2024 probably helped with that a great deal. I am very happy about this since I tried to hit a million words in 2021, 2022, and 2023 but just couldn't quite get there. So it is very satisfying (after four years of not quite making it) to have finally published a million words of new fiction in 2024. Naturally, I hope to repeat this feat in 2025, but more on that in a little bit.
#2: Start The Shield War. I did that as well, publishing Shield of Storms, Shield of Darkness, and Shield of Conquest all in 2024, and they're even all in audiobook (as excellently narrated by Brad Wills).
#3: Continue Cloak Mage. I did that as well with Cloak of Titans and Cloak of Illusion. Both books were interesting challenges to write, since Titans burned up a lot of the ongoing subplots for the series. No spoilers. Cloak of Illusion had to work with a new game board, so to speak since so much had changed in the previous book.
#4: Continue Ghost Armor. I did that as well with Ghosts in the Veils and Ghost in the Tombs and both of them are in audiobook (as excellently narrated by Hollis McCarthy).
#5: Continue Half-Elven Thief. I was able to do that as well with Wizard Thief, Half-Orc Paladin, and Orc-Hoard. Half-Elven Thief, Wizard Thief, and Half-Orc Paladin are in audiobook, as excellently narrated by Leanne Woodward.
#6: Continue Sevenfold Sword Online. Around June, I renamed this series to Stealth and Spells Online since so many people were getting confused with Sevenfold Sword. I did release Stealth and Spells Online: Leveling in February. Both books in the series are in audio, as excellently narrated by C.J. McAllister.
#7: New audiobooks for new books. There's only so much time, energy, and especially budget for audiobooks, so I decided that I was only going to do audiobooks in new series going forward rather than trying to have old books recorded. I think this worked out pretty well, all told, because 2024 will be the best year so far for my self-published audiobooks.
We did end up recording some of the older Cloak Mage audiobooks because I promised Hollis McCarthy a recording spot in April for Ghost in the Veils, but I just couldn't finish that book in time. So we did Cloak Mage #7 instead, with #8 and #9 to come in 2025.
So I'm pleased I met all my writing goals for 2024. As might have guessed, I'm especially pleased about the million words, since I had been trying to reach that in a year for the last four years and we finally managed to do it in 2024. Very satisfying, lemme tell you.
Now let's look ahead to my writing goals for 2025. Here is what I would like to do, in order of priority.
#1: Write as many words as possible, hopefully hitting 1 million words of new fiction. As I mentioned above, it was enormously satisfying to hit a million new words in a year after failing to do so since 2020. So I would like to do that again if possible, though of course circumstances may be out of my control. Regardless, I definitely want to write as much as possible in 2025.
#2: Finish The Shield War. I am exactly halfway through The Shield War, which as I mentioned earlier in the show, puts me on book four of six. I am planning to write a Shield War book every other month in 2025 until the series is complete.
#3: Finish Ghost Armor. I'm also exactly halfway through the Ghost Armor series, which puts me on book four of six. Like with Shield War, I'm planning to write a Ghost Armor book every other month until the series is complete.
#4: Continue Cloak Mage. Once The Shield War and Ghost Armor are complete, I plan to continue Cloak Mage, though I will probably start Cloak of Worlds a little earlier as a secondary project.
I was originally planning for 15 books in Cloak Mage, but I realized I have way too much story to fit into the remaining three books. So it's going to be 18 in total (not 15), with a suitably epic conclusion once I get to the 18th and final book.
#5: Continue Half-Elven Thief. I also want to continue Half-Elven Thief because of the three new things I've tried in the last four years, this one has worked the best. I had originally planned for six books, but as with Cloak Mage, there's too much story to fit in six, so it's going to be nine instead.
#6: Conclude Stealth and Spells Online. As of this recording, I am 29,000 words into Stealth and Spells Online: Reactant, which will be the third and very definitely final book in the series (or trilogy,
technically, since it's only three). I would very much like to thank everyone who read the first two books or listened to the first two audiobooks.
Stealth and Spells Online, I admit, didn't perform as well as I had hoped. I was just crunching some numbers to get ready for tax time, which means also looking at my bestselling books of 2024. I have published 158 novels, but my top 10 in any given year are usually books I published in that year. My top five bestselling books in 2024 (unless something drastically changes in the next 10 days) are Shield of Storms, Shield of Darkness, Cloak of Titans, Shield of Conquest, and Ghost in the Veils. All five of them came out in 2024, so that's not a big surprise.
Stealth and Spells Online: Leveling came out in February, 2024, so logically you would expect it to be in the top 10. Nope. Top 20? Still nope. Top 30? Got to keep going. It was the 41st bestselling book of 2024. It came out in February, which means it had abundant chances to place in the top 10, but sadly it did not. The Dragonskull and Sevenfold Sword series, both of which have been done for a while, both outsold Stealth and Spells Online: Leveling by a significant margin.
I think the problem is that I wanted to write a LitRPG book, but what I ended up with was a high concept science fiction espionage thriller with some LitRPG elements to it. Maybe I should have written it so the protagonist Noah Carver had a harem of anime monster girls or something. That always seems to be popular in LitRPG. The initial confusion with Sevenfold Sword probably didn't help matters, either. I honestly thought about abandoning the series, but if I left it unfinished, it would nag at me forever like a permanent pebble in my shoe.
So I've been working on the third book as a secondary project and will hopefully publish it around this summer or so. It will wrap up the story with no unfinished threads while hopefully providing a satisfactory ending to the readers. That will be the definitive end of my foray into the world of LitRPG, then it will be time to turn to my next focus.
#7: A new epic fantasy series in the Andomhaim setting. I will start on this after The Shield War is done and it will be my main focus for a while, with books coming ideally every other month. I'm still working on the concept, but all I'll say so far is that we'll be set in Owyllain, which we haven't visited in any depth since Sevenfold Sword finished back in 2019. Even back in Sevenfold Sword, we didn't really see all that much of Owyllain, mainly the cities Aenesium and Trojas. So there's a lot of potential for story ideas there.
#8: My eighth and final goal for 2025: new audiobooks as time, budget, and narrator availability allow. My self-published audiobooks did a bit better in 2024 than they did in 2023, so I think I'm going to continue with focusing on new releases rather than trying to bring older series into audio. I would like to do as many new releases in audio as possible, though of course this depends on budget, narrator availability, and a few other factors.
So those are my writing goals for 2025. Hopefully I shall have some excellent new books for you very soon, though there's always a quote from the Book of James that I like to remember when I'm making long-term plans:
“Go to now, ye that say, Today or tomorrow we will go into such a city, and continue there a year, and buy and sell, and get gain: Whereas ye know not what shall be on the morrow. For what is your life? It is even a vapour, that appeareth for a little time, and then vanisheth away. For that ye ought to say, If the Lord will, we shall live, and do this, or that.”
So if the Lord wills it, that is what I'm hoping to do in 2025.
So that is it for this week and indeed for 2024. I'd just like to take a moment to thank everyone who has listened to the podcast this year. I hope you have found it enjoyable and at times a profitable experience to do so. And also once again, I’d like to thank my podcast transcriptionist. Without her help, the podcast would not have its own dedicated website and there would definitely not be transcripts for the podcast.
So thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, often with transcripts (added note: transcriptions are available for Episode 140 onward). If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next year and have a Merry Christmas and a Happy New Year.
In this week's episode, we share six tips and tricks for writing while traveling.
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 231 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the 13th, 2024, and today we're discussing tips for writing while traveling, which seems a timely topic as the Christmas holiday is coming up. First, we'll have an update on my current writing projects and do Question of the Week.
For my current writing projects, I'm very pleased to report that Orc-Hoard, the fourth book in the Rivah Half-Elven series is now out. You can get it at Amazon US, UK, Australia, Canada, and in Kindle Unlimited.
I am also very pleased to report that I have now published a million new words of fiction for 2024, which is the first time I've been able to do that in a year since 2020. I will probably talk more about that in an upcoming episode. Now that Orc-Hoard is done, my main project is Shield of Deception, the fourth book in the Shield War series. I'm 11,000 words into that and I'm hoping to have that out in January 2025, if all goes well. My secondary project will be Ghost in the Assembly. I haven't actually started that. I'm still in the outline writing phase, but I'm hoping that will be out in February or potentially March, depending on how long it takes to write Shield of Deception.
In audiobook news, Ghost in the Tombs is now out in audiobook (as excellently narrated by Hollis McCarthy) and you can get it at Audible, Chirp, and most of the usual other audiobook stores. She's also recording Cloak of Masks for us right now, and that should be out in January, if all goes well.
00:01:29 Question of the Week
Now it's time for Question of the Week, which is designed to inspire enjoyable discussions of interesting topics. This week's question: where do you obtain free media like free ebooks, free audiobooks, free movies, and so forth? There are no wrong answers though for obvious reasons please keep answers limited to legal media sources. No piracy, please.
The inspiration for this question was our 12 Days of Short Story Christmas, during which I’ll give away a new free short story every business day until December 23rd. If you want some of those free short stories, head to my website now. They will remain free at my Payhip store until December 31st. Now on to answers from Question of the Week.
Our first response is from Grimlar who says: Well, it's not exactly free, but I do find myself buying books from LMBPN publishing every Saturday for $1 each (their new releases from earlier in the week, usually Thursday or earlier). They drop the price of new books for Saturday as a loyalty bonus for their readers. Also, when a series has been completed, they tend to release a box set (or several for a long series), also priced at a dollar per box. They tend to release several books a week, which is handy, provided you like their stuff, which is mostly urban fantasy with some fantasy and some sci-fi. As I said, not free, but does make reading a much more budget friendly pastime.
I should note that LMBPN publishing also puts nearly all their stuff in Kindle Unlimited so if you're paying for a Kindle Unlimited subscription already, that is an easy way to check out their books.
David says: Some places I buy ebooks and audiobooks from offer some free material from time to time. So when I’m looking for something new I stumble across the odd book that is free that I am interested in, when I do stumble across these free offerings, I sometimes look to see if these authors have other free books. I don't bother with free movies.
Jeanne says: I get emails from BookBub, which sometimes has free ebooks, but most of the ebooks are between $0.99 and $2.99. That's probably actually how I came across you (you being Jonathan Moeller in this case). Otherwise, Kobo has a selection of free ebooks, if small.
Jenny says: I love Libby, and back when it was available, Axis 360 and Hoopla. I'm not sure if they've just gone from my library or gone forever. (Side note from transcriptionist: Axis 360 changed names to Boundless in 2023. Hoopla is still in business.)
Adeline says: The only time I ever received free items is when they're directly given away by the owner. Downloading virtual freebies from somewhere just seems wrong since they would still belong to someone. Although I don't have any movie subscription services myself, I still don't download free movies.
Bonnie says: I use Amazon for ebooks. I usually pay quite often though. I get a free town newspaper every two weeks. I don't watch TV anymore, so that isn't an issue.
Rob says: Amazon (you can search and order by cost) and authors do free downloads with their newsletter, not just Jonathan Moeller, but PA Mason, Kelly Armstrong, etc.
Chris says: Kindle Library, following you online gets me updates.
For myself, I get free ebooks through Libby (the local library system’s ebook app) and very rarely audiobooks as well. I also, if I see something I like on the Kindle store that's free, I will download that right away. For free and legal movies and TV shows, I usually go to Tubi, which is free but ad supported and has a surprisingly large collection of stuff. So that's it for Question of the Week.
00:04:38 Main Topic of the Week: Writing While Traveling
Now onto our main topic this week, tips and tricks for writing while traveling, since of course many people travel over the Christmas holidays, so this seems like a timely topic.
Two principles to start with: First, think of why you are trying to write while you're traveling. Is this something you really need to be doing and more to the point, is this really something you should be doing? This obviously depends on the nature of your trip. If you are traveling for business reasons and you're sitting in an airport for four hours waiting for your flight and then you have a five hour flight, that would be an excellent time to get some writing done since otherwise, you would just be like everyone else in the airport paying too much for coffee and staring at your phone. If you are on the kind of trip that is a vacation, it might be a good idea to put aside writing while you are doing that just for the sake of your own mental health. If you are on a trip that involves a lot of family obligations, like for example, a funeral, then it might be a good idea just to set aside writing for that time, focus on the emotional needs of the moment and then pick it back up once the trip is over.
The other thing to keep in mind if why you are writing is if you have a deadline. That sort of focuses the mind quite a bit and if you have a deadline, you're going to have to plan accordingly. The other thing to keep in mind is flexibility, why you are writing and flexibility because as we know, modern travel is utter chaos. I mean, it was worse in the past. I mean, Odysseus tried to get home from the Siege of Troy and got lost for 10 years, which is less likely nowadays, but travel is still unpleasant and a lot of things can go wrong, and you have to be flexible and seize the moment when you can and accept that sometimes things are beyond your control. If you are working on a deadline while you are traveling, then you'll have to treat it like any other remote work job while you are traveling.
Having a true external writing deadline means you need to plan your vacation or trip differently and in a more structured way if possible. You absolutely need to plan this with your traveling companions in advance (if you're traveling with people), so everyone's prepared for this and pick your destination based on internet access instead of relying on standard hotel Wi-Fi because as we all know if you travel, standard hotel Wi-Fi generally is pretty terrible. You may need to bring some sort of mobile hotspot with you or pay extra to use your phone as a mobile hotspot while you are traveling.
If you are genuinely on a deadline and don't want to burn through your mobile data, check the internet setup of your destination before you arrive. It might also be wise to check on guest internet use policies at nearby libraries or universities if your destination does not have reliable internet and you'll need to use the internet for a significant amount of time. Many of these places require registration or a fee for non-residents/non-students but tend to have far more reliable internet than coffee shops or hotels.
Also, if you're in the phase of writing where you're writing your rough draft, if you're not editing and relying on an online editing tool like Grammarly or Pro Writing Aid, then you can probably do without internet if you absolutely have to. If you're just writing, just open up your laptop, sit down and write, it actually might be beneficial to have the internet off if you are prone to being distracted by the internet, but if you do need internet, bear that in mind.
For the next part of this episode, we're going to focus on the second type of writing while traveling, the feeling that many writers have that they should be writing while traveling or on vacation and fear of missing progress or falling out of their hard-won routine. I'll also provide some suggestions if you decide you want to write while traveling in spite of the various obstacles you might face.
If you don't have a deadline and this isn't a necessity for you and you really want to get some writing done while you're traveling, you need to ask yourself why. Writing because you want to means you can be flexible, but you still want to plan your expectations in advance to make the trip smoother and to deal with things in accordance with reality (always a good idea).
If you're not on a deadline and you don't have to be doing this, why do you want to write while traveling? Do you just want to keep the streak going by at least writing something? Do you want to keep your normal writing routine exactly? Are the reasons why you want to write more important than the personal, work, or family obligations on this trip? Like I said before, there are some trips where it's really in the best interest if you put aside any writing or work for the time and focus on the needs of the trip, whether that's a vacation by yourself or a family vacation, a family gathering such as a holiday or a funeral or another family gathering that's a bit happier than a funeral, like a graduation or a wedding or a baptism, that kind of thing. Do you want a soothing writing retreat at a lakeside cabin, but really you're spending a week with ten relatives in a cabin that you just rented? Then you might need to rethink your expectations for writing during that week. Now onto some tips for writing while traveling.
#1: If possible, plan the time. Note that this may not always be possible. You may have to carve out your own time to get writing done because it's definitely not a group activity, especially if you are on vacation with friends or family or something of that nature. Are you going to be able to sneak in half an hour of writing while everyone else is off on the boat or going to town for ice cream? That's a far more realistic of a goal in that circumstance than an imagined weeklong writing retreat.
Here's a recent example for myself. Over Thanksgiving before dinner, I was the only one who was not taking a nap in the house. I was the only one who was awake. I could have used that time to read or play video games, but instead I pulled out my computer and wrote a thousand words of Orc-Hoard. Now obviously there is nothing wrong with playing video games or reading or quietly browsing the internet in that circumstance, but I felt like what I really wanted to do in that moment while everyone else was taking their naps was to get a thousand words down. So that's what I did, and that's also a good example of a flexibility of seizing the moment when it presents itself.
I should also note that traveling is definitely not the time to start a radical new habit. If you can't get out of bed before 07:00 during a normal day, getting up to write at 04:30 while traveling is unrealistic, especially if you're staying up later, dealing with jet lag, or not sleeping well as usual, since it's often difficult to get a decent night's sleep in a hotel or somebody's guest room.
One long block of writing time may be more realistic than every day of the trip, especially if you're traveling with groups or with small children. Maybe you use the train ride or flight (or better yet, the seemingly endless wait for a delayed flight) as your writing time for the trip, and don't worry about the days at your destination. Like I mentioned before, if you're stuck at the airport waiting four hours before a flight will take you on a three-day trip and you get 3,000 words written during those four hours, you've probably got your trip writing covered.
#2: If possible, minimize distractions/create a working setup. Find a low traffic area if you're going to write such as the guest bedroom or your hotel room or something. Some hotels have work areas or lounges that are more tucked away from the lobby because hotel lobbies can get pretty noisy, especially nowadays when people seem compelled to bring their dogs with them into hotels. We also cover how to minimize distractions pretty extensively in our November Writing Challenge episodes, specifically Episodes 225 and 226, so you can listen to those tips there.
#3: I think this might be the most important tip: find small windows of opportunity. In other words, be flexible. Find short bursts of opportunities to write such as when you're in line for the rental car or waiting for your coffee at a busy coffee shop. These short bursts of two to three minutes might be the most realistic goal for traveling while writing, especially if you can teach yourself to write on your phone with your thumbs.
This might sound a bit outlandish, but I do know people who do this and have written entire books thumb typing on their phones on their commute from rural Britain to London every day. Then you will give yourself a big leg up because there are small, modern laptops you can use pretty effectively in small moments and carry with you, but everyone carries their phones with them most of the time nowadays, so you can whip out your phone and thumb type out a few paragraphs while you're waiting in line. That would be to your advantage, and honestly, it's probably a better use of your time in line than idly browsing social media or the internet on your phone.
#4: Find a way to store ideas on the fly (especially important for short bursts of writing). You can use the Notes app or voice memos on your phone. Test this before the trip so it feels like instinct to do, to write down things quickly or to record paragraphs or carry a small pocket notebook with a pen. I should note for that myself, I only very rarely write ideas down because I have lots of ideas and I've always figured that if the idea is good, it'll come back to me when I think about it later, and if it's no good, I'll forget about it. I's sort of a survival of the fittest for ideas inside my head, but a lot of people's brains don't work that way, so it's a good idea if your brain doesn't work that way to write down ideas as they come to you.
#5: Be realistic about your goal, and this also ties into being flexible and having a realistic idea of what's going to happen on your trip. Is it worth pausing writing to have undivided time with family/ friends on this trip or is it worth pausing writing so you can relax (for example, if you're going on vacation or if you are visiting family, whether for a happy occasion like a wedding or a graduation or for a sad occasion like a funeral)?
Believe it or not, coming from me who was just boasting about publishing a million new words of fiction this year, there are some advantages to pausing writing for a while when you're compelled to do so by something like a trip. The potential positives: you can come back fresh to your work and your progress, especially after seeing lots of new things. That can work well with some people and help someone out of a rut.
Another advantage is if you're traveling, you don't have to deal with traveling with your laptop or additional tech equipment just for writing purposes or risk getting them damaged or lost. It's a lot easier to travel with a modern smartphone than it is with a modern laptop. This can also give you more enjoyable and focused time with family on vacation, which will help if you need to focus on writing instead of them at some later point, like for example, not making your second cousin's play because of a later deadline won't feel like a pattern of neglect if you just spent a week visiting them at the lake.
This can also believe it or not, help with family strife because if you are frustrated with not meeting your writing goals while on your vacation, but if you give yourself permission to take a break, you won't be frustrated and you will probably be better company for any people you are visiting. The advantage is you can enjoy your vacation and spend time with your family or friends being fully present in the moment and not being distracted by what you have to do.
For myself, I've been publishing for…in the coming April, I will have been self-publishing for 14 years and I've veered back and forth at different times over this over the years. There are some trips I've gone on where I've done a significant bit of writing at the time, and there are other trips I've gone on where I haven't done any writing at all and focused on the moment.
Again, it really depends on the circumstances of the trip. If, for example, I'm visiting family and everyone's taking naps in the afternoon, why not whip out my laptop and start typing and see if I can get out a thousand words before everyone wakes up and it's time for dinner? But other trips, for example, I've spent all day in the car driving from various national monuments and landmarks, and if you're doing that, that is really not a good time to attempt any writing for those kinds of trips, and so I did not do any writing on those kinds of trips.
Let me use myself as an example here. This coming Christmas holiday between Christmas Eve and about December 29th/December 30th, I'm not planning on doing any writing at all. I might do some writing if, for example, everyone's taking a nap or everyone's out doing errands or on phone calls or something and I have nothing else to do, so I might as well whip out my laptop and see if I can squeeze out a thousand words, but for the most part, I'm planning to focus on the holiday and not do any writing or very much writing between Christmas Eve and the 29th and the 30th or thereabouts. Then usually if I do that kind of thing where I have to take a couple days off or a weekend off or that kind of thing, I feel pretty refreshed and eager to get back at it once I am done with the trip and the vacation or the holiday is over.
Additionally, is it more realistic to use the trip for inspiration instead of getting writing done? You could visit museums related to what you're writing about, historical sites or buildings, or visit new cities. If you're planning to set a book there someday. Thinking of it as a research/inspiration trip may help with a feeling of guilt from not writing and make the trip more enjoyable.
What I've been doing lately is, as I've mentioned before frequently on this podcast, I usually do my own covers now, and that requires, of course, a steady supply of stock photos. So when I'm on a trip lately, if I see something scenic, it's time to whip out the camera and take a few pictures because modern smartphone cameras are good enough and produce high enough resolution images that you can use them on book covers. Several of the book covers I have published this year with my books have elements in them that were taken from photos I took while I was on a trip. So that is one example of how I shut off writing entirely during these trips, but then still take a lot of pictures that I can use for later stock photo use in my book covers.
#6: And now for tip number six that I'm going to emphasize quite a bit, if you are in fact writing while you are traveling, make sure you have a method for backing up your work. This is so important. I'm going to repeat it again. Make sure you have a method for backing up your work to the cloud or a flash drive or something. One of the risks of traveling is that your laptop can be lost, damaged, or stolen, and if you don't have a backup of what you're working on the laptop, you will lose all your work, which is one of the most disheartening feelings you can have.
Fortunately, there are many, many low-cost options to back up your work. You could use a flash drive and copy your work to a flash drive at the end of every session. The advantage of that is your work's in two places. The disadvantage of that is that a flash drive like laptop can be lost, damaged, or stolen, so it's a good idea to use a cloud solution. We talked about finding reliable internet, but you might want to just find just enough internet to connect to a cloud service like Dropbox or Google Drive or OneDrive or Apple Service and then back up your work to the cloud, and that way if your laptop is lost, damaged or stolen, you will not lose your progress.
It's an interesting thing nowadays that laptops, as expensive they can be, are often less valuable to their users than the data they contain. The data is the important part, and you want to make sure that you back it up regularly. Even if you don't have a cloud provider, you can just email yourself the file every day of your work progress, so that way if your laptop is again lost, damaged, or stolen, you have a backup copy in your email account.
Recently, I was talking to a relative who is subscribed to Dropbox and he's complaining that he's paying, I think it's like $90 a year for a Dropbox to back up his laptop, and I told him to think of it as the computer equivalent of car insurance. I mean, in the ideal world, if you have car insurance and you get into a car accident, the insurance company will declare your car totaled and write you a check for the value of the car that will help you get your next vehicle.
Having a cloud subscription like that is the equivalent of car insurance for computers so that way if once again, repeat it with me, if your computer is lost, damaged, or stolen, all your data is safely backed up in the cloud and you can download it right away to your next computer. You can tell I used to work in IT because I'm really banging on about this, but if you are traveling and you are working, make sure you have a good backup solution for your work. This will avoid, trust me, much later heartbreak.
So to wrap up, I'd say what the main thing I've learned for many years of doing this is that if you want to write while you are traveling, be flexible, which is something I have to admit runs against my personality because I do have a very rigid and routine driven personality, and it was totally up to me, I would do exactly the same thing, exactly the same time every day, but obviously life doesn't work that way.
One must learn flexibility, and flexibility is especially important while traveling. I'd say that is the biggest thing to keep in mind if you want to write while traveling, accept that sometimes you're not going to get any writing done during your trip and that is for the best or accept that other times that there may be moments where if you need to, you can write a thousand words while you're waiting at the airport or everyone else you're visiting is on the phone or running errands.
So I hope these tips and tricks will help you if you decide to write while you are traveling. So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look back at the movies and TV shows I watched in Autumn 2024, and rate them from my least favorite to my favorite.
TRANSCRIPT
Hello, everyone. Welcome to episode 230 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the Sixth, 2024, and today we are looking at my movie/TV show roundup for Fall 2024. Before we get to that, we'll have an update on my current writing projects and then we will do Question of the Week.
First up, I'm pleased to report that the rough draft of Orc Hoard is done at 78,000 words, so it'll probably end up being about exactly the same length as Half-Orc Paladin, the previous book in the series. I've also written a short story called Commander's Wrath that newsletter subscribers will get a free ebook copy of when Orc Hoard comes out and hopefully we're on track to have that out before Christmas. I'm also 7,000 words into Shield of Deception, which will be the fourth book in The Shield War series and if all goes well, I'm hoping to have that out in January or February. In audiobook news, recording is currently underway for Cloak of Masks and that will probably be out towards the end of January or perhaps February, depending on how long processing takes.
00:01:02 Question of the Week
Question of the Week is designed to inspire enjoyable discussions of interesting topics. This week's question, what do you listen to while working: genre of music, audiobooks, podcast, nothing else so you can concentrate, et cetera. No wrong answers obviously, and we had quite a few answers.
David says: I listen to audiobooks and music. Music ranges from classical to country to pop, bands and soul artists to instrumental. No rap or heavy metal or dance music or I listen to music from YouTube channels. If I have to really focus on what I'm doing, I'll turn it low so it doesn't distract.
Justin says: video game music is my first choice. It can help you grind in real life just like it does in the game. If that isn't working for me, then rock or classical music with movie soundtracks at third.
Brooks says: I tend to gravitate towards hard rock/punk rock. I have to stay adrenalized. Outside work, I'll listen to almost anything.
Michael says: I find I can't listen to words or lyrics without getting distracted by them, so instrumental music is the way to go. Usually video game music too (the Stelara soundtrack is particularly epic), movie scores (Kingdom of Heaven is one of my favorites), or Dungeon Synth, an amazing music genre I only discovered recently.
Barbara says: sometimes I play music while writing, but most of the time I prefer the silence so I can better hear the voices in my head. Of course, I prefer very specific types of music that always end up coming back no matter how much I try to stray.
Jenny says: lots of EDM and techno if words would distract me or my solid nineties pop punk angsty mix. I also have a giant one I called “I heard it in a video game” for background music.
John says: When I did/could work, I enjoyed outlaw country music, particularly that from Texas. Put me in a kick butt and take names kind of mood. When you're a plumber who gets paid by the work done, not the hour, that's where one wants to be.
(A different) John says: I only listen to music when I'm working in the kitchen. I'm eclectic. Sometimes classical music, sometimes ‘80s prog rock with Hawaiian music and occasionally jazz tossed in.
Juana says: I like rock and roll from many eras. I put my eclectic music on shuffle. I also listen to movie soundtracks: Star Wars, Star Trek, Harry Potter, Animal House, et al.
Brandy says: If I'm cooking, I listen to Pandora. There's a pop ‘90s - ‘20s station. I do have a few that are specifically listed, angry or sad, one more angry German metal or Mongolian throat metal, the other more goth and industrial. I read books instead of listening. If I'm proofing, I usually have something on in the background. Today it's Sanctuary Season One.
Morgan says: ADHD means I jump around a lot on what I'm listening to depending on the day, but audiobooks- usually fantasy or horror. Podcasts- Pathfinder actual play podcasts, horror podcasts, and wrestling/gaming news podcasts. Music, whatever artist/album I'm obsessing over at the time, but usually prog rock, metal, or rap.
Matthew says: I always have my iPad for background noise. If I'm particularly invested in getting chapters done, I'll put on something largely audible.
Gary says: audiobooks, podcasts, worship music, Christian hard rock.
Bob says: Retired now, but when I was working I didn't listen to anything-needed to concentrate on what I was doing. When paying bills, I sometimes have some Morse Code on in the background (one of my previous means of paying the bills). On long car trips, it's nice to have some distraction -whatever radio station I can find, preferably one with a story. In truck stops, we used to find some stories on disc that had the actors doing the voice of the characters and some of them were pretty good.
For myself, I almost always listen to music while I'm working and that genre is usually soundtracks and video games, movies, and TV shows (in that order) that I liked, which makes it difficult to discuss music with people, I have to admit. I do listen to podcasts when I'm working outside, so long as I'm not using a power tool that requires earplugs for safe operation (which sadly seems to be most of the time).
00:04:42 Main Topic: Autumn 2024 Movie/TV Review Roundup
Now on to our main topic, the review roundup of the movies and streaming shows I watched in Autumn 2024. I was going to do a combined Autumn/Winter 2024 one, but it was getting a bit too long, so Winter 2024/2025 will be its own post in a few months.
I seemed to watch a lot of time travel movies this time around and quite a few with Space Magic. As ever, the grades are totally subjective and based on nothing more than my own thoughts and opinions. Now let's take a look at the movies and streaming shows from least favorite to most favorite.
First up is Escanaba in Da Moonlight, which came out in 2001 and it is a surrealist comedy about hunting traditions set in Michigan's Upper Peninsula. 42-year-old Reuben Sodi is the only man in his family who has never shot a buck, so when he complains about this to his Native American wife, she casts a spell to help Ruben bag his first buck, which results in a very bizarre nighttime journey/vision quest. This includes UFOs, visitations by nighttime spirits, and a Department of Natural Resources officer having a mental breakdown. This was a funny movie, but it was definitely very weird and even more specific. If you're at all familiar with the hunting culture of Upper American Midwest, you'll get the humor. If you're not familiar with it, this will be like watching a movie from another planet. Overall grade: C.
Next up is Looper, which came out in 2012. I didn't actually like this movie very much, but I respect how well done it was. Joseph Gordon Levitt plays Joe and is a type of assassin called a looper living in the US in 2044. About 30 years after 2044, time travel is invented but immediately outlawed. Since it's difficult to get away with murder in 2074 due to advanced technology, crime syndicates have taken to sending people they want eliminated back in time to 2044 where the loopers immediately execute the target in exchange for a big fat payout. Loopers can live like kings, but there's a price. Eventually the loop is closed and the looper’s future self is sent back to be killed by his past self.
Failure to comply results in an extremely grisly fate at the hands of the syndicate. Joe, being a hardened killer and drug addict, is fine with all this and even helps turn in a fellow looper who failed to close his own loop. Then Joe's future self arrives. Joe is about to kill Future Joe (played by Bruce Willis), but Future Joe escapes and Present Joe has to hunt down and kill Future Joe if he wants to survive.
In the process, Present Joe stumbles across the farm of a woman named Sarah (played by Emily Blunt) and her young son Sid. Present Joe realizes that future Joe has traveled back to kill the child, Sid, who will be responsible for the death of Future Joe's wife in the future. Despite everything he's done, Present Joe is not okay with this and gears up to help Sarah defend Sid from Future Joe. This movie was on the very dark side of noir filmmaking: no good characters, essentially only various degrees of bad people trying to navigate their way through the maze of time crimes. I did strongly dislike how fundamentally nihilistic the movie was and the addition of telekinesis did seem like kind of a plot crutch. There is also some unnecessary nudity. Rian Johnson is actually an excellent filmmaker. Knives Out and Glass Onion were both very good, but I cannot imagine how someone will watch Looper and think, hey, this guy is a good choice for a Star Wars movie. Overall Grade: B-
Next up is Agatha All Along, which came out in 2024. It was extremely well written and well-acted. You almost have to watch it twice just to admire how well put together the plot was. I wasn't expecting to like Agatha All Along, but it is an excellent example of writing a show with a villain protagonist and actually pulling it off. The show is also a good example of something I've talked about before on the podcast and the blog: characters can be likable, emotionally sympathetic, or both. It's sometimes tricky to write a character who's both, unlikable but emotionally sympathetic.
By contrast, Agatha Harkness is an excellent example of a character who's both likable and highly, highly unsympathetic. Agatha All Along is indeed a show with a villain protagonist, but Agatha is charismatic enough to remain likable even though she's unquestionably an absolute monster who deserves every bit of suffering she endures.
Actress Kathryn Hahn deserves major credit for making someone as evil as Agatha so charismatic. Agatha retains just enough of a sliver of sympathy to keep the audience from turning on her, but even when she shows flashes of humanity, beneath that there are even more layers of monster. She also does a very sort of a modern Doctor Who/ Sherlock thing where she talks very fast and puts up a flippant and silly facade, but she's actually calculating things several steps in advance and manipulating everyone around her to her final goal. Anyway, the plot of Agatha All Along is that Agatha finally breaks free from the spell of the Scarlet Witch placed on here at the end of Wandavision.
However, Agatha doesn't have any magic left, which is a major problem for her because she has very many enemies who very much want to see her dead as soon as possible, but then a mysterious teenager turns up and asks for Agatha's help. He wants to walk the legendary Witches’ Road and it has said that someone who walks the road and survives to the end will receive their heart's desire. Since Agatha doesn't have any other options and she has some major enemies, she agrees. Agatha, the teenager, and the Witches’ Road itself all have very dark secrets and their reveal makes for some major drama. As I mentioned, the show was very well written and acted. I suspect that may be the secret for movie or TV success in the 2020s economic climate: good actors, an excellent script, and keep your costs down. Overall grade: B
Our next movie is Field of Dreams, which came out in 1989. An Iowa farmer discovers he’s a very specific kind of necromancer, like how sports medicine is a specific field of study. Maybe sports necromancy is a specific subclass for evil wizards or something. All joking aside, the main character is Ray Kinsella (played by Kevin Costner) and he's walking his cornfield one day and he hears a mysterious voice tell him “If you build it, he will come.” Ray builds a baseball field in one of his cornfields and began speaking to the ghost of Shoeless Joe, a popular baseball player who died in 1951. Soon a lot of other ghosts arrive and start playing baseball as well. The mysterious voice starts urging Ray to “ease his pain” and Ray concludes this must means Terrance Mann (played by James Earl Jones), an activist writer from the sixties who dropped out of the public eye and is living in seclusion. So Ray starts on a cross country trip to persuade Mann to come to his baseball field. This movie is really perhaps the ur-example of the Feel-Good Eighties Movies and maybe a Baby Boomer movie. The characters speak with near religious reverence for the ‘60s, baseball is the Great American Pastime, and Ray really wants to heal his relationship with the father he rebelled against back in the ‘60s. The best part of the movie was unquestionably James Earl Jones' character and his performance as he resigns himself to Ray’s craziness and then starts to believe in it was pretty great. Overall grade: B
Next up is Holiday, which came out in 1938. Holiday is a romantic comedy from the 1930s. Cary Grant plays Johnny Case, who has fallen in love with Julia Seton, the daughter of a wealthy New York banking family. However, his more individualistic outlook soon puts him at odds with Julia's more traditionalist family, though this draws the attention of Julia's elder sister Linda (played by Katharine Hepburn). It felt a bit like watching a play and a little research revealed that it was indeed based on a play from 1928, which may be why the film didn't do so well when it originally came out, though it is regarded as a classic today.
Viewers in the Great Depression era would probably find it difficult to sympathize with a man who wanted to turn down a well-paying job at a bank, not out of moral objections to the bank's business practices, but because he would feel constrained. The Seton family is played as eccentric and somewhat troubled, but not as buffoons or villains as rich people were often portrayed in other 1930s movies. Good performances and worth watching as a classic, though sound technology has improved quite a bit in the last 90 years, so you probably will want to watch it with the captions on. Overall grade: B
Next movie is Twisters, which came out in 2024. This is basically the same movie as Twister from back in 1995, but with some of the plot of Pride and Prejudice bolted on. Kate Carter (played by Daisy Edgar-Jones) is an Oklahoma storm chaser with her boyfriend and best friends. One day, one of their storm chases goes horribly wrong, killing Kate's boyfriend and most of their friends. Five years later, Kate is working for the National Weather Service in New York when her old friend Javi, the other survivor of that storm, asks for her help testing a new radar tracking system. Kate reluctantly agrees and they return to Oklahoma and crosses horns with storm YouTuber Tyler Owens (played by Glenn Powell) who makes videos of his truck shooting fireworks into tornadoes. Naturally, Kate and Tyler immediately misunderstand each other in the same way as in Pride and Prejudice but are forced to work together when it turns out that Javi's company might have ulterior motives. I thought this was a thoroughly enjoyable summer popcorn flick. Given how both Covid and the 2023 writers’ strike hit this movie's production like two successive freight trains, it's astonishing it turned out so well. Overall grade: A-
Next up is The Rings of Power Season 2, which came out in 2024. I have the same attitude towards this as I do with Starfield. I really like it. In fact, my Xbox told me I played Starfield for 270 hours in 2024, but I get why some people do not. This show is essentially very elaborate fan fiction. The Lord of the Rings movie trilogy, despite the changes from the book, was still recognizably The Lord of the Rings. The Rings of Power is almost entirely its own thing. Nevertheless, I enjoyed this for a couple of reasons and hope it continues. First, it's nice to have an epic fantasy TV series that's not a nihilistic pornographic torture fest like Game of Thrones and House of the Dragon and is more competently executed than Disney's ill-fated Willow Series.
Second, all things must be taken in their context. What do I mean by this? Perhaps a food comparison will illustrate the point. The book the Lord of the Rings is like Kobe beef prepared by the finest chefs in the world, the sort of experience you get maybe once or twice in your life if fortune smiles upon you. The Lord of the Rings movie trilogy is like a high-quality supermarket steak grilled in the backyard by someone who's pretty good at it. The Rings of Power is like McDonald's, but there are times when you really want some McDonald's. In fact, I kind of want a Big Mac after saying all of that, but The Rings of Power is really good McDonald's, the kind of McDonald's you have after driving the car for 250 miles without stopping across one of America's flatter and less populous states. The only place to eat for like a hundred miles in any direction is this McDonald's in the same building as a gas station, so you stop and don't expect very much, but it turns out the fries are crispy and salty and the nuggets are just right.
I don't think it's surprising that The Rings of Power has had such a mixed reception. The Venn diagram of “enjoys Lord of the Rings” has some wildly divergent circles to it and that is a testament to the fact that the Lord of the Rings is such a great work of literature that so many people from so many very different ideological identity groups enjoy and identify with the book. Even ideological identity groups that are mortal foes agree on their approval of the Lord the Rings. So naturally each different group has its own strong opinion of what an adaptation should look like.
With that very long-winded introduction out of the way, I liked season two and I thought it was an improvement over Season One, a lot more narrative tension. Season One perhaps spent too much time setting the table and building context, but Season Two works well in making Season One better in hindsight. The Rings of Power version of Galadriel is improved in Season Two because she was one of the few characters in Season One able to throw off Sauron's mental domination and seduction. The highlight of the season was the toxic dynamic between Sauron and Celebrimbor. Actors Charlie Vickers and Charles Edwards did an amazing job portraying the slow-moving disaster that Sauron and Celebrimbor’s collaboration would create, two intellectual equals working together to create something great, but nonetheless, Sauron twists everything to his own ends. Their final scene together was just astonishingly good. The portrayal of Sauron is both very modern and true to Tolkien, a destructive narcissist who actually believes whatever lies he's speaking at any given moment. He really, truly believes he's going to heal Middle Earth, no matter how many people he has to kill to do it.
The scenes with Prince Durin, his father, and one of the dwarven rings of power were great as well. It had the same sort of feel to it as an adult child watching with horror as a beloved parent succumbs to a drug addiction. The best new character the show created (in my opinion) is Adar, one of the progenitors of the orcs. Tolkien himself could never really decide on the origin of the orcs and came up with different thoughts throughout his lifetime. When editing The Silmarillion, Christopher Tolkien settled on the corrupted former elves version, which seems to be what his father had been leaning towards anyway. Rings of Power takes that to its logical conclusion. Adar wants his orcish progeny to live free of the dark lords Morgoth and Sauron, which makes sense because in the books, the orcs hated Morgoth and Sauron and only served them out of fear.
Indeed, in The Lord of the Rings, Sauron seems to have secret police and informers among the orcs to keep track of their loyalties. Since the show displays how twisted and cruel Sauron really is, it makes sense that Adar is willing to go to any lengths to stop Sauron, no matter how extreme. The orcs are still monsters, including Adar himself, but they're monsters who want to be free of an even greater monster than themselves. If you've read The Silmarillion or The Lord of the Rings, you’ll know all the characters' efforts are doomed to failure, especially Adar and Celebrimbor’s, which lends an air of inevitable tragedy to everything that happens. I know some people were mad that Tom Bombadil was basically Wizard Yoda, but I thought it worked. Tom Bombadil is so inscrutable of a character that he can really do whatever he wants so long as he's inscrutable.
It was also great how composer Bear McCreary wove a variation of Sauron's theme throughout the show. The soundtrack was A+ work in my opinion. Overall, I enjoyed the show and would like it to continue. If you know the difference between Fëanor, Finwë, Finrod, Felagund, Finarfin, Findulias, Fingon, and Fingolfin (without having to look it up), and in fact have everything about them from The Silmarillion memorized, you’ll hate this show. But I think it’s worth watching. Overall Grade: A-
Next up is Casa Bonita Mi Amor, which came out in 2024. Way back in the 1990s I saw an episode of Frasier where Frasier and his brother Niles decide to buy a restaurant. A series of hilarious cascading disasters result. At the time I decided I never wanted to own a restaurant and every piece of both factual information and fictional media I have consumed since has not changed this decision.
Casa Bonita Mi Amor definitely will not challenge that decision. Apparently, Casa Bonita was a beloved theme restaurant in Colorado that went out of business during Covid. Trey Parker and Matt Stone, creators of South Park, decided to buy the restaurant themselves and reopen it. They budgeted $3.6 million for the restoration of the building. Costs soon swelled to $40 million and the problems were still only just beginning. This is an excellent and entertaining example of the “rich man buys restaurant, soon finds himself over his head” genre of documentary filmmaking. Overall grade: A
Finally, my two favorite things I saw in Autumn 2024 and the first of them is the movie Frequency, which came out in 2000. It's another variant on a time travel story, but I like this one considerably better than Looper. Frank Sullivan is a firefighter and devoted family man living in New York circa 1969. His son John is a police detective living in the house 30 years later in 1999 with emotional problems because he never got over his father's tragic death in a dangerous fire 30 years earlier in 1969.
When the son of a friend stumbles across his father's old ham radio, John lets the kid goof around with it. Later that night, John starts talking to someone on that radio and to his astonishment realizes he's talking to his father from 30 years ago on the same ham radio. Desperate, John tries to warn Frank about the fire that kills him and it works. Frank survives the fire and instead of dying 1969, instead dies in 1989 from lung cancer due to a pack a day habit. The scene where history changes and John suddenly realizes what has happened was pretty great, but this isn't the ending. We're only 40% of the way through the movie. John successfully managed to put right what once went wrong.
However, in doing so, he accidentally also put wrong what once went right. His mother is a nurse and in the original timeline was on bereavement leave the day after Frank's death. In the new timeline, Frank is okay, so she goes to work and saves a patient who otherwise would've died in medical error and the patient happens to be the deadly serial killer known as the Nightingale. To his horror, John realizes that The Nightingale is now free to continue his murder spree and his new target is John's mother and Frank's wife.
As I've mentioned numerous times before, I'm not really a fan of time travel stories, but this one was quite well done. Interestingly, the plot structure was similar to Avengers Endgame. The Avengers go back in time to steal the Infinity Stones to undo Thanos’ Snap, but Past Thanos figures out what's going on and follows the Avengers back to the present and attempts to make things even worse than they already are. John manages to save Frank from the fire, but this means the Nightingale serial killer survives and might create a worse present than the one John already has, so that really adds an altogether excellent element of dramatic tension to the entire movie. As one amusing side note, this movie shared Field of Dream’s reverence for baseball as the Great American Pastime and John manages to convince Frank he's telling the truth about their time travel radio by accurately predicting the outcome of baseball games. Overall grade: A
Now the second favorite thing I watched in Autumn 2024, The Grand Tour: One for the Road, which came out in 2024. I admit that when I started self-publishing in 2011, I knew absolutely nothing about the contemporary United Kingdom, like I couldn't even told you whether the UK used the Pound or the Euro. When I started getting book royalties from Amazon UK, let's just say I learned about currency conversion rates really fast, but as UK book royalties fluctuated as they do, I started reading the UK news since when there's an election or major news event in the UK, book royalties tend to drop for a few days after the same way they do when something similar happens in the US. Because of that, I saw the news article when Jeremy Clarkson was fired from Top Gear in 2015 for punching out a producer. At the time, there were some seasons of Top Gear on Netflix, so I was curious and started watching and was thoroughly entertained.
When Grand Tour started on Amazon, I started watching that as well and I was also thoroughly entertained, but all good things must come to an end. Jeremy Clarkson, Richard Hammond, and James May go on one last road trip adventure across Zimbabwe. The usual hijinks ensue for one last time, and it was a fitting end to Top Gear/The Grand Tour. I'll miss the show, but I am grateful for over a decade of entertainment from Top Gear/The Grand Tour and from the various spinoffs like Clarkson's Farm and James May's travel show. Overall grade: A
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we wrap up the November Writing Challenge by taking a look back at the Five Iron Laws Of Storytelling, which have often been discussed on this show before.
Be sure to get your free copy of STORYTELLING: HOW TO WRITE A NOVEL at my Payhip store. The book will remain free until December 9th:
https://payhip.com/b/JPDoT
TRANSCRIPT
Note: Spoiler alert at 3:35. Please check this section of the podcast before proceeding if you are concerned about spoilers for several older television shows, movies, video games, and books.
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 229 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 26th, 2024, and today we are wrapping up our November Writing Challenge with a look back at The Five Iron Laws of Storytelling. You may note that I am recording this a bit earlier than I usually do, but that is because I want to take a couple days off for Thanksgiving.
To celebrate the end of our November Writing Challenge and to congratulate you all for listening to these shows, I am giving away free copies of my nonfiction book, Storytelling: How to Write a Novel on my Payhip Store. The link will be in the show notes, and if you follow that link, you can get a free copy of Storytelling: How to Write a Novel from my Payhip Store until December 9th. So follow that link in the show notes to my Payhip store and you can get a free copy of Storytelling: How to Write a Novel until December 9th.
Before we get to our main topic, let's have a look at my current writing projects. My main project right now is Orc Hoard, the fourth book in the Rivah Half-Elven series, and that puts me at 55,000 words into it and that puts me on chapter 11 of 18. So I think the final draft will be around 85,000 words or so, which will make it the longest book in the series to date. And if all goes well, I very, very, very much want to have that out before Christmas. I'm also about 4,000 words into Shield of Deception, which will be the fourth book in my Shield War series and if all goes well, I am hoping that will be the first book I publish in 2025.
In audiobook news, the audiobook of Cloak of Spears, as excellent narrated by Hollis McCarthy, is now available at all the usual ebook stores. I will include a short preview of the audiobook of Cloak of Spears at the end of this episode, so you can listen to that then. And that is where I'm at with my current writing projects as we wrap up November and head into December.
00:01:57 Main Topic: The Five Iron Laws of Storytelling
So now let's go right into our main topic, The Five Iron Laws of Storytelling. I figured this would be a good main topic to wrap up our November Writing Challenge with as it is a good reminder and a good summation of many of the things we talked about in the past month. The Five Iron Laws of Storytelling is a concept I first talked about on my website like 10 years ago now. The name Iron Law is sort of a tongue in cheek joke because I got the idea from a science fiction author Jerry Pournelle, who termed what he called Pournelle's Iron Law of Bureaucracy, where describing that after a certain amount of time, a bureaucracy will cease to attend to the function to which it was created and instead devote its attention to sustaining and perpetuating the bureaucracy.
And I'm sure we can all think of examples of that, so that's where I took the name from, but it's not so much Iron Laws as these are useful principles to guide you while you are writing a fictional story, whether it's a short story, a screenplay, or a novel. I would say it's fair to argue that storytelling does have some laws you can follow (or at least if you don't like the term laws, best practices) and a writer will ignore those best practices to his peril. When people get ticked off about the ending of a story like the ending of The Sopranos or the ending to Stephen King's Dark Tower series, if they simply don't like a novel or a TV show, it’s usually because the writer ignored one of more of these Iron Laws that we're going to talk about. These then are what I believe to be The Five Iron Laws of Storytelling.
When discussing them, I will cite five examples that I think to be excellent examples of the craft of storytelling: the movie the King’s Speech, the movie Wreck-It Ralph, the movie Gravity, the novel Pride and Prejudice, and the TV series Breaking Bad. I should note that I did not personally care for Breaking Bad because it was too nihilistic for my taste, but nonetheless, it was an excellently crafted example of a well-written story. I'll also cite four things I believe to be examples of bad storytelling: the final two volumes of Stephen King's Dark Tower series, the Dragon Age 2 computer game, the original ending of the Mass Effect 3 computer game, and the ending of the Sopranos TV series. So note that there will be spoilers for all of these shows, films, books, and games. Now onto the five laws.
#1: The protagonist must have a problem that results in a conflict because if there is no problem, there is no story. Conflict and problems are engines that drive the story. A happy life with minimal conflicts and problems might be the ideal that we all want in real life, but it does make for an exceedingly dull story. The main character of his story needs to have a problem that results in some kind of conflict. Note that this conflict doesn't necessarily have to have an actual villain, it just needs a problem to solve. The movie The King's Speech doesn't have a villain (though the future and former King Edward VII is kind of a jerk) but instead revolves around George VI’s efforts to deal with his speech impediment. Gravity likewise has no villain but centers around Dr. Stone's efforts to survive in the harsh environment of space. So the protagonist must have a problem. The story is about how he or she deals with said problem, which leads us on to number two.
#2: The protagonist’s problem and conflict must be consequential to the protagonist and have real stakes for the protagonist. The problem has to be serious because if it is not, there are no real stakes, the reader will get bored and cease to care about the character. The worst of all worlds is an unlikeable character with a trivial problem. Walter White in Breaking Bad is a thoroughly unlikable character, but he becomes sympathetic to the audience because of the nature of his problem. He's dying of cancer and so he turns to meth production to ensure his family's security after his death. Walter's problem, of course, has very real stakes, his own mortality and his family's future, but the stakes need not be life and death, but nonetheless, they need to be emotionally serious and significant to the protagonist.
In the King's Speech, at no point in the movie is George VI in any kind of physical danger. He is wealthy and respected, his wife and children love him, and he does not have the self-destructive impulses and nature of his brother. Nevertheless, his problem is real. It is emotionally painful and opposes a risk to both himself and his sense of duty to the monarchy and the country. Likewise, Elizabeth Bennett in Pride and Prejudice is in no physical danger throughout the book. Nonetheless, the stakes of her problem and her feelings for Mr. Darcy are consequential. If she does not secure a good marriage when her father dies, there is a very real possibility she'll be impoverished. Or if she marries an unsuitable man like Mr. Wickham, her life will be miserable. So while a young woman dealing with her feelings seems like a trivial problem, it will nonetheless have potentially dire consequences for Elizabeth and her family if she chooses wrongly.
Physical danger is likewise an easy way to introduce high stakes to a story. In Gravity, Dr. Stone faces constant risk of death in a variety of agonizing ways due to the harsh nature of space. Wreck-It Ralph faces the prospect of non-existence if he dies outside his game. In Breaking Bad, other than the inevitable death from cancer, Walter White faces increasingly high odds of getting shot in the head by his business partners and customers, since crystal meth is clearly not a business for conservative-minded investors. Regardless of the nature of the problem and the conflict, it must be consequential and carry high risks and dangers for the protagonist. That said, the problem must be something the protagonist can conceivably deal with. Too vague of a problem or too powerful of a problem, and the story goes off the rails.
When I'm recording this in November of 2024, it's a few months since the fourth Dragon Age video game came out, and if you look at the internet at all, there are of course frequent debates about which Dragon Age game was the best and which one was the worst. But in my opinion, Dragon Age 2 is the weakest of them because it runs smack dab into the problem we've been talking about. The central conflict in the game was strife between the mages and the Templars who are supposed to police the mages. The Templars claim that the mages are demon worshiping abominations while the mages claim that Templars are arbitrary and brutal. As it turns out both sides are right, regardless of which faction the protagonist chooses to aid, making the conflict of Dragon Age 2 to be human nature/social injustice. Regardless, it's not a problem that can be resolved within the game and in the ending, the Templars and the mages go to war no matter what decisions the player actually makes, so I'm afraid that the story falls flat.
#3: The protagonist must take action and struggle to resolve his or her conflict and problem. A common failure in storytelling is a protagonist who has a serious problem but does nothing about it. We've all read stories with a passive protagonist, or even worse, a protagonist who does nothing but whine about his difficulties or thinks that by feeling bad about his or her problems, they will somehow magically get better. Worst of all is when a protagonist does nothing but whine or complain for two hours or 300 pages and somehow does solve all of his or her problems. This is apparently a common problem in the genre of romance novels. The opposite of this problem is the boring invincible hero. This is common in science fiction or fantasy series where towards the end of the series, the hero is so powerful that he or she can defeat all his problems using magic or a blast from a particle cannon. Struggle is necessary for a story.
If the protagonist does not struggle, the story will probably be boring. No, the protagonist has to take action, actual active action to resolve the problem, but he or she must struggle while doing so. In Breaking Bad, Walter White sets out to solve his family's impending financial ruin by brewing up some crystal meth for sale. In Wreck-it Ralph, Ralph wants respect from the other denizens of his game, so he jumps to another game to win a medal and therefore prestige. In Gravity, Dr. Stone struggles to stay alive the entire time in the face of the indifferent hostility of outer space to human life. If these characters did nothing to surmount their problems, we would have boring stories.
#4: The protagonist must face challenges and setbacks and his or her efforts to resolve the problem that may even backfire. This is a good antidote to the boring invincible hero problem we just mentioned. Think of this as the unexpected complications ensue rule. You see this all the time in real life, it matters both serious and trivial. Like say you need to mail your rent check but you're out of stamps, so you drive to the post office, but there's an accident in the intersection and you have to take a different route. As you take a different route, your car breaks down. All these new problems need to be dealt with and you still have to mail the check. We've all had days like that, and fictional protagonists should be no different in the pursuit of their goals.
Additionally, it's possible for a protagonist to inadvertently make things worse through his or her actions. Like in Wreck-It Ralph, Ralph sets off for his medal of heroism, but in doing so, accidentally puts his own game out of order and inadvertently unleashes the virus like cy-bugs in the Sugar Rush game. Walter White in Breaking Bad is a textbook example of this. In the course of attempting to solve his problems, he makes a number of extremely bad decisions that estrange him from his family and sent his business partners gunning for his head. In the King's Speech, George VI gives up in despair believing he'll never overcome his speech impediment. In Pride and Prejudice, Elizabeth torpedoes her relationship with Mr. Darcy because of her misunderstanding of his motives. And if you've seen Gravity, you know that Dr. Stone's situation frequently goes from bad to worse.
#5: The ending must provide satisfactory emotional resolution to the problems raised in the story. Of all the Five Iron Laws of Storytelling, this one is undeniably the most important. Screw this one up and readers will be ticked and talk about on the Internet for years. Whatever crisis comes up in the story, whatever conflict or difficulties, it must be resolved in an emotionally satisfying manner
by the end of the story. It can be a happy ending or a sad ending or a mixture of the two, but it must be emotionally satisfying.
Let's look at some bad examples first. Stephen King is an excellent writer. If you've read his book 11/22/63, you know that's a great book. But when he's written as much as he has, not everything is going to be good, of course. And Stephen King's The Dark Tower series is a good example of a weak ending. After 22 years and seven books, the protagonist Roland learns that he has repeated his quest to the Dark Tower over and over again for thousands of years, forgetting every time, which makes everything that happened in the previous seven books utterly meaningless since the events happened before and will happen again. Therefore, there is no emotional resolution to the story or Roland's quest for the Dark Tower.
The computer game Mass Effect 3 is another example of how not to end a story. In the case of Mass Effect 3, the original ending is simply too abbreviated. Commander Shepherd sacrifices himself or herself. A weird light shoots out of the Citadel. The Normandy crash lands on an alien planet, and that's it. Considering the hundreds of hours of gameplay involved and the intricate network of emotional relationships between Shepherd's companion and the dozens of subplots over the three games, the ending was too short to provide adequate emotional resolution. It felt a bit like a cop out as if the writers had simply said, okay, we're done, stop here, and had given up before attempting the necessary ending. The ending of Dragon Age: Origins by contrast was an excellent example of a well done ending.
The ending of the Sopranos is an even more extreme version of this. Infamously, the series simply ends with a cut to black in the middle of Tony Soprano and his family eating dinner. Many viewers thought their televisions had failed. This is the ultimate example of a story of failing to provide emotional resolution. The final episode does not even attempt to do so. I suspect these problems arise when a writer tries to be realistic, which is what happens when a writer mistakes verisimilitude (a story feeling realistic) for realism. A story requires suspension of disbelief and attempting phony realism can cause the story to break down.
But let's move from the negative to the positive and look at some good examples of endings. The ending of Breaking Bad was well executed, since it resolved the story's emotional conflicts. Walter White does not escape punishment for as many crimes since he's shot to death in the end. Additionally, he dies in the act of resolving some of the conflicts that he helped create. His meth empire has been taken over by his enemies and his former partner has been forced to prepare meth for them. Walter tries to provide for his family, free his partner, and defeat his rivals and dies at the end, killed not by his cancer, but by finally facing the consequences of his many bad decisions. Note that this is by no means a happy ending, but it is a satisfying ending, which is more important.
The King's Speech ends well, with George VI addressing the nation over the radio without melting down due to his speech impediment, simultaneously resolving the conflicts over his stammer and his fear of accepting his duties as king. This is an ambivalently happy ending. George VI has overcome his conflicts, but the viewers know that the United Kingdom is about to go through World War II and George himself will die prematurely of lung cancer and heart disease in 1952. Nevertheless, the conflicts within the story have been resolved.
Wreck-It Ralph has a more straightforwardly happy ending. Every single conflict raised within the story is resolved. Ralph accepts his role as villain in the game, realizing he is a vital part of the team. He gains the respect of his neighbors, and the villainous King Candy and the cy-bugs are defeated. Additionally, even when the side conflicts are resolved: Fix It Felix marries Sergeant Calhoun, King Candy's malevolent influence over the racing game has ended, and the homeless video game characters are able to set up inside Ralph's game.
To sum up, stories have a sort of irresistible logic to them. Much like a properly balanced equation. a writer should set out to create a story that follows this logic, which will result in a far more enjoyable experience for the reader.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
Don't forget to get your free book copy of Storytelling, how to Write a Novel from my Payhip store.
In this week's episode, we conclude our November Writing Challenge with questions from beginner writers. We also check in with our transcriptionist and see how she did with the challenge.
Bonus! The transcriptionist's official Writing Playlist:
Now I’m in It-HAIM
Build Me Up From Bones- Sarah Jarosz
Outnumbered- Dermot Kennedy
Pain is Cold Water- Noah Kahan
Orpheus- Vincent Lima
Flight Risk- Tommy Lefroy
If I Don’t See You Again- Wyatt Flores
Brink of Love- Teddy Thompson
The Wire- Patrick Droney
Coming Home- Leon Bridges
More Love- Sara Bareilles
White Flag-JOSEPH
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 228th of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 22nd, 2024, and today we are discussing the fourth and final part of our November Writing Challenge, which will answer questions from beginning writers. Before getting into that, we will have an update on my current writing and audiobook projects and our Question of the Week.
First up, Cloak of Illusion, as I mentioned last week, is now out. You can get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip Store. There was a bit of a processing glitch on Kobo that slowed it down this week, but now the book should be available at Kobo, so if you're a Kobo reader, you can buy it for your Kobo reader or read it in Kobo Plus without any difficulty.
Now that Cloak of Illusion is out (and selling very well, thank you all for that), my next project is Orc Hoard. That will be the fourth Rivah Half-Elven Thief book and I am 44,000 words into it (on chapter 10 of 18, which means I'm over halfway through). I very, very much want to have this book out before Christmas and I will be doing my best to make that happen. I am also about 2,000 words into Shield of Deception, which will be the fourth Shield War book (and hopefully will be my first book in 2025). The outline has 31 chapters, which means this will be the longest book I have tackled in a while, so I'm glad I'm getting kind of a head start on it as the secondary project while I work on Orc Hoard.
In audiobook news, as we mentioned last week, Shield of Conquest is out at all the audiobook stores (as excellently narrated by Brad Wills), and you can get that at your favorite audiobook store. In other good audiobook news, Cloak of Spears (as excellently narrated by Hollis McCarthy) is now out at all the audiobook stores and if you are looking for something to listen to on your long Thanksgiving drive or plane trip, I should mention that Cloak of Spears is about 12 hours long, so it will have you covered.
00:02:01: Question of the Week
So that's where I'm at with my current writing and audiobook projects and let's move on now to Question of the Week. Question of the Week is designed to inspire enjoyable discussions of interesting topics and this week's question ties directly into what we just talked about: what do you do for entertainment while traveling (whether by car, plane, train or otherwise- podcasts, audiobooks, portable games, that kind of thing)? No wrong answers, obviously. The inspiration for this question, as you might guess, was the upcoming Thanksgiving holiday, which for many people was a great deal of travel and finding ways to amuse yourself while traveling.
So in answer to this question, Justin says: music- classical, rock, movie scores, and video game tunes. If I'm traveling, I'm almost always driving. Music helps relax and entertain without demanding my attention.
Brett says: I read- very often one of your books. You've published 100+ books, but because I've read them multiple times, I may be at 1,000 plus reads of your books. (I got to say Brett has a good taste here.) If I'm driving, I don't usually have any entertainment.
Surabhi says: I love reading while traveling. Kindle is a nice advantage, being easy to carry, and I usually have easy to read books to read for traveling, which of course is why I have so many of your books in my Kindle Library. They're simple yet enjoyable to read.
I got to say Kindle does make traveling with books a lot easier. I remember in the old days all I had was space for two books to bring on a trip, and so I was trying to pick out which two books to bring.
Venus says: Reading and geocaching.
Bonnie says: about all the traveling I've done recently is to work and back, usually local radio station and ‘80s music.
Juana says: so my dad drove like he was in NASCAR. Consequently, I read books, because I was not brave enough to watch death coming for us. The habit is still with me.
Darla says: riding in car listening to Sirius XM, looking at scenery or talking to the driver, driving by myself- listening to radio or CD music and singing. On an airplane, I read hard copy books or ebooks on my tablet, maybe try to sleep.
Cheryl says: read the Kindle, but mainly keep an eye on the road, even as a passenger. You never know what is going to jump out into a country highway here in Australia.
Ashley says: I listen to audiobooks while driving and that has made working overnights more bearable.
Adeline says: Apple's Books app on my phone has been my best friend while on the move for years-planes, trains, London's public transportation.
MW says: while driving, I listen to either music or a podcast. When I'm being a passenger, I love to read or draw. I'm always carrying my Kindle and my sketchbook everywhere, or I try to catch some sleep. I generally avoid conversing unless I'm actually traveling with someone, but even then I reserve some time for myself.
John says: audiobooks while driving, Kindle on my phone while flying or lounging around, physical books while camping, though I use the phone at night. I like to hang out in restaurants and pubs at the bar, reading books and talking to strangers. If there's a beach or river, occasionally fish and walk around either the city, beach, or trail.
Jenny says: all the books or podcasts/radio shows. BBC has a fun one I have on CD called Cabin Pressure. It's hilarious. And if I'm alone in the car, singing along at full volume with my singalong playlist.
Just a comment quick, I did listen to all of Cabin Pressure in 2022 and early 2023, and it is indeed hilarious and I recommend listening to it if you get the chance.
JT says: when I travel, I generally intend to read and thus take several books. Instead, I listen to YouTube videos, audiobooks, music, play games, or nap. It is rather frustrating.
Brandy says: I haven't been able to drive myself since 2010, so I generally read books, coordinate meds, snacks, and travel stops since my partner is diabetic and I am epileptic. I navigate, take pictures of interesting scenery for attempted art later, bug people through texts, and Facebook.
Barbara says: if I'm not driving, I usually just watch the traffic and scenery. Of course, depending on whom the driver is, I may just close my eyes so I don't panic. Unfortunately, I have to board an airplane in a couple of weeks for an out-of-state wedding. I'll distract myself from the agony of the flight by reading.
Morgan says: I don't travel much, but I'm a delivery driver for work and I do a lot of audiobooks and podcasts, especially tabletop RPG actual play podcasts.
And Rob says: usually talk to the driver/navigate. If it's by bus or train. I read.
For myself, whenever I travel, most of the time I'm the one who's doing the driving, which obviously narrows down the entertainment options. So when I travel any long distances, I'm usually listening to audio books. A quirk I have with that is that I prefer to listen to audiobooks of books I've already read. So if I need to tune out the audiobook and focus on heavy traffic for a while, which happens often, then I don't feel like I'm missing anything.
00:06:30 Main Topic of the Week: November Writing Challenge Week 4
Now it's onto our main topic, the fourth and final week of our November Writing Challenge. As you know, if you've listened to the previous three episodes, our November Writing Challenge is sort of a let's call a low stress way to build a writing habit and get into writing and do writing because the traditional way of getting into writing in November, NaNoWriMo, may be a bit overwhelming for some people.
If you feel like you're missing out when others are working on a bigger writing challenge this month, and if you want to start writing but feel overwhelmed, a smaller writing challenge for the absolute beginner- 300 words a day or some other small number of your choosing. The key is that it should be small and something you can manage daily. Follow along with our podcast transcriptionist who has never finished writing a book and feels overwhelmed at the idea of starting one. Follow her progress and see what advice I have for her and other beginner writers.
So with that in mind, let's start with our transcriptionist update for the fourth and final week of the challenge. She says, “I completed another week of the challenge. I averaged 355 words per day, taking an average of 14 minutes per day. It's getting easier as the challenge goes on this month. For my overall challenge, I averaged 363 words per day, taking an average of 14 minutes per day to finish my daily word count. I finished three chapters of a rough draft even in a month where a lot of things happened in real life that ordinarily would've kept me from trying. I plan to keep going with the challenge in December since it feels like a habit at this point.”
So as we can see, our transcriptionist had good results from the challenge and feels like she's gone a long way to build a consistent writing habit. As I've said before many times on the podcast, don't let the perfect be the enemy of the possible and the achievable. And if a 1,000 words or 1,600 words a day just seems overwhelming, 300 words a day might be far more achievable. So that might be something worth looking into.
So now onto the questions I've been sent about writing from beginning writers. So we're going to go through these questions one by one.
#1: Do you listen to music while you write? Yes, I do. My preferred genre is soundtracks from movies, TV shows, and computer games that I like. And my listening habits tend to be a bit eclectic and not transferable to other people because if I talk to other people about my age, they prefer listening to bands they remember from their teenage years or their twenties. It’s true for everyone, whatever the music you were listening to when you were a teenager and in your early twenties becomes the gold standard for music for the rest of your life, and nothing else can quite live into that. But for me, I prefer listening to soundtracks from movies, TV shows, and especially computer games I enjoy.
For example, yesterday I was working on chapters 9 and 10 of Orc Hoard, and during that time I listened to the main theme from Dragon Age: The Veilguard like 15 times in a row. Am I going to play Dragon Age: The Veilguard? No, I don't have time for another computer game of that size, but I like Han Zimmer's music and have many of his soundtracks and I like the main theme to Dragon Age: The Veilguard, so I listen to it like 15 times in a row.
#2: Our next question: is writing fun for you most of the time? I would say it is fun for me most of the time. It's always an expenditure of energy, however. I mean there's always this temptation in the back of your mind or in my mind that I could knock off for the day and play Starfield all day, but then the words wouldn't get done, the books wouldn't get done, and then the books wouldn't sell, so I would have no money to pay my bills. So that is pretty good motivation to write for me.
But we're talking about beginning writers here and I'd say it's important to recognize that writing should usually be fun, but it's not always going to be fun.
Creating anything, whether writing a book or writing a song or painting a picture or building a cabinet, whatever it is, is always going to take an expenditure of energy and it is a form of work. Even if it's not as difficult as compared to say digging ditches or doing open heart surgery, it is still a kind of work and therefore there are times when it will feel like work and you have to make yourself do it. If you absolutely hate writing and don't enjoy doing it at all, then by all means you should not be doing it. Go find something else to do that you enjoy and you'll be happier and healthier for it, but if you do enjoy writing most of the time, then that is probably a good place to be.
#3: Our next question: how do you know how much worldbuilding is too little or too much? That is a good question because worldbuilding is definitely one of those writing adjacent tasks that can really be something of a rabbit hole that writers go down and then don't actually get writing any writing done. And I would say the answer is simple. You need to do whatever the right amount of world building is just enough, which I realize is very glib and pat answer, but it's true. You just need to do just enough worldbuilding that the story will be interesting, so that there may be mysteries for the character to solve. Worldbuilding is a bigger deal in fantasy obviously, especially fantasy that deals entirely with secondary worlds where you've made up the entire world and the history and so forth.
What you want to do is avoid info dumping. I did an earlier episode about that where the joke was that if contemporary novels written the way that a fantasy novel is written, when someone went to an American airport for the first time and they encountered the security checkpoint, one of the characters would stop and deliver a three page history of the TSA and airplane security procedures in the United States over the last 30 years, which is what you want to avoid. You want to do just enough world building that the story moves forward. You don't want to get bogged down into it. And depending on the nature of your story, you may want to keep some of the world building secret in order to help create a mystery that will hold the reader's interest and drive the plot forward. For fantasy novels, Brandon Sanderson is notoriously good at this where he'll design an elaborate magic system and keep part of it concealed from the reader, and then the reveal about the magic system or the nature of the world is part of the climax of the book.
Even in contemporary novels like mysteries or thrillers, you can do that with world building since obviously mysteries and thrillers have their own fictional parts of the world that you construct as part of the world building and so you can have reveals about your fictional police department or fictional spy agency be part of the world building. So to sum up, just do enough world building that you can tell your story, but don't get bogged down in it.
#4: Our next question: what's something no one told you about writing but you wish they had? Well, that's a good question. I think the biggest thing that I wish someone had told me, but it turns out I probably would've had to learn it myself, is the extreme value of persistence plus time plus experience. I saw an interesting Tweet the other day that said that your twenties are basically like being a level one character in an RPG where you have no skills, no experience, and you need to spend all your time level grinding on boring and repetitive tasks in order to acquire the experience and skills that will carry you through your thirties, forties, fifties, and hopefully onward.
That struck me as very true because in my case, I started self-publishing when I was about 30 and I obviously spent all of my twenties essentially learning how to self-publish even though I didn't know that what is what I was doing at the time because self-publishing in this current form hadn't come along yet. So as I was teaching myself to write novels and with my technology blog, teaching myself about how to write for the internet and search engines and so forth, I didn't realize it at the time, but I was acquiring these skills that would be very valuable to me in my thirties and forties as I continue self-publishing. So to sum up that question, I would say what I wish I had been told and really understood in my twenties when I was starting out was the value of persistence over time. Because if you look at it, the Grand Canyon is essentially water exercising persistence over time.
#5: Our next question: should I tell people I'm writing a book? Well, that is a tricky question and I would say the answer boils down to it depends, which again is a pat and glib answer, but it really does depend on your personal circumstances and your relationship with your family and friends as well. For one thing, a lot of people say they're going to do things and never do them. In fact, I'd say a lot of people who announced very loudly that they're going to lose weight or learn to draw or learn to write a book or learn to program, never actually get very far or give up on it. So there's something to be said for remaining quiet and just doing things and letting the results speak for themselves once they can no longer be kept quiet.
I would also say it really does depend on your relationship with your family, friends, and spouse and/or life partner. If you have a spouse or life partner who is very supportive of your goals and is willing to encourage you, then it's a good idea to tell them. It's not a good idea to keep secrets in that kind of relationship. But if you suspect your spouse, boyfriend, girlfriend, or life partner is going to belittle and mock you, it might be a good idea to keep this to yourself. For your family and friends, it might, again, it really depends on the individual personalities involved in your relationship with them. Some friend groups and families have this very bad habit of crab bucket syndrome or tall poppy syndrome where if someone tries to exceed the overall average of the group, they try to pull them back down to their level.
That's why you occasionally hear stories of someone who gives up drinking or loses a lot of weight ends up losing their friend group in their process because it turns out their friend group was based on excessive consumption of alcohol or excessive consumption of food and something like that might occur with your friends and family as well. So I would say, on balance, it probably would be best to keep it to yourself unless you think your friends, family, and a significant other would be encouraging and welcoming of your efforts in this endeavor. But as always, it depends and your mileage may vary.
#6: Our next question is a pretty interesting one that people ask frequently: how long until I can become a full-time author? Now this is again a very complicated question that boils down to your circumstances, and once again, the answer is it depends. Terry Brooks, when he wrote a writing advice book about 20 years ago, said that his editor, Lester del Rey, advised him not to go full-time until he had a year's salary in the bank, and that was 40 years ago.
Nowadays, I would say at the bare minimum of going full time is you want to have a year's full salary in the bank and you would want to be making at least 40% more than you would be from your day job. Why 40%? Because once you are self-employed, especially in the US, you are responsible for paying a lot of things that your employer usually does, such as a variety of taxes and insurance costs. Also it's a very good idea, especially in the US, to have some sort of savings for retirement such as a 401K or something similar because there's absolutely no guarantee Social Security is going to be around by the time you retire. So I would say those are the absolute bare minimum before you would even think about doing this is to have a year's salary in the bank and you are making 40% more than your day job on a consistent basis. Again, it might be something you don't want to consider doing at all and you would need to ask yourself, why do you want to be a full-time author? Would it be the prestige of it? Would it be the fact that you really hate your day job?
I have to say the reality of being a full-time author is often quite different than the fantasy people have of it, and that there have in fact been many authors who very successfully wrote while also maintaining day jobs. Anthony Trollope very famously wrote for two hours every morning before he went to work for the British Postal Service, and he did that his entire career and some of his books are remembered as classics of English literature to this day. Glenn Cook the fantasy author worked at a GM plant the entire time he was a writer because the benefits and pension were quite good. J.R.R. Tolkien was famously a professor of philology for his entire professional career and he wrote on the side and that became Lord of the Rings. So there's absolutely nothing wrong with keeping a full-time job and also writing on the side as you're comfortable doing so.
So some writers have gone full-time, especially since the indie revolution started, found they absolutely hated it and then went back to working a day job and working and writing on the side. And again, there's absolutely nothing wrong with that. And for many people it is in fact a very good idea, especially if you have children, more than one child (children are expensive) and they need medical care or if you or another family member has a sort of chronic condition and it helps to have it covered by your employer's health insurance. So again, I hate to keep saying this, but it really does boil down to your personal circumstances and whether it's the right fit for you and your family and your financial situation or not.
For myself, I'll give a few examples for my own life here. For myself, I've been a full-time writer for over eight years now. I've been very fortunate to be able to do that. Thank you all for buying the books and helping me to do that. I think my personality is pretty well suited to that because I have absolutely no problems writing for most of the day the way when many writers would find uncomfortable, and I have no problem doing a 6,000 word days or higher on a regular basis. That said, it was not originally my plan to be a full-time writer. I had originally planned to keep my day job and write on the side, but due to family circumstances, I had to move to a different state. And at the time I thought I could look for a different job or I could give full-time writing a go and see what happens, and I gave full-time writing a go and it's worked out pretty well for the last eight years. Thank you. So for me, in my circumstances at the time and the time since going full-time made sense and was a good choice. But again, and I hate to keep saying it, but it really does depend on your personal circumstances, finances, and family situation.
#7: Now our last question, does piracy and AI mean that people won't be able to make money writing anymore? The answer to that is a big old no. Let's address those one at a time-first, piracy. Piracy has been around since the existence of the internet. It is older than the internet. Both J.R.R. Tolkien and Charles Dickens had American publishers who ripped off their works and made bootleg copies of them that led to a bunch of lawsuits. So piracy is nothing new. The internet has just made it easier, and we know that the way to beat piracy is to make getting your books easier and more convenient than it would be to pirate them. There's always going to be a level of people who pirate stuff no matter what.
And to be frank, you should not consider that being lost sales because the people who pirate everything are going to pay for anything anyway, though I've had a few readers email from me from time to time saying that they did pirate my stuff and felt bad about it and eventually went on to become regular readers and paying customers. So there's really nothing you can do to stop piracy and it's kind of futile to try and fight it. I do know one indie writer who spent hundreds of thousands of dollars trying to shut down pirate sites, and it was, in my opinion, while that was a noble fight, it was a tremendous waste of money. So piracy, it’s best not to worry too much about it. It is one of those things like retail shrink (which is what the big box retailers call shoplifting) that is always going to be with us. The way as an indie author to fight that is to make your work as available as on many paying platforms as possible so that it's very easy for people to get it legitimately.
While AI is a big deal, I think it is somewhat overrated, and I also think that it has some structural problems that it's going to run into sooner or later. For one thing when it comes to writing, while you could use AI to churn out an entire novel, it would require significant editing to make it palatable, in which case you might as well just write it yourself. For another thing, AI is very, very expensive mainly not for the individual users, but for the companies that run them. And I'm not at this point entirely convinced that AI has long-term profitability. I wonder if it's another tech bubble, like the way the Metaverse was at the start of the 2020s when Facebook thought that the pandemic restrictions were going to be permanent and that society was going to become entirely remote. Subsequent events proved otherwise, and Facebook ended up temporarily losing about two thirds of its company value on its whole Metaverse bet.
Finally, this is a bit on the fluffier side, but novel writing’s art and art is essentially about human emotion and human connection. And no matter how smart the AI gets, that is something that would be very difficult for it to copy -one's own unique voice, one's own unique writing style. Those are something that only humans can do. And so I don't think AI is a long-term threat to fiction. It might be a long-term threat to things like sports writing and instant news articles, but less so for fiction. So to sum up, I don't think piracy and AI mean that people will no longer be able to make money from writing.
And now for the final segment of our writing challenge episode, Jon's Advice Corner. We'll start with editing tips, what to do once your rough draft is done.
So first, what should I do to edit the book once it's done. For myself, what I usually do is I do a first read through using track changes in Microsoft Word, chapter by chapter. And what I focus on then is reducing length, getting rid of sections that don't make sense, reducing excess words, tightening up sentences, making sure there are no continuity errors. I very often in this phase will split up chapters and do smaller chapters or rearrange scenes or move things around. Once that's done, I do a second edit where I essentially have my computer read the book aloud to me, and that's for typo checking. And sometimes you notice things when read aloud that you wouldn't have noticed on the page.
After that, I have a couple different people who check it for typos for me and then we publish. Then I do another typo check, and then any typos that I find after the publishing process, I upload and correct as I get them. So that's my process. People would say that you need to hire an editor, and I think for many people that's true, but for myself, after 157 books, I'm reasonably confident I know what I'm doing and so I am confident doing it myself, even as I recognize that's not good advice to give to younger writers.
Our next question, how do drafts work? The standard term is the first draft is just the first writing you do, getting all the writing down on the page. Depending on the writer, some people do second, third, and fourth drafts where depending on the writer, they might rewrite it entirely from scratch or just do editing on what they've already written. And then the final draft is one you are done with and comfortable with.
Next question, how do I know when I should stop editing? That's a tricky question because many beginning writers fall into the trap of endlessly polishing their book over and over and over rather than writing new things. I would say once you've done your edits, once you've had a couple of beta readers look at it, eventually just decide that it is done and that we are going to move on and write new things because no matter how well you write, it's never going to be quite as cool as it is in your head when you are imagining it. I mean, you can get close, but it's never going to be quite there. So I would say a quick rule of thumb is maybe do two drafts, have your beta readers go over it, and then that would be a good place to call it quits because the truth is you can endlessly repolish the same book over and over and over again, but that may not be the best use of your time.
Next editing question, how many beta readers should I have? It depends. I heard of one writer who has like 30 or 40 beta readers, and I think that might be a bit excessive, but if you can do three to five people whose opinions you trust and who aren't going to just say complete nonsense, that would probably be a good idea to do. I'd say around three to five (though as I mentioned, some writers can go much higher).
Once you're editing is done and you have a final draft, you decide if you want to self-publish it or look for an agent.
Here are things to avoid while publishing. For one thing, you really need to avoid predatory publishers. If you are approached by a publishing company that wants you to pay in any capacity to publish, it is probably a scam and you should avoid it. If you are self-publishing, you will need to come up with your own cover design anyway. But if you are approached by a publishing company that offers you a package where you pay $1,000 or $3,000 or even more, that is probably a scam and you won't get good value for your money. This is again, my opinion. I think new writers and in fact writers at all levels of experience would be better off self-publishing, but I would recommend avoiding agents and avoiding publicists.
Hiring a publicist for your book is just going to waste your money, and an agent will probably not get you anywhere these days. It really helps if you want to be traditionally published to be famous before you try to get traditionally published-like a former president of the United States. If a former president of the United States decides that he (or someday she) is going to write a book, the former president of the United States is going to have absolutely no trouble finding the book a publisher whatsoever.
If a music star or a movie star on the level of someone like Taylor Swift or Tom Cruise decides they want to write a book, they also will have no trouble finding a publisher. But for regular people like you and me, you are probably better off self-publishing and learning the skills to market and the various related publishing skills yourself. Things you would want to understand well before proceeding with these is finding a cover designer. Unless you are proficient with Photoshop and familiar with book covers, you should probably hire a cover designer, and this can be very affordable since many of the big cover designers offer premades where they just drop in your name and title for around $150 to $200 (though custom cover can require more). Hiring editors-this is again, something probably you should research and check out various writing groups on Facebook for recommendations.
You want someone who isn't that expensive. You'll want someone who comes with good client recommendations. Hiring narrators is also something to research well in advance. But it might be a little early with your first book because audiobooks are so expensive.
So that's it for our questions, and that is it for our November Writing Challenge. As a bonus, our transcriptionist included her official writing playlist, which I'm not going to read here, but you can see it on the show notes if you are curious. And I would include my writing playlist, but as I said, it's mostly random computer game, movie, and TV show soundtracks that I enjoyed.
So that is it for this week. Thank you for coming along for our November Writing Challenge. I hope you found it helpful and informative. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we continue our November Writing Challenge, and take a look at the most common roadblocks writers face. We also check in with our transcriptionist, and see how she is progressing in our November Writing Challenge.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 227 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 15th, 2024, and today we are discussing part three of our November Writing Challenge, which will deal with overcoming roadblocks in your writing progress. First we'll have an update on my current writing projects and then we will have Question of the Week, and then we'll get to our main topic of overcoming roadblocks.
First up, writing projects. I am almost/very nearly done with Cloak of Illusion. In fact, I would have finished completely yesterday, but I had some unexpected home repairs come up and now that those are resolved, as soon as this podcast recording is completed, I'm hoping to finish up completely on Cloak of Illusion and publish it this weekend. So hopefully when this show comes out on Monday the 18th, the book should be showing up on the various ebook stores. Be sure to subscribe to my new release newsletter as well and you will get a free Nadia short story called Trick or Treat in ebook form. I am 24,000 words into Orc Hoard, which will be the next Rivah book, and I'm hoping to have that out in December as my final book of 2024. My secondary project while I'm working on that will also be Shield of Deception because I am hoping to have that out as my first book in 2025. Hard to believe we're about halfway through the 2020s already.
In audiobook news, Shield of Conquest came out this week and you should be able to get it at all the usual audiobook stores, and that is excellently narrated by Brad Wills. Cloak of Spears, as excellently narrated by Hollis McCarthy, should be out before too much longer as well. So that is where I'm at with my current writing projects.
00:01:36 Question of the Week
Now on to Question of the Week, which had a lot of responses this week. Question of the Week is designed to inspire interesting discussions of enjoyable topics. This week’s question: do you buy any hardback books? No wrong answers, obviously. I asked this question because I was reading an article about for many traditionally published authors, hardbacks used to be the primary source of royalties. Nowadays, for many authors, that has been superseded by audiobooks. Since I’m indie, my main source of revenue has always been ebooks. We had many different responses to this question.
JL says: I only read ebooks now. I have not bought a physical book in over a decade.
Surabhi says: Hardcovers, being very expensive, are a big no-no for me. I’d love to be able to afford hardcovers, it’s always either paperbacks or ebooks.
Justin says: If I’m getting paper, I will do my best to make it hardback. Paperback books have a limited lifespan and number of readings in them compared to hardback books. Most of my book purchasing is ebooks but reference works and great stories get the hardback treatment.
Mary says: Only if there’s no paperback.
Dave says: Ebooks and audiobooks all the way. They’re generally cheaper or easier to read, or with audiobooks I can do other things while I listen. Also as I get older, being able to increase the font size makes it easier to read.
I definitely agree with Dave on that, let me tell ya.
Jenny says: Can’t afford it usually. My hardcover budget goes to RPG books.
I myself do have quite a few RPG books, which is amusing because I don’t actually play the game but I just like looking at the artwork.
Juana says: Yes. I have 60+ signed editions of authors I like. Some paperbacks of the Frostborn series (Wonder who wrote those?).
That is indeed a mystery.
Catriona says: I used to collect hardbacks of favorite authors- buy each new release e.g. Terry Pratchett. But when I moved from Hong Kong to Thailand I got rid of most of my fiction books and bought the Kindle versions. Shipping after COVID was just extortionate!
Morgan says: I don’t really buy physical books anymore. My brain is too fried to read so I mostly do audiobooks while I work. I only have so much money, so it is hard to justify buying a physical copy of a book I already have the audio copy for when I know I probably won’t physically read it.
Gary says: I prefer hardbacks. When buying new though, I generally buy paperbacks unless it is for reference or one of my favorite authors. I always check though because now the hardbacks are often not much more.
Jeanne says: Depends on the book. I would totally invest in hardcover copies of Lord of the Rings, for example. I am currently investing in leatherbound versions of the Word on Fire Bible, which is a step up from the hardcover. Authors I don’t know or who I read for light fun, I’ll get as ebooks.
Marilyn says: No, but used to buy only hardback books. Ran out of room on my bookshelves and didn’t like to get rid of my books. I ended up buying an ereader. I have 1,729 books. I do have a few hardbacks but not many. Not everything is in an electronic format. When I used to travel, my suitcase would be full of books. Now I have room for clothes.
That is one nice advantage of the ebook revolution. Back in the day when I would pack for a trip, I would have to choose which books I would bring but now you can just bring your phone and you’re set.
MG says: If I can get a hardback I do, but I haven’t bought any recently.
Barbara says: I purchase very few print books these days and those I do purchase tend to be theology related. Whether I purchase hard or soft bound print books will depend on the availability and price. And since I’m no longer in seminary (I graduated in 2021), my theology books tend to be digital because that’s what I read. If I purchase print books, I’d run out of room to store them. Especially since I’m already out of bookshelf space.
Michael says: Not really, not anymore. They take up too much space. I might buy a very posh one if it looks amazing (stuff from the Folio Society perhaps) but that’s it.
Bonnie says: I mainly read ebooks now. I think the last hardcover I bought was Zora Neale Hurston’s Barracoon.
Jeff says: Since I got a Kindle in 2010, I haven’t bought a physical book. I am approaching 500 ebooks. I was a SF Book Club member for many, many years so I do have hundreds of hardcover books. A lot of them are stored in totes because of lack of room.
Juan says: Used to. Space is a factor now. So now only for my son because I don’t want him to have an electronic device in his face so much, but usually the first thing I do at a bookstore when I see a good book is look for it on Apple Books. Usually half the price or so. Always less expensive as well.
Barbara says: Used to buy lots of books, got at least 3,00 but with arthritis in my hands, I’m now stuck with ebooks. Got at least 3,000 of them, too. I’ve got to get rid of some of my physical books, but I’ll still keep the ones that aren’t replaceable.
John says: I only buy collectible editions at this point, or if there isn’t an ebook for something I want to reread (but then it’s usually paperback). Sometimes old hardbacks have been cheaper than the Kindle versions. When I reread Wheel of Time a few years ago in anticipation of the Amazon series that was the case. Ended up just donating the books just a couple of years later.
Carol says: I do love the feel of a hardcover book, the smell, the sound of pages turning, but I’m fully converted to ebooks. So convenient, can read anywhere, carry everywhere, so sadly I haven’t bought a physical book for years.
Cheryl says: I only have hardbacks of the “classics” as collections to hand down to my grandchildren. Haven’t bought any paper versions of books for a few years now and they were paperbacks. Most were on Kindle.
Venus says: I will buy certain books in hardcover but only the ones I wish to have available after a collapse of society.
David says: I have always preferred hardback, but space constraints have left only those of my favorite authors. I have over 2,000 books on my Kindle.
Michael says: I do.
For myself, I do buy hardbacks but still very, very selectively. If Timothy Zahn, Jim Butcher, and a few other select authors I’ve been reading for decades have a new hardcover, I’ll buy it. Otherwise, it’s ebooks or paperbacks. For nonfiction books, I’m a bit less choosy. If I read say, a historical ebook and liked it, I might get the hardback or possibly the paperback to keep as a reference book.
It’s interesting from the general consensus of the comments that it seems like ebooks are the dominant format for books now and that if you really want to know if you’re someone’s favorite author or not, see if they buy your hardbacks. Given the expense and space premium of hardbacks, that’s how you know they really like your book.
00:07:43: Main Topic of the Week: November Writing Challenge
Now on our main topic of the week, week three of our November Writing Challenge. The topic we are discussing this week is overcoming roadblocks. If you're not familiar with our podcast series for November, you can listen to the previous two episodes, and we have a short summary here. If you feel like you're missing out when others are working on bigger writing challenges this month and you want to start writing but not to feel overwhelmed, a smaller writing challenge for the absolute beginner, 300 words a day (or some other small number of your choosing). The key is that it should be small and something you can manage daily.
As I mentioned on previous episodes with this topic, I wonder if National Novel of Writing Month is akin do a sort of crash diet for people where you can lose weight very quickly, let's say like five pounds in a month, but then once you do that, you go back to your old habits. In fact, you go back to your old habits with as much force as before and you end up gaining 10 pounds and you're worse off than you were before. I think a more gradual writing challenge might be akin to losing one pound a month, but you keep it off and that adds up over time. So follow along with our podcast transcriptionist who has never finished writing a book and feels overwhelmed at the ideas of starting one. We can follow her progress and see what advice I have for her as she faces writing challenges.
So week three, overcoming roadblocks. If you've ever done any writing or you've ever had anything to write, as you know, there are many roadblocks that can come up to impede your writing progress. The first ones we'll address are logistical roadblocks and we'll recap some points from Episode 220: 8 Tips For Finishing Your Rough Draft.
Perhaps one of the biggest roadblocks is time. It's trying to find the time to write. I found is a good idea to schedule your writing time and take advantage of smaller moments of opportunity to write. There is a difference between the perfect time to write and the available time to write. As I've said many times before, the perfect is the enemy of the possible or even the achievable. You might have in your head the image of the perfect time to write and the perfect environment. That may take a lot of work to achieve and be difficult to find.
Additionally, I found that many people in their days have what tend to be wasted chunks of time that you kind of have to waste based on the circumstances, like you're in a waiting room, you're on hold, or you are sitting in a room with nothing to do. You have to watch for somebody to arrive or wait for the phone to ring, that kind of thing. There are a lot of ways to pass the time that way. If you're in, for example, the doctor's waiting room, you see everyone sitting on there on their phones reading the news or whatever, but that could be an excellent time to get some writing done. You could obtain a cheap laptop like a netbook type laptop or you could even teach yourself to write on your phone with your thumbs. Those kind of chunks of wasted time throughout the day are an excellent time to squeeze out a couple hundred words and if you can squeeze out a couple hundred words every day, that will add up very quickly. The biggest enemy of finding writing time I found are the many distractions we have in our day-to-day lives.
And in fact, I was just talking about your phone. If you have your phone with you, that's a built-in distraction machine where you could maybe write 15 words and then reward yourself by checking your email or your Facebook or whatever. And then before you know it, you've been on your phone for 20 minutes and your writing time has disappeared. The same thing obviously can happen if you're writing on a laptop or a desktop computer or whatever. To manage these distractions, there's a couple of different tricks. You could just shut off the internet on your phone for a while and not turn it on again until you've reached your writing goal. If you find being distracted on your phone or your computer is a consistent problem, you could use apps or browser extensions to manage digital distractions that will prevent, say notifications from interrupting you, whether from email or turning off the internet and keeping from getting into it until a set period of time has passed.
For environmental distractions (and what I mean by environmental distractions are noise, people interrupting you and so forth), it can be a good idea to find a place where you'll face fewer interruptions. At various times, I have written in a school or a university or a public library where people tend not to bother strangers too much and therefore, if you sit quietly and get on with your typing, no one's going to bother you. Some people enjoy writing in a coffee shop. I've never really found that to be an enjoyable experience. I have done that many times based on what the circumstances were at the time, but if it was up to me, my favorite writing place would be in my office with the door shut and headphones on and music playing and I'm just writing away. But life doesn't always give us that luxury, so I have written in other locations, but if you can figure out the best way to give yourself a distraction free writing environment, even if it's just noise canceling headphones, that might be the way to go.
Another thing to watch out for that can eat up your time is writing adjacent tasks, things that are connected to writing but not actually writing itself, such as researching, outlining, reading about writing, listening to podcasts about writing, et cetera. These are all keeping you from the goal of getting your words down, which is and the ultimate purpose of our November Writing Challenge, to get your words done every day.
Some of these things may be necessary, but you can do them later and some of them are not necessary and not helpful to your productivity, like reading about writing or social media relating to writing or authors is only giving you the illusion of productivity rather than actual productivity. There may be value in these activities, but they are not helping you get the words down on the page.
So let's move on to what could be a more difficult type of roadblocks, the mental roadblocks, roadblocks where you just don't feel confident or you don't feel like you want to write or you don't even feel like you're good at writing and you're wasting your time by writing.
So motivation is a thing to consider. It's like you might want to write down a few reasons why you started a writing challenge in November. Why do you want to write? Why is this important to you? Do you want to be able to finish a novel and say that you finished a novel? Do you want to create something cool that's similar to the vision of the creative things you see in your head when you think about it? And what's the best outcome of you writing each day and what's the best-case scenario of what will happen if you keep writing? It might be a good idea to consider all of these things.
If you feel bad at writing or feel that you're not good enough, that seems to be a bigger problem for many people. There are a couple tips and tricks that you can use to work around that. The first thing is to don't revise as you go. Don't revise, don't look back. Just keep going. Get it all down on page as fast as you can and then keep going.
And the secret is if you're writing a rough draft, you can ignore your inner critic because the point of the rough draft is to get all the words on the page and then you fix them later in editing. An amusing anecdote about that-one of my audiobook narrators wanted to get caught up on projects and he asked if I could send him the rough draft chapters and then as I was writing the book and then he could narrate the rough draft chapters and then he could make any changes I made in editing later. I had to turn him down because the truth is I do a lot of editing on my rough drafts, like Cloak of Illusion was originally 96,000 words, and I think when all the editing is done, it'll be like 94,000 words, maybe 93,500.
So that's a lot of things eliminated. I moved around a lot of scenes. I changed a character's name six times, which is one of the reasons why I had to turn down that idea from the narrator because when I introduced a new character, sometimes I change the character's name four or five times during the course of writing until I'm finally satisfied that this is what the character's name should be. So imagine having to go back and rerecord that all the time, but that returns to my original point, where it's best to just ignore your inner critic while you are writing and just get all the words down on page and you can sort them through later. I found editing to be something of a less harrowing process than writing the rough draft.
A metaphor I've used before is that a couple years ago, actually, well more than a couple years now, I moved into a third-floor apartment with no elevator, and so I had to carry all my books up those stairs to the new apartment, which since I had a lot of books at the time, was a lot of work (this was before ebooks). Once all the books were carried upstairs to the apartment, only then could I take them out of the boxes and put them on the shelves. That was a lot easier than carrying all those books up three flights of stairs, let me tell you. But I use that as a metaphor to compare the writing process, the first draft is carrying all the books up the stairs and then arranging them on the library shelves as the editing process.
Another metaphor that people have found helpful is that the rough draft is like building a sand castle. You first have to drag all the sand to your sandbox and only then is it time to start building the sandcastle. You got to fill up that sandbox first.
Now what to do if you hate what you're writing, you absolutely hate it. You don't like what you're doing and you're dragging yourself to the word processor every day. It might be time to ask yourself a couple of hard questions. And the hardest one is, is this really what you want to write? Are you writing something that you want to write or are you trying to write something that you think would sell well or market well to the audience? I talked a bit about this way back in Episode 191: The Worst Writing Advice, about writing to market. Writing to market, if you go too far with it, is a bad idea because by the time you finish and the book is ready to sell, the market may have already grown tired of the trend and moved on to dystopian mermaid stories or something else. Readers also have a sense of when a story is rushed or written in a way that the author hates, not always but very often sort of picked up that the writer hated what they were writing and didn't want to be doing it.
It's much better to write something that you're excited to write. You can do a little bit of writing to market in that you look what's popular and say something like, hey, romantic suspense is popular and I enjoy romantic suspense and I want to write romantic suspense. So go ahead and do that. Something else to keep in mind is that tastes change. I saw an interesting article the other day arguing that sort of cynical anti-heroes and deconstruction of popular tropes is going to become less and less popular because that was very popular in the US in the 2000s and the early 2010s when the US in general was more stable and more prosperous. Although I don't think anyone would disagree to say that the United States in the 2020s, thanks to Covid and a variety of other factors, seems to be less stable and less prosperous than it was 20 years ago.
And so times are more troubled, then people have less of an appetite and troubled times for cynical anti-heroes and are more drawn to straightforward tales of noble heroes prevailing over evil, whatever the genre might be, whether fantasy or mystery or thriller or whatever. That's the kind of thing to keep in mind with how taste change. So you're really better off writing what you want to write rather than chasing trends because the trends we were just talking about went over a 20 year period. But trends on a smaller level can change very quickly within the space of a few years or even a few months. So you should write in a genre that interests you and you should write characters that you respect and characters that are dealing with an action and conflict that you find interesting. That is one way to hold your interest as you're writing is because you like the characters, you like what you're writing, and you want to see what happens next.
Another problem that you might face if you hate what you're writing is that you might be writing something boring that doesn't need to be in the book. Mystery writer Elmore Leonard famously said in his rules for writing, try to leave out the parts that readers skip. In other words, leave out the boring stuff. So if you're writing a scene and you don't enjoy writing the scene, and you're not looking forward to writing the scene, and you find it boring, maybe it's time to ask yourself: does this scene really need to be in the book?
We've all read books that had scenes where it was clear the writer was trying to fill space or thought necessary to go into more detail of, for example, a thousand mile river journey than was really necessary for the plot. If something's boring, just cut it out. There's a famous story that veteran actors who are really good at their craft will sometimes convince the director to cut out dialogue when they say that the actor can convey the meaning of the scene with just the look or expression rather than clunky dialogue. And that is often the case for these experienced actors and is very often the case for writers as well. So if you find yourself struggling with a particular scene, it might just be a good idea to cut it out or sum it up in a paragraph. Like if you have difficulty writing a journey, you could say, just sum it up in a paragraph that they got on a plane and went from New York to Los Angeles. There's no reason to devote two chapters to that. So those are our tips this week for overcoming roadblocks in your writing.
Let's have an update from our transcriptionist on her progress with our November writing challenge. “An episode on roadblocks is good timing because I hit some roadblocks last week. There was a day where I wasn't able to get time to write because of what was happening in real life, but since I have been averaging over my goal a day, I still averaged 363 words per day this week, even with missing a day. It took me an average of 13 minutes each day. I wrote out a plan for the challenge that said I could miss a day under specific circumstances and my word count for previous days could apply to that day or if I didn't have extra words, I would make up the words on a Saturday, so I didn't beat up myself or feel like I failed the challenge for missing a day. I had a plan for if I missed a day.”
So that seems like a good approach to planning the challenge. And she had a few questions for me actually.
The main question for me was: how do you manage distractions? For myself, I use a couple of different techniques. I've mentioned before when I'm writing new stuff, my main method is the Pomodoro method. That's where you set up a timer for 25 minutes, turn off the internet, and just focus on your task for 25 minutes. And I found that if I adhere properly to the Pomodoro method, I can usually get about 1,000 to 1,100 words every Pomodoro for 25 minutes. To reset my brain between Pomodoros, I will usually play Classic Super Mario Brothers on the Switch for five minutes (because you're supposed to take breaks between Pomodoros) and then back to a 25 minute Pomodoro.
I do try to hit a minimum word count during the day, ideally 5,000 to 6,000. If I get more, great. If something goes wrong, I tend to have a fallback position if of like 3,000 words. That's usually good on a busy day. I do revise my goals if something comes up because sometimes things come up that you have to pay attention to immediately and it can't wait. Home repair is a big one. For example, a couple times I have this very old wooden fence on my property that I really need to get replaced, and sometimes the wind will knock something loose and a couple times I've had the wind knock the beams of a segment loose from a fence post. If I spot that right away and fix it immediately, it's not a problem. But if I miss it and the entire fence segment falls over, then that's like a couple hours, maybe even a half a day repair job to fix that.
So sometimes you come across things like that that need to be addressed immediately. And if that happens, I just roll with it. I try to fix the problem as quick as I can and then try to get as many words as I can in the time that's left, which is why I talked about having a fallback position of 3,000 words if something goes wrong. Sometimes you just lose the entire day to writing until something more important comes up and that's just the way it is. But if you have a no writing day, don't despair and remember the words of Scarlet O'Hara from Gone with the Wind: Tomorrow is another day. If you have a bad writing day, that doesn't mean tomorrow has to be a bad writing day and you get another swing at the ball, so to speak.
So that is it for this week. Thank you for listening to The Pulp Writer Show and Week Three of our November Writing Challenge. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we continue with our November Writing Challenge, and discuss how outlining can be a helpful tool in writing your novel and building a writing habit.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 226 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 8th, 2024 and today we are discussing Part 2 of our November Writing Challenge and that will mostly discuss the usefulness of making outlines. Before we get into that, we will have an update on my current writing projects and Question of the Week. We will also close out the episode with a preview of the upcoming audiobook Cloak of Spears, as narrated by Hollis McCarthy.
First up, writing progress. The rough draft of Cloak of Illusion is done at about 96,000 words, and I'm about 25% of the way through the first editing pass. I also wrote a short story called Trick or Treat that will be a companion to the book. Newsletter subscribers will get a free ebook copy of that short story when Cloak of Illusion comes out, hopefully before the end of November. So now would be an excellent time to subscribe to my new release newsletter. After Cloak of Illusion is published, my next project will be Orc Hoard, the 4th book in the Rivah Half-Elven series, and I'm about 21,000 words into that.
In audiobook news, as you may have already heard, Cloak of Spears is done. That will be narrated by Hollis McCarthy and it is working its way through processing right now. Shield of Conquest narrated by Brad Wills is also still working its way through processing on the various audiobook platforms. So you can get both audiobooks on my Payhip store right now if you don't want to wait. So that is where I met with my writing projects.
00:01:25 Question of the Week
Now let's talk about Question of the Week. It's time for Question of the Week, designed to inspire interesting discussions of enjoyable topics. This week's question: what is your favorite book cover (like in terms of the artwork, the design, etcetera)? No wrong answers, obviously. We had a few answers this week.
Justin says: For that, I go back to the guilty pleasures of my youth, a teenager on a Burroughs kick at the time, digging for paperbacks in a secondhand bookstore. Savage Pellucidar, cover by Frank Franzetta (the 1974 Ace edition reprint), which I still have stashed away. Franzetta was an incredible artist. I love his Sea Witch and Death Dealer, but we’re talking about book covers here. Savage Pellucidar was the one for me.
Mary says: Maps and Legends by Michael Chabon. Then, that cover was a work of art with three detachable bands.
Surabhi says: Hard to choose one. I personally love those young adult “Book Tok” book covers: Shadow and Bone, Six of Crows, The Cruel Prince. I don't know. Something about such covers immediately sparks interest in me.
Randy says he always liked the Heinlein juvenile covers.
Gary S. says: This was difficult for me because I like hardcovers, but I like to take the jacket off while I read so it doesn't get torn. Consequently, I seldom look at the covers.
Gary B says: Anne McCaffrey’s The White Dragon. I’ve got a poster/artwork of it and pretty much anything by Michael Whelan.
Becca says: Stoner by Tad Williams, pretty much tops my list of favorite covers, then maybe The Dragonstone by McKiernan.
Catriona says: Terry Pratchett’s The Colour of Magic.
MG says: That's quite difficult to answer, but I have a Return of the King copy with this Alan Lee cover, going to have to go with this.
For myself, I think I would go with a hardback edition of The Silmarillion from the late 1990s. I think it was published in ‘99. It was illustrated by Ted Nasmith and the cover image shows Maglor throwing the final Silmaril into the sea in despair for his deeds. If you know the context of that scene, it's an amazingly powerful cover. So that is it for Question of the Week and tune in again for next week's Question of the Week.
00:03:22 Main Topic of the Week
Now it's time to our main topic for our second week of our November Writing Challenge. This week we're going to talk about building story structure and how outlining can help with this. If you haven't heard of my November Writing Challenge, the idea is that you write 300 words or a similarly small number every day in hopes of building up a small but sustainable writing habit. I was thinking of NaNoWriMo, where you write 1600 words a day in an effort to get to 50,000 words a month, is well and good for someone like me, where I essentially write a book every month unless something comes up. But for someone starting out, it can be a bit like the sort of crash diet where you lose 5 pounds in a month and then gain 10 back over the next two months as your habits snap back. That’s because you didn't lose the weight through sustainable means, so that is the goal with the November writing challenge: to build the base of a sustainable writing habit. So let's talk about how story structure can help you do that.
In last week's episode, I mentioned that making the outline of your story can help with the process of writing. In this week's episode, we're going to go into more detail about story structure and conflict. Knowing how these work in your stories is essential to building an outline. You will find that having a proper structure to your story makes it easier to write, in the same way that having a proper foundation for your house makes it easier to construct. We'll talk about what I call the five iron laws of storytelling and the importance of your story having conflict and at the end of the episode, we will get a quick update from my podcast transcriptionist, who is following along with the November Writing Challenge. We will see how that is working out for her so far.
So first, why write an outline? I think the main value of writing an outline, especially for beginning writers, is that it forces you to think about the story in advance and forces you to work out any potential plot holes in advance, since it's very easy to find yourself writing yourself into a corner and not knowing how to proceed. Obviously, writing an outline is not for everyone, and some writers say it impairs their creativity and they can't write with an outline. And that's fine, if you know that about yourself. But if you're just starting out, you may not be experienced enough to realize that about your writing style, and you may in fact benefit quite a bit from having written an outline in advance.
So with that in mind, what does an outline need? First thing you need to understand is the shape of the story. Who is the protagonist? What is the protagonist’s goal? What is the conflict, and what will the protagonist have to do to resolve that conflict? You can, if you want, put in the number of chapters in the outline. The way I usually do it is I write a 2,000 word or so synopsis of the book, and then I chop it up into chapters, though lately my final drafts don't have the same number of chapters as the outline because as I go through, I'll think of things to improve or scenes to move around and so forth. You may find a similar experience when writing from an outline yourself. It is nothing to worry about and can happen. It's also important to keep in mind that the conflict does need to escalate, and you do need to have a strong central conflict.
So what do I mean by having a protagonist with the conflict that escalates and he takes action to it? This is something I actually have talked about in this podcast quite a bit, and in my nonfiction book Storytelling: How to Write a Novel. I have something I (rather tongue in cheek) call the five iron laws of storytelling, where if you want to write a good, compelling story, you need to have these five rules you should follow. Now, this is not, you know, true at all times in all places. But I do think you will probably get good results by following these five rules. Now what are these five rules, the five iron laws of storytelling?
#1: The protagonist must have a problem that results in a conflict.
#2: The protagonist’s problem and conflict must be consequential and have real stakes.
#3 The protagonist must take action and struggle to resolve his or her conflict and problem.
#4 The protagonist must face challenges and setbacks, and his or her efforts to resolve the problem may even backfire.
#5, The ending must absolutely provide satisfactory emotional resolution to the problems raised in the story.
That might be the most important one of all. Where outlining can help you with this is if you see the story laid out in an outline as in a chart in something like Plottr or something like that, you can look it over and see- do I have a protagonist who has a interesting problem? Is the problem consequential for the protagonist? Is the protagonist trying to resolve the conflict? Is the protagonist experiencing setbacks and challenges, and perhaps even unintended consequences as he or she tries to resolve the problem? And finally, is the resolution emotionally satisfying? It doesn't have to be a happy ending. It doesn't have to be a totally sad ending. It can be a bittersweet ending. But whatever the ending, it has to resolve the conflict of the story in an emotionally satisfactory manner. Anything else can be absolutely disastrous. So if you are writing an outline for your novel or story, and you follow these five iron laws of storytelling, then I think you are on good track to have a good, well written story with a conflict and a protagonist that readers will find enjoyable and interesting.
It is important to have a good conflict in the story. You can jump back to Episode 222 of the podcast, in which we talked about story conflicts, which offered much valuable advice on introducing conflicts. Some of the key points of that episode are there are many different types of conflict the story can have. The word conflict by its very nature seems to pull up images of like, violent conflict. That's often the word we use to describe conflict, to describe violence as conflict, but it doesn't have to be a violent conflict at all. It can be, you know, certain types of legal thrillers. There's no violence at all. It can be, you know, conflict between a man and a woman who are romantically attracted to each other but are unable to resolve these feelings, which can, you know, that kind of conflict drives a significant portion of the entire publishing industry. Ideally, a story should have multiple conflicts and even different types of conflict. There are numerous ways to add conflict into a story. They include putting characters into an unfamiliar environment, forcing your characters into making decisions, and having different characters face the same conflict in different ways. For more details on that, you can check out Episode 222 of this podcast.
For tips and tricks on introducing more conflicts into your novel, I would recommend Episode 110 of this podcast, Three Techniques for Starting Your Novel and Introducing Conflict. In Episode 110, I said that there are lots of fun and exciting ways to introduce the conflict. I say fun and exciting because this is often where the story starts getting quite energetic. In a fantasy novel, it might be when the hero’s village is attacked by orcs. In a mystery story, it's when someone stumbles across a dead body. In a thriller novel, perhaps the hero finds that a sinister terror plot is already well underway. The conflict can also be introduced more sedately. In an action-themed book, it is easy to introduce the conflict via sudden violence, the attack of orcs, or a surprise murder.
Other kinds of stories may not involve so much physical danger. The central conflict of most romance novels, for example, is whether or not in the heroine and the love interest will get together and whether or not they can overcome the assorted obstacles preventing them from having a relationship. Romance novels might introduce conflict by having the love interest antagonize the heroine in some way, which is a common trope. Perhaps the love interest is a lawyer who represents the heroine's business rival, or the heroine is a local law enforcement official and the love interest is an FBI agent who threatens to take over her case.
Regardless of how the conflict is introduced, the most important part of the conflict is that it must compel the protagonist to take action. If the conflict or the antagonist isn't serious enough to force the protagonist to act, then nothing happens and you don't have a story, so that perhaps is the main take away from conflict. The conflict has to be emotionally significant for the protagonist, and the protagonist has to take action to resolve it, even if the action makes things worse or causes setbacks. If you have a passive protagonist, that will very quickly turn off quite a few readers.
So to sum up, the advantage of outlining is that it lets you work through potential problems in advance, and what you want in the outline is a protagonist with an emotionally relatable problem, a protagonist who takes action to resolve the problem, and a resolution to the story that is emotionally satisfying in terms of the conflict being resolved. The five iron laws of storytelling are a good checklist to look over your outline and make sure that you have a good, solid story structure. You can use them in fact as a checklist to see whether you think your outline is going to work and whether or not you can write a, you know, satisfying novel off it.
So now we come to the update from my transcriptionist. As I mentioned, she was doing our November Writing Challenge and as part of our series of shows on that, she will send in weekly updates with her progress. Here is how she did this past week.
“My goal for the challenge is 300 words a day. I picked a number that felt really low to help with the problem I have of not starting something when the goal is too undefined or too big. I also tend to do something intensely or not at all, with most days tending to the latter when in real life or obstacles get in the way. 300 words a day felt like something I could commit to without any worry, provided nothing really major comes up this month. So far I'm averaging 484 words per day and it’s taking me an average of 15 minutes per day. I picked a specific chapter from my outline that was not the introduction I've been stuck on and a specific time of day to write. Doing both has made the process easier. In that vein, my questions for you are: do you write chapters or any pieces of the story out of order, or do you stick to the outline order when writing? Do you recommend people try writing out of order if they feel stuck?”
So those are both interesting questions. For the first one, do you write chapters or any pieces of the story out of order, or do you stick to outline order when writing? I almost always write in the order of my outline. What changes is that when editing, I will very often split chapters up and move them around because I tend to write long chapters. In the editing for Cloak of Illusion so far, one chapter was like 10,000 words and another was 7,000 words, both of which are too long to be chapters. So the 10,000 word chapter got split up into three smaller ones and rearranged. The 7,000 word one got split into two chapters and moved around.
So to give a shorter answer to that question, the answer would be no. When writing I tend to stick to the outline, but during editing I do tend to move things around as I think works best for the story. But editing is a different topic entirely.
The second question: do you recommend people try writing it out of order if they feel stuck? You can try that. The pros are if you feel stuck on a particular scene, you can go ahead and write a different scene and then come back to that scene later. Or maybe it will turn out that the reason you're stuck is because the story didn't need the scene. You know, I do know some people who do write from an outline, but then tend to write out of order. The downside of that is if you're not careful, you can get your story’s internal continuity mixed up a bit, but then that is another problem to fix in editing once the rough draft is finished, since right now we're at the stage where you get all the words down on the page or the word processor and then worry about fixing them later.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful and that you are finding our November Writing Challenge series to be useful as well. A reminder that you that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
00:15:45 Audio excerpt from Cloak of Spears, as narrated by Hollis McCarthy
In this week's episode we take a look at a November Writing Challenge and offer tips for new writers to develop a sustainable writing habit.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 225 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 1st 2024 and today we are discussing part one of our November Writing Challenge. Before we get into that, we will talk about my current writing projects- we’ll see where I'm at with that and do Question of the Week (because we did have time for Question of the Week this week).
First up, writing progress. I am 85,000 words into Cloak of Illusion, and I am hoping to finish the rough draft next week, if all goes well. I think we'll end up about in the neighborhood of 100,000 words for the rough draft (with possibly 5,000 words either way, see how it goes). I'm also 17,000 words into Orc Hoard. That will be the 4th Rivah Half-Elven book, and I'm hoping to have that out in December before the end of the calendar year.
In audiobook news, production on Shield of Conquest is done. It's all paid for and ready, and it's just working its way through processing on various platforms, so it should be available soon. And you get it on my Payhip store right now, if you don't want to wait for the other platforms. Audio for Cloak of Spears is almost done. I should have a file to proof soon, which is very exciting. And then Hollis McCarthy, who did Cloak of Spears, is also going to be working on Ghost in the Tombs and that should be out before too much longer and also Shield of Conquest was excellently narrated by Brad Wills. So that is where I'm at with my current writing projects.
00:01:30 Question of the Week
Now let's move on to Question of the Week. Now it's time for Question of the Week, which is designed to inspire interesting discussions of enjoyable topics. This week's question: do you keep a record of the books you have read? Obviously Goodreads is a giant website designed to do just that, but there are other methods, obviously. This question was inspired by one of those other methods. I was at a Barnes and Noble the other day and was bemused by the giant wall of reading journals that you can use to keep track of the books you have read. This elicited quite a few responses, this Question of the Week. They tend to fall into one of two camps, as we shall soon see.
Joaquim says: No. No time, at least not for the physical books, even an app supporting barcodes was not successful and was later discontinued. For ebooks it’s different because all your books are available on a list in Kindle/Digital Editions/Calibre (depending on their type).
Justin says: No, it would look like bragging. I am a speed reader and don't watch TV. Reading is my primary mode of leisure.
JD says: I have never even considered making a reading log. Surely that would be time better used for reading.
AM says: I use a dot grid journal to make my own reading log and enjoy customizing what I track and adding some artistic embellishments. It's just a fun offline project for me and it made me self-conscious of what I read when I tracked on Goodreads.
Adeline says: not keeping track at all. Doing that at the rate I go through books would just be a loss of a lot of time which could be spent reading.
Barbara says: No, I don't keep any record of the books I read. I've been a voracious reader since I figured out what the alphabet was for back in first grade, used to get in trouble in class for reading ahead. I read fiction and nonfiction, although not equally. I have favorite authors, some of whose books I reread regularly. My digital library contains over 2,000 books, most of which I've read and while I think I don't read all that fast, in reality I read something over 700 words per minute. What's worse, I retain most of what I read, but if someone wants to keep track of what he or she reads, that doesn’t bother me at all. Different strokes for different folks, as the song says.
Jesse says: If I pick one up I have already read and don't immediately recognize it within a paragraph or two, it is probably time for a reread.
Roger says: I buy a book before I read it, so my record is either on my bookshelves or on the Kindle.
Kim says: I used to note in each paper version when I read/reread the books. Since ebooks, I keep a spreadsheet of book title and series, author, date read, major characters, reading order, my own personal ranking. Helps me keep track of authors, their series, crossovers, same-universe stories, and when the next books are coming out. I track all of that.
Brandy says: It's impossible for me to do so. I reread whole series each time the new book comes out (yes, from the beginning). I’ll often proofread, read for review, read for pleasure, reference, and beta. I'm also a foreign language and capture reader for translation of books. It was recommended therapy to help with linear retention after seizures and was always my main hobby.
Jenny says: I use Goodreads but wish there was a better alternative.
Tracy says: I just use Goodreads.
Becca says: Since I started reading so much on Kindle, I've been letting it keep track of which books I've read. Me by myself, never kept track except in grade school when we had reading achievements.
So it looks like the common options were either nothing or Goodreads, but one other person did what I did, which is I've kept a spreadsheet of every book I've read since 2010, since it felt like I was reading less than I used to, and I wanted to keep track of it quantifiably, since hard data is better than feelings. So I think in the last 14 years, the most books I've read in a single year is around 110 and the lowest would be a little over 40, though I think this year I will probably end up around somewhere around 75. My spreadsheets are not as detailed as Kim's. I just keep track of the day I started, the day I finished the title, the author’s name, the genre, and whether or not it is an ebook or a paperback book.
00:05:12 Main Topic: Week 1 of November Writing Challenge
So on to our main topic of the week: week one of our November Writing Challenge. What do I mean by that? I talked a little bit about it last week, but what I mean is that I do get lots of questions about how to start writing or questions about whether or not National Novel Writing Month or NaNoWriMo is worth doing. The difficulty of that is NaNoWriMo the organization is currently experiencing troubles. They've had some problems with some of their volunteers and this year they had a big blow up where they endorsed artificial intelligence in writing in a way that offended most of their user base and as I mentioned last week, I'm wondering whether that sort of shock therapy of writing 50,000 words in 30 days is the best approach for everybody. I mean, for some people it's a good thing. I usually write more than 50,000 words every month, but that's my job. But for someone else who’s starting out, that kind of shock approach might be a bit like yo-yo dieting. We talked about that last week, how it's better to lose 1 pound a month and have it stay off than it is to lose 5 pounds a month only for you to change habits and then gain 10 pounds back. I wonder for some people National Novel Writing Month might be the equivalent of that sort of yo-yo crash diet where you make this massive effort and that burns you out and you give up on it again.
If it feels like you're missing out when others are working on a bigger writing challenge this month and you want to start writing but feel overwhelmed, how about a smaller, more manageable writing challenge for the absolute beginner? That is what our November Writing Challenge will be-maybe 300 words a day or some other small number of your choosing, whether 300 or 500 or 1,000 or some other number. The key should be that the key is that it should be something small and something that you can realistically manage daily based on your current schedule and responsibilities and health and so forth.
The inspiration for this idea was, as you may know, for the last year I've had a transcriptionist working on my podcast, which has been very helpful because that's something I would never have had the time to do myself. She too wants to write a novel and has started writing one and has experienced challenges trying to start one. She often says she has felt overwhelmed at the idea of starting one, and so let's follow along with her progress this month as well. So let's start.
#1: What do you need to begin? Number one is a common question, technology/equipment. Someone once came to be concerned that they couldn't start writing because they didn't have software that “real” writers used only to be surprised that I used Microsoft Word and have been using Microsoft Word pretty consistently for the last 10 years. However, you don't even need to use Scrivener, Microsoft Word, or some other fancy software. I wrote Ghost in the Storm and Soul of Serpents and a couple of other books entirely using LibreOffice on Ubuntu Linux, which is of course free. That was back in like 2012/2013/2014 and back then I was more enamored of writing on, you know, small 10 inch screen laptops that I would install Ubuntu on and then enjoy the portability of them, that I could write anywhere using these very small laptops. That, however, was 10 years ago, and both the writer in question (me) and my eyes are 10 years older. These days I prefer to write on the biggest screen possible whenever possible, and my preferred laptop has a 17 inch screen which is less portable but definitely easier on the eyes. But the point is you don't need to spend a lot of money on software. You can write in Word on a cheap Windows 11 laptop. You can write on LibreOffice, which is and remains 100% free. You could write on a Chromebook using Google Docs. All you actually need is a word processor and some way to back up your work. Don't just store it locally. If you are writing Google Docs, you could save to the cloud automatically. Many other cloud services offer free tiers, and you can even email it to yourself every day to keep a backup because that way, if your computer and your backup flash drive are lost or damaged or stolen, you don't lose all your work.
Why can't you write using paper? You can if you want to. However, keeping track of progress would be tricky, because then you might have to do, ok, I'm going to write like, you know, a page a day instead of 300 words and then if you ever want to publish it, you will have to transcribe it to electronic format. So if you want to write on paper, go ahead and just to be aware that you are creating more work for yourself in the long term, if you are fine with that.
#2: The second thing we need to do is make a plan. I would suggest writing at least a simple outline and then make a plan for your word count goal for the month of November, whether it's 300 words a day or something else. You can write without an outline. I find that it's for myself, it's easier to write with an outline, and if you're an absolute beginner, outlining in advance might help you work through some plotting problems you would have otherwise run into later on in the book.
I would recommend blocking out time on your calendar for writing, even if it's only 5 minutes a day. Treat it like an appointment that you have to keep. You could churn out a few paragraphs on your lunch break or write a few sentences while on the bus or train ride home. I know of documented cases where people have written entire books on a commuter train using their phones and they thumb typed the entire rough draft. That might be a little extreme, though I imagine the younger generations who grew up with cell phones would be more comfortable with that, but it's certainly possible.
This may be the most important part. Make a plan for what you will do if something happens and you can't write as planned, whether it's a family emergency, something with your kids, something medical, house problems, or just any of the other random stuff that can come up in the course of day-to-day life. Plan for this possibility and write out what you'll do if it can't happen on that day. It's very easy to skip writing when many other things take up your day, and in fact, if you're just starting out, pretty much everything else that happens in your life tends to be higher priority than writing.
But if you only write when your day is perfect, you're not going to be writing much because perfect days are few and very far between in life. If you can make a plan for what to do if you have something come up and try to keep to your writing appointment, that will probably be the best way of making progress.
#3: The third thing we have to do is to prepare your mindset for writing and this is a big one, because people very often talk themselves out of doing things even before they start, and writers in particular seem to be very prone to this because they will talk themselves out of starting or psych themselves out halfway through the book or fall into the trap of endlessly repolishing the first chapter over and over until it is perfect.
So what are the most common mental mindset pitfalls that writers can encounter? The first one, of course, is perfectionism/fear of starting. The ways to combat this are to realize that it is hard to be a beginner, but everyone was a beginner once upon a time. You will get better with practice. Cloak of Illusion is going to be my 157th book but a long time ago, I just had one book or zero books that I was struggling to finish.
It's also a bad idea to edit as you go. Just keep going. A metaphor I've used that people have told me has found is helpful (from a quote from Shannon Hale) is that writing is like building a sandcastle in an empty sandbox. The first job of course, is to drag the bag of sand into the sandbox and fill up the sandbox, and the second step is to then actually build the sandcastle, which is editing. Creating the rough draft is filling up the sandbox and then the editing process is building the sandcastle but it's a bad idea to start building the sandcastle before you fill up the sandbox because you might psych yourself out and not finish filling up the sandbox, which is what you really need to do.
It doesn't matter if it's good at first, it just needs to get done. Get the words down for the day. It's also a good idea to find a way to silence your inner critic and the best way to do that is to not edit as you go. If you don't go back and constantly revise and tinker, then you are less likely to start doubting yourself. There's a time and place for revising and tinkering and editing, but that is after your rough draft is done. It is important to do things in their proper order. Another metaphor I use to explain this is once upon a time, I moved into an apartment that was on the third floor of a building with no elevator, and I have a lot of books. Naturally I had to carry all those books up three flights of stairs and into the new apartment. By the time I was done, I was probably in the best shape of my life.
I've found that is a useful metaphor for writing, because writing the first draft is carrying all those books up to the third floor of the apartment, and the editing process is once you have all the books in the apartment, the editing process, is arranging them properly on the shelf. Now you could start rearranging the books into proper order while they're still in the truck, but I think we'd all agree that was a waste of time because the books aren't getting out of the truck. They're not even going to stay in that order once you get them up the stairs. If you waste too much time rearranging the books in the truck, eventually the police are going to come by and complain that you're taking up the fire lane (not that this ever personally happened to me, of course). So it's good to finish the rough draft first and then focus on the editing.
Another mindset challenge is telling yourself that you don't have time. We've already talked about a few ways to get around this. Start by making your goal small. Even if you write only 300 words a day, if you do it every day in November, you will have about 9,000 words by the end of the month, which could be a chapter, several chapters, or even a short story. For myself when I started writing, I was still working a full-time job. So what I would do in my lunch hour (my lunch hour was literally an hour) was I would scarf down my food in the first 10 minutes and then spend the remaining 50 minutes typing as fast as I could on my laptop before it was time to get back to work. I wrote several different books that way. You’ll also find if you look honestly at your day, there are probably spots of wasted time where you could squeeze in a few 100 words on a phone or laptop if you brought it with you.
For example, there are times in the day when I find myself just looking at memes on the Internet and if I was squeezed for time and could carve out some time there, that would be a few hundred words. If you find yourself waiting in a car to pick someone up, that is an excellent time to squeeze out a few hundred words. I've done that many times. Waiting rooms are good for that too, and any situation where you find yourself with dead time, like you're on hold, you're in a waiting room. You're waiting to pick someone up, you're on some form of public transit. If you have a cheap laptop or you can type on your phone, that is an excellent time to squeeze out a few words.
Another possible mindset trap is just the intimidation factor of starting, and it might be helpful to remember back to when being creative didn't intimidate you, when creative work was a sort of play, and if you can recapture some of the playfulness of that, that may remove some of the intimidation factor. My transcriptionist found a quote from a writer named George Saunders on Dua Lipa’s podcast, and he said, “so much of being an artist is trying to trick your habitual nature, which likes safety and security and repetition and being sure, trying to trick that person out and go back to the kid you were at 13 or 14 who was just overjoyed to be making something.” There is definitely something to be said for that, too, you know, as a way to get past the intimidation factor and some self-doubt. So those are some of the mindset trip traps we might fall into, and hopefully some techniques for getting past them.
And finally, in future episodes, we will check in with my transcriptionist and see how she's doing with her writing progress, whether she has any questions. Since I'm recording this literally on the morning of November 1st, there's not any progress to report yet, but there is a question.
Why do you think so many people want to write books but never start? And I think we talked about that pretty well in the episode. There's a lot of activation energy and you have to get over perfectionism and the fear of being laughed at and the time problem and just overall the fear of starting, but as other wiser people than me have said, 80%, maybe even 90% of life is just showing up and doing the work. Like for example, I never knew how to replace front porch steps, but when the front porch steps started rotting, the alternative was trying to find a carpenter, which is difficult and expensive, or figuring it out how to do it myself. So I watched some YouTube videos and bought some lumber and paint and figured out how to do it myself. Would a professional carpenter have done it better? Probably. However, last night was Trick or Treating and I had about 80 kids and their parents come up and down the porch steps to get candy. The porch steps held and not a single person fell in. So sometimes showing up really is just good enough.
So anyone who is participating in some sort of writing challenge in November, whether NaNoWriMo or writing challenge month, if you want send any questions about the writing process and if time permits, I will include them in future episodes. You can send me an e-mail at jmcontact@jonathanmoeller.com or leave a comment on my blog or Facebook page. Please don't send me your story ideas or actual writing excerpts because I do not have time to read those and can't read them for legal reasons anyway.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes with transcripts on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at the best methods for finding ad graphics for book advertising.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 224 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October 25th, 2024 and today we are discussing the best methods for sourcing images for ad graphics. We'll also have an update on my current writing and audiobook projects. Let's go right to that.
I am currently 61,000 words into Cloak of Illusion and am hoping to have that out before the end of November, since 61,000 words puts me about halfway through the rough draft, I think. I'm also 14,000 words into Orc Hoard, which will be the 4th Rivah book, and if all goes well, the final book I publish in 2024.
In audiobook news, recording is underway for Shield of Conquest. That will be excellently narrated by Brad Wills, and it's also underway for Cloak of Spears and Ghost in the Tombs, which will be narrated by Hollis McCarthy. I think probably Cloak of Spears will come out first, but we will see how things play out for the rest of the month. So that's it. That is the update on my current writing project.
Next month and next week, I want to do a new podcast series for the month of November that I’m going to call Moeller Writing Tips Month as sort of a gentler alternative to National Novel Writing Month (or NaNoWriMo) for a couple of reasons. The NaNoWriMo organization has had a number of problems over the years, especially recently, so I don't feel comfortable endorsing it anymore. I've also begun to wonder if NaNoWriMo is a bit like a shock diet. If you talk to doctors and other medical experts about weight loss, they say the best way is always to make small, sustainable changes that you can keep up with over time. It's better to lose like a pound a month and keep it off than it is to lose like, 5 or 10 pounds a month in a shock crash diet only to gain it all back once you go back to your own old habits because that kind of a weighty yoyoing is very hard on the body.
I wonder if National Novel Writing Month, where you write 50,000 words in a month is like that for a lot of people; it’s sort of a crash diet. For someone like me, Ghost in the Tombs was my 156th novel. I typically can write a rough draft or novel in a month if I don't have anything else come up. So for me, that's normal, but for most people who don't have that kind of experience, I wonder if National Novel Writing Month would be the sort of writing equivalent of those crash diets that might leave you worse off than you were to begin with. So with that in mind, next month I'll start a podcast series discussing gentler ways one can ease into the regular habit of writing. More discussion on that topic next week and next month.
00:02:45 Main Topic: Sourcing Ad Graphics
Now onto our main topic for the week, sourcing ad graphics. Before we get into that, a disclaimer. I am not a lawyer and none of what I'm about to say is actual legal advice. You obtain actual legal advice by hiring a lawyer who is qualified to practice in your jurisdiction. It is very important (to continue the disclaimer) to be on firm footing with the copyright of your ad image. If you don't own the image or the right license to use it, you're infringing on someone's copyright and they can respond either legally or through the places where your book is sold. This is less of a problem with ad images than is with book covers, but it still can happen.
With that in mind, some of the free stock images sites have restrictions on commercial use or modification of the images. It's a good idea to read the licenses carefully. Some of these sites have often not gotten the appropriate clearances from the models in the pictures, so be cautious of using images with identifiable faces from those types of sites. If you're not familiar with the legal term, a model release is when a model or someone in a stock photograph appears in the stock photograph. They sign a release that gives the rights for their likeness to be used for the commercial image and not all free stock image sites do that. Good stock image sites like Shutterstock or iStock Photo or Dreamstime will clearly state on the image page whether or not a model release has been included. If a model release has not been included, you can't use it for commercial purposes, and though it is not terribly likely, you can open yourself up to legal liability that way.
In that vein, be also cautious about Creative Commons sites, since copyrighted work frequently ends up on those sites. This is also true of the free stock image sites, where sometimes people will pirate images and post them there. Also, many Creative Commons photos are restricted from commercial use, modification, and/or the artists require attribution. Tread carefully and make sure you understand the conditions of using images with any of the various Creative Commons licenses.
And before we get into further details, it's also important to understand the difference between creating book covers and creating ad images. The number one thing to remember about ad images is that ads are ephemeral, and they should change often because you often get diminishing returns for using the same ad graphics. Ads can be tailored for different audiences. Ads can be tailored for different platforms. In fact, you kind of have to tailor ads for different platforms because, for example, Bookbub and Facebook, the two ad platforms where indie authors are most likely to use ad graphics, have very different requirements for images. People are more tolerant of AI images in ads than in book covers, but AI is very polarizing, and if you use an ad image that is easily and immediately identifiable as AI, you will probably get some pushback for that. So with all that in mind, let's first look at some free places to get images for ads and then some paid options.
The number one free option is public domain images from the US government pages. It is the law of the land in the United States that images produced by the US government or federal employees in the course of their duties (with some exceptions) are in the public domain. Some of these are great as using as backgrounds or components of an ad. For example, are you a sci-fi author in need of a planet you can put behind a spaceship? You're in luck; NASA has plenty of those images and you can find them quite easily. However, sometimes U.S. government websites use stock images or government created images that have some types of restrictions. For example, NASA forbids use of images of current astronauts for commercial purposes for any reason and has some pretty strong feelings about people using their images to create NFTs. You do not want to go through life getting sued by the federal government, so you probably want to avoid that.
Sources that are easiest to be confident in, images that are explicitly included in public domain collections on U.S. government websites such as the Library of Congress free to use and reuse sets website or NASA's Images Hub (this page also includes some guidance on NASA specific researchers) and the National Gallery of Art Open Access Images page. All of these have ample supplies of images that are in the public domain, and you can look over them for images you can use for ads or components of ads.
Another free option is other public domain collections. Some libraries and some museums have created public domain image collections or let you filter for public domain images on their site. Very large institutions tend to be cautious about using this type of copyright language and their staff generally have training on what is or is not public domain. The Art Institute of Chicago has a public domain filter on their search page and The Met museum in New York has an Open Access filter in their search page where you can look for images in the public domain.
The third free option and one that I have done myself a lot is take your own photos and use your own photographs for backgrounds components in an ad, etcetera. Since you're the creator, you hold the copyright. I have done this in a lot of the books I have published in 2024 and the ad images I created in 2024. A fair bit of them have my own photos because I took some trips to some fairly scenic parts of the country this year. I was fortunate enough to be able to do that, so while I was there, I took lots of pictures with an eye towards using them in ad images and book covers because as you get more practice with graphic design, your projects tend to have more layers to them. You often come across things and think well, this wouldn't be a good image by itself but would be a great background or great foreground and I can use pieces of it to assemble a better picture. So I've done that a fair bit and since I own the rights to all the photographs, I am one hundred percent in the clear.
Now let's move on to a few free or low-cost options and one that might be a bit controversial. In fact, it is controversial: AI generated images. The pros of this are that the US government has consistently ruled so far (this might change after the election, but it might not) is that AI images cannot be copyrighted in any capacity. This means you can quickly make eye-catching art that matches your specifications instead of hunting for stock art. The con is that many people will assume that the book is AI generated if they see an AI generated ad image and many people strongly dislike AI art in general, or object to AI art on principle, viewing it as a form of theft.
For myself, I've decided that my personal ethical line on this (barring changes in circumstances or laws) is that I will not sell anything that was created by AI. If I am selling anything or giving away a free ebook, it is 100% written by me and the cover was either made by me or someone I hired to do it. And in the audio books I sell, they are 100% narrated by an actual human being. That said, I have, I'd say, from time to time, used AI for ad images for the reasons we've discussed. Ads are ephemeral and phased out pretty quickly, but I have found that it's generally unwise to use an unmodified AI image, because it has such a very clear and obvious AI look to it. It's a good idea if you are going to use an AI image for an ad to run it through Photoshop a bit and change the look and maybe eliminate some of the more obvious AI tells such as extra fingers or misshapen eyes, that kind of thing. So if you are comfortable using AI, it can be a good source of ad images with some work, but otherwise, if you're not comfortable with it and you think your audience would be offended by it, it's probably best to avoid it. So those are the free/slightly free options, and now it's time to move on to the official paid options.
The first paid option we're going to discuss is Shutterstock. You pay by image. It's simpler than the credit systems that Dreamstime uses, and the interface is easy to use. I have not generally used Shutterstock all that much because it tends to be a bit more expensive than the other options. However, you can find some very high-quality photos there if you are patient enough to look.
The second paid option we're going to look at is Dreamstime. You can either pay images a la carte with credits you buy or by subscription. I have used Dreamstime quite a bit and quite a few of my covers have images I have licensed from Dreamtime. I'd say the pros of Dreamstime is that it has a very large and very strong library. The con (and this is true of stock photo sites in general) is that it's very easy to find an image that is like 95% perfect, but that 5% would be a lot of work to fix in Photoshop or just isn’t right for some reason. Additionally, I don't agree with this decision on Dreamstime where they’ve begun including a lot of AI generated stuff on their page. It's clearly labeled as AI and you can use filters in the search engine to filter out the AI stuff, but if you're looking for stuff for covers because like I've said before, my personal ethical line (barring changes in law) is that I won't sell anything that was made by AI. If I'm looking for elements for a cover, it's really annoying to have to double check to make sure that the image was not AI generated, which is another good reason to use your own photos because you can then be certain it wasn't AI generated.
The final paid option that many authors and many professional graphic designers use is Adobe Stock. Adobe Stock is probably the gold standard for stock photos. It has a large library with a range of image types and very clear license terms. The flip side is it's expensive. You can often include it with an Adobe subscription (which is in itself quite expensive) and then you get a limited number of image credits every month and that can be quickly expensive. If you have an Adobe subscription, you can also use Adobe's Firefly AI image generating service. It's not quite as powerful as Midjourney or some of the other ones available, but that said, it is trained only on stuff that Adobe technically has the legal rights to do. In my experiments with it, I found that Adobe Firefly’s AI generator is not good at generating scenes. It is good at generating components of scenes, like you could tell it to generate a forest or a beach or a mountain, or a castle or something, and that'd be pretty good. Then you can modify it and add in other elements later, but it's not so good at generating a finished scenes the way that something like Midjourney would be.
Now that we've looked at sources for stock images, let's look at a couple of paid sites that can help you use the ad images you have found. Obviously, you can work on them in Photoshop or GIMP or Affinity Photo editor, but those are fairly complicated programs that can take quite a bit of effort to learn. There are websites that now specialize in helping you to create specific ad graphics. I'd say the most valuable one for indie authors is Book Brush. It is a specialized image editing website designed for indie authors. It lets you make things like 3D covers of your books or audiobooks to include as part of an ad, and it also has a variety of ad templates, where you will have ad templates that are the right size and resolution for the various ad platforms, and then you can drop in the elements you need to make an appropriate ad graphic. So if you’re an indie author who just wants to make ad graphics or maybe even some basic covers, Book Brush would be well worth your time to investigate, in my opinion.
A second option would be Canva Pro. Amazon has explicitly said in their guidelines they don't like people using it for book covers, but ads are a different game and Canva is reliable for this purpose. It's good for beginners and those starting out. It's quick and easy to reuse. The downside is that since Canva is so popular, people have gotten used to the Canva look and you get bored with seeing those, especially if you've only minimally modified a template, but with some creativity, you can make an ad graphic that looks fairly nice.
So that is it for this week. I hope you will find that helpful for finding sources for your ad graphics. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we consider how the Nintendo Switch does the simple things well, and examine how writers can likewise do the simple things well to write excellent books.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 223 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October the 18th, 2024 and today we are discussing five lessons for writers from the Nintendo Switch, of all things. Don't worry, the analogy will make sense later in the show. Before we get into that, let's have an update on my current writing projects.
I am pleased to report that Ghost in the Tombs is completely done and is currently publishing on Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. The links are already live on some of those stores. This episode should go out on the same day as my newsletter, so by the time this episode goes out, the book should be available at all ebook stores. If you are subscribed to my newsletter, you will also get a free ebook copy of the short story Ghost Tablet. So that is one of the many excellent reasons it is a good idea to subscribe to my newsletter. You can find the details how to do that on my website right at the top. My next main project now that Ghost in the Tombs is out will be Cloak of Illusion, the 12th Cloak Mage book. I am 31,000 words into that. I'm hoping to have that out before the end of November, if all goes well. After that, I am 11,000 words into Orc Hoard and hopefully that will be out in December, if all goes well.
As I mentioned earlier, the audiobook of Shield of Darkness is out, as excellently narrated by Brad Wills. You can get that at Audible, Apple, Google Play, and all the usual audiobook stores. We are also working on Shield of Conquest right now, and that is being recorded as we speak. Hollis McCarthy is also recording Cloak of Spears and that should hopefully be out before the end of the year, if all goes well. This week, we're not doing Question of the Week because all my time was going to finishing Ghost in the Tombs, but we will be doing another Question of the Week next week, so watch for that on my website and social media.
00:01:54 Main Topic: 5 Lessons Writers Can Learn from the Switch
Now let's go to our main topic for the week, five lessons that writers can learn from the Nintendo Switch. So what can writers learn from the Nintendo Switch? A common complaint I sometimes see among newer writers is that all the stories have been told already, and that there are no truly original stories. Why try writing a mystery novel? Haven't they all been told? Why try writing a romance novel? How many different ways are there for a woman to meet a man and fall in love? Why attempt to write an epic fantasy when there's already Lord of the Rings and Mistborn and Shannara? Haven't all the stories already been told? That is a fair question, but it misunderstands the nature of stories. It's as profound a misunderstanding as saying that just because you've eaten one cheeseburger in your life, there is no need to ever have another or saying that since Pizza Hut makes pizzas, there is no need for anyone else to ever open a pizza restaurant or even to sell frozen pizzas.
To dispel this misapprehension, let us turn to the Nintendo Switch. It is not unfair to say that the Switch is one of the most popular game consoles in the world and is likely Nintendo’s second best-selling device of all time. The Switch is also significantly less powerful than its chief competitors, the various Xbox and PlayStation models offered by Microsoft and Sony. For that matter, the Switch has only received moderate updates in the seven years it has been on the market. Its internal components are basically those of a decent smartphone from 2017, yet despite that, the Switch has significantly outsold both the Xbox and the PlayStation over the last seven years. It was a remarkable reversal of fortune for Nintendo. The Switch's predecessor, the Wii U, did so badly that the CEO of Nintendo at the time took a 50% pay cut to help avoid layoffs. One thinks American CEOs could stand to learn from this example, but that's a different topic. So to go from that to the best-selling console of the last seven years is quite a swing of fate’s pendulum.
So let us then ask the obvious question: why did the Switch do better than its competitors, especially when it was so relatively underpowered compared to them in terms of hardware? The answer is simple. The Switch did the basics, but it did the basics exceptionally well and doing the basic simple things exceptionally well is often much harder than people imagine. The Switch doesn't have a lot of the more advanced features from the PC, Xbox, and PlayStation ecosystems, but it doesn't really need them. The Switch is easily portable. It has a strong library of first-party titles. The loading speed isn't great, but it's adequate. It has Switch Online for all the old Nintendo classics. You can play it handheld or docked. It's popular enough that developers want to bring their games to the console whenever possible, including some that some that were very technically difficult, like Skyrim or The Witcher 3.
All that sounds simple, but it's much harder to do than it sounds, and the basics done well are always a good thing, regardless of the field. In fact, that is traditionally part of Nintendo's design philosophy. Nintendo has a thing they call “withered technology” (another translation from the Japanese would be “lateral thinking with seasoned technology”), which means rather than trying to use cutting edge technology, they use tried and true older technology and think about developing unique experiences with it. In other words, they used well established basic technology to build the Switch (which wasn't exactly cutting edge even in 2017) and then just tried to use that established technology well.
So how does this apply to storytelling and writing? This is, after all, a writing podcast and not a video game podcast (even if I do talk about video games a fair bit). The same approach taken to writing can work out quite well. Don't try to be excessively fancy or flashy. Focus on the simple things and do them as well as you can, and that will probably work out better than trying to be flashy or creative in a way that only ends up being off putting to the reader.
So when it comes to writing fiction, what are the simple things that you can do well? What is the “lateral thinking with seasoned technology” you can employ with writing a novel? I think there are five lessons we can take here.
#1: Understand the genre you are writing in and try to hit the appropriate tropes for that genre. A lot of writers when they are first starting out try to do too much, like a fantasy author tries to write a 12 volume epic fantasy series as their first writing attempt, or someone tries to fuse a bunch of genres and write a book that is simultaneously romance, a magical realism coming of age story, and somehow also a memoir. If you can't clearly state the genre of your book, you're going to have a hard time selling it. You might also have a hard time even finishing it.
What do I mean by the appropriate tropes for the genre? That's just a way of saying that the storytelling conventions that readers come to expect in specific genres. For example, in a happily ever after clean romance, the readers will expect no explicit scenes and that the heroine and the love interest will end up together by the end of the book. Romance tends to have a lot of very specific subgenres, but the rule holds for many other genres as well. Epic fantasy readers typically expect a quest, some journeying, and a band of arguing adventures. Mystery readers expect a mystery with an actual solution at the end. Thriller readers look forward to some well executed fight scenes in a secret government building.
Some writers dislike the idea of writing to genre tropes but think of it this way: If you go to an Italian restaurant and order spaghetti carbonara, but the waiter instead brings out a steak burrito bowl with a side of French toast sticks and maple syrup, you're going to be disappointed. Are there people who would enjoy a lunch of a burrito bowl and French toast sticks? Almost certainly, but you ordered spaghetti carbonara. The vast majority of people who go to an Italian restaurant are going to expect Italian food. The same thing applies to genres. If you buy a mystery book, you will expect a mystery novel and not an experimental cross genre thing. If you dislike writing to genre tropes, remember that readers only dislike tropes written to genre conventions if it's done badly, but if you do it well, they appreciate it and that could be one of the simple things that you focus on doing well.
#2: A protagonist with relatable problems. Another important basic in genre fiction is the protagonist with problems that the reader can find compelling. There's an endless tedious discussion about whether or not the protagonist should be likable or not, and frankly, it often degenerates into the standard Internet discussion about gender politics, whether or not a female protagonist has to be likable when a male one does not. But in my opinion, that discussion completely misses the point. What makes a character relatable, or more accurately sympathetic to the reader, is the character experiencing a conflict or some sort of emotional pain that allows the reader to sympathize with them. Whether their character is likable is less important than sympathy.
Let's take two examples from recent television, specifically Disney properties. The characters of Syril Karn and Dedra Meero from the Star Wars show Andor are unlikable but sympathetic characters, while Jennifer Walters from She Hulk is both unlikable and unsympathetic. The difference between them is instructive for writers. Syril Karn and Dedra Meero are both essentially unlikable villains. Karn is a wannabe mall cop with puffed up delusions of his own importance and Meero is working for the Empire’s sinister secret police as a mid-level officer. Yet Karn’s circumstances make him emotionally sympathetic. He is stuck in a dead-end job and living with his cruel mother. Meero is trying to do the best job she can in the secret police and is fighting against her obstinate and clueless colleagues within a cumbersome bureaucracy, something many office workers can sympathize with. Indeed, it's clever how the show sets her up as a strong woman making headway in the male dominated secret police, only to yank away the sympathy when she brutally tortures one of the show's protagonists.
By contrast, Jennifer Walters is both unlikable and unsympathetic. She's a rich lawyer who has rich lawyer problems, which is generally not sympathetic to most people. Indeed, she strongly establishes herself as unlikable in the first episode when she lectures Bruce Banner (who in past movies tried to kill himself in despair, was hunted by the US government, held as an enslaved gladiator for two years, brutally beaten by Thanos, and fried his right arm with the Infinity Gauntlet) about how much harder her life has been than his, which is objectively not true.
As we mentioned with Karn and Meero, it's very possible for unlikable characters to be sympathetic, but Jennifer Walters is so unsympathetic that the best episodes of She Hulk were the ones where she becomes the unsympathetic comedy protagonist like David Brent from the UK Office or Basil Fawlty from Fawlty Towers and she suffers the comedic results of her own bad decisions.
What's really compelling is when you have a likeable character who has a sympathetic problem. As an added bonus, it's usually easier to write a likeable character with a sympathetic problem. Striking the balance between an unlikable character with a sympathetic problem is often a challenge for even experienced writers. But if the reader likes your protagonist and the protagonist’s problem inspires emotional sympathy in the reader, then that's half the battle. What is the other half of the battle lesson?
#3: A strong conflict. I’ve said on the podcast many times before that conflict is central to storytelling. If you have a sympathetic protagonist who has a serious conflict, you've got yourself the potential for a strong book. Another way of saying conflict is “the problem the protagonist must solve, face, overcome.” If the protagonist doesn't have a problem, he or she might as well sit at home playing well, Nintendo Switch.
Fortunately, it is easy to think of a suitable conflict for your story, because in Real Life, the potential causes of conflict are sadly infinite, and you can easily apply that to fiction. Like if you write epic fantasy, you could have the conflict be the quest to stop the Dark Lord, or if you write sci-fi, it could be defeating the invasion of the space bugs. Mysteries have a conflict built in for the genre. Solving the crime, finding a missing person, etc. Thrillers tend to be all about violent conflict, but conflicts don't have to be violent or even high stakes to be emotionally significant. It could be a conflict with a rival at work, or not even involve a person at all, like trying to survive the aftermath of a natural disaster. It boils down to that the protagonist must have a conflict and the protagonist must take some sort of action to resolve that conflict. Stories where this doesn't happen tend to become boring quite quickly.
#4: A satisfactory ending. The ending is really, really important. You know how a joke isn't funny if it doesn't have a good punchline? A story with a bad ending, unfortunately, almost always turns out to be a bad story that leaves an unpleasant taste in a reader's mouth. What makes for a good ending? The story's central conflict has to be resolved in a satisfactory way, in a way that generates emotional catharsis. In fantasy, the quest needs to be achieved. In science fiction, the space bugs need to be defeated. In mystery, the killer has to be caught or the mystery resolved in a satisfactory way. In romance, the heroine needs to end up with her love interest. Bad endings are ones that don't resolve the conflict or resolve the conflict in a way that feels like cheating to the reader. This can include the protagonist solving the conflict through no effort or struggle or a Deus Ex Machina style ending where the conflict is solved simply because the author wants to hurry up and finish the book. Granted, this doesn't mean that a good ending is a happy one. The Lord of the Rings had a famously bittersweet ending. Sauron is defeated and the One Ring destroyed, but the Elves leave Middle Earth forever, and Frodo is too wounded to return to his homeland, instead choosing to accompany the Elves into the West.
There are many other examples. The mystery could have the detective solving the crime, but at the cost of his career and his marriage. The protagonist of a military science fiction story could win the battle but be the only surviving member of his squad. The ending must resolve the conflict in an emotionally satisfying manner that doesn't leave the reader feeling cheated.
#5: The fifth simple thing you can do: write clear prose. Writing clear prose that unambiguously conveys your meaning is one of the vital basics for storytelling, and this is harder than it seems. An anecdote from this topic about this topic: back in 2023, Wired magazine ran a hit piece on fantasy author Brandon Sanderson about his Kickstarter. One of the criticisms in the article was that Sanderson's books were written at a sixth-grade level, which is debatable, but that's not the point. The point is the writer of the article and many other people have the profound misapprehension that simple, clearly written prose is somehow easier to write than more dense or complex prose. It's really not, and this fact is easily proven.
Think about how many people you know in real life who struggle to communicate through written communications such as emails or text messages. Think how many times you've gotten an e-mail from a manager or client only to have no idea what the person in question is trying to ask for, or even say. Or how much family drama can be created by a badly written text message or social media post that is easily misunderstood. In all of these examples, people failed to communicate effectively through written prose and would have benefited from the ability to write simple, clear, not easily misunderstood prose. Therefore, developing the ability to write clear, transparent prose that precisely conveys your meaning is a useful skill for anyone, not just fiction writers. It just happens to be especially useful for writers of fiction. When writing fiction, it is probably best to remain as clear and concise as possible.
So in conclusion, these are the five simple things you can do well to have a good book:
#1: Understand the genre
#2: Have a protagonist with a sympathetic problem
#3: A strong conflict
#4: A satisfactory ending
#5: As clear of prose as possible
All relatively simple things, but if you do them well, I think you are well on the way to writing a good book. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes of the podcast on https://thepulpwritershow.com, often with transcripts. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at four different types of story conflict, and explore three different ways to add them to your stories.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 222 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October the 11th, 2024 and today we are discussing four kinds of story conflict and three ways you can bring conflict into your books. Before we get into that, we will have an update on my current writing and audiobook projects and then do Question of the Week.
The good news is that I am done with the first pass of editing on Ghost in the Tombs and I'm ready to start on the second. This is Episode 222 and if all goes well, I think Ghost in the Tombs will be out shortly around the time Episode 223 comes out. So second-half of October, we're on track for that. I am 28,000 words into Cloak of Illusion and that will be my main project once Ghost in the Tombs is published. I'm also 8,000 words into Orc Hoard, the fourth Rivah book, and that'll be the main project once the Cloak of Illusion is done.
In audiobook news, Shield of Darkness is now out. You can get on Audible, Amazon, Apple, Google Play, Chirp, Kobo, Payhip, and all the other major audiobook stores. That is excellently narrated by Brad Wills. Recording is underway for Cloak of Spears and that should hopefully be out before the end of the year. So that's where I'm at with my current writing projects.
00:01:22 Question of the Week
Let's move on to the Question of the Week. Question of the Week is designed to inspire interesting discussion of enjoyable topics. This week's question: if you listen to audiobooks, where do you listen to them? While cooking or driving, commuting, or perhaps walking? The inspiration for this question was that I was looking at some old sales spreadsheets from 2020 (that was a fun year, wasn't it?) and I was sure the start of COVID was going to wipe out the audiobook market because a lot of commuting was temporarily going away. Except this turned out not to be the case, and audiobook sales overall actually went up during COVID. So clearly I was wrong about how most audiobook listening took place while commuting. We had a few answers to this question.
David said: Mostly while I'm home prepping and eating a meal, sometimes I'm in my vehicle enjoying a coffee while I drive somewhere. Sometimes when I go out to eat by myself, I'll listen on headphones. So it’s when my hands are otherwise busy and it beats listening to music or TV.
JLH says: I pretty much only listen to audiobooks while driving. While home, I prefer to read. I'll listen to music when I'm at the gym.
Tom says: Anywhere and everywhere. Driving car and tractor, at work, when walking (single earpiece only), and when at the gym.
MW says: Usually while driving. I prefer reading and drawing to listening, but those aren't an option when driving my car, so a podcast is usually it.
For myself, these days I usually listen to audiobooks when making long road trips by myself where I don't need the GPS to navigate. That's because if I'm going someplace I've never been before and need the GPS to navigate, it is highly distracting to have the audiobook and the GPS cutting back and forth between each other while you’re trying to figure out where you're going. That said, long drives to places where I know I'm going happen less than it did, so I generally listen to audiobooks less than I than I did before COVID. That said, in 2023 through 2024 I listened to the new audiobooks Andy Serkis recorded for the Lord of the Rings and was blown away by how good they were. Definitely recommended. So that is Question of the Week.
00:03:21 Main Topic of the Week: Story Conflicts
So now on to this week's main topic: four types of story conflict and three ways you can add those conflicts to your story. So as we all know and as I've mentioned many times before on this podcast and on my blog, a story is nothing without conflict. Conflict is what drives the story. There's a story that when he was writing The Lord of the Rings, J.R.R. Tolkien probably would have wound up with a 1200 page description of a Hobbit dinner party if C.S. Lewis hadn’t kind of gently urged him to add more conflict and have things happen to the story. I'm not entirely sure if that's true or not, but the point is quite valid that if you want to have an interesting story, you need a conflict. You need the characters to act and respond to that conflict, and that will help drive your story.
Most stories also have more than one type of conflict. You can have internal conflict and external conflict and different kinds of internal versus external conflicts. For example, my novel Half-Elven Thief contains three of the four types of conflict we will discuss. I will mention those when I get to them. So let's look at four classic types of story conflict.
#1: Person versus internal conflicts. What does that mean? That means the protagonist is facing challenges that test their core values and beliefs and must face their character flaws in order to move forward. There are numerous different types: midlife crisis, a character who has to overcome self-doubt, or a character who is confronted with a strong temptation or an otherwise moral test. There are numerous good examples from fiction. A relatively recent example would be the movie Inside Out, which shows a child trying to handle major changes in her life. She tries to face them by shutting out Sadness in favor of Joy, but finds that accepting all of her emotions is actually what's healthy and the internal conflict in that movie is the character in question learning to accept all of her emotions rather than trying to suppress sadness, and you know, live with sort of false joy.
Another very classic example would be Lord of the Rings, where several different characters have internal conflicts. Perhaps the biggest one, of course, is Frodo trying to resist the power of the ring throughout the trilogy. Another big one that decides, of course, the book is at the end when Sam really, really wants to kill Gollum. As the narration in the text suggests, killing Gollum is probably the smartest thing he could do in that moment, but he can't within himself bring himself to strike Gollum. So he lets him go, which turns out of course to be very decisive to the plot. We mentioned before that Half-Elven Thief contains three of the four conflicts types below. Half-Elven Thief does have an internal conflict for Rivah where she has to balance her desire for financial stability and security with her conscience, because, though she's a thief, there are many more ruthless and immoral ways she can make money. She thinks about this throughout the book and the sequels, but never can quite bring herself to do that.
The second major type of conflict is person versus others. And what it is a person's goals are being thwarted by another person. This is easily the most common kind of conflict, because in many ways it's the easiest to write. You can have anything ranging from a superhero fighting a super villain, you know, Iron Man versus Thanos. Most of us in our lives aren’t going to hopefully experience conflict on that scale, but that is essentially person versus others in the form of Ironman versus Thanos. It could be not such a severe or violent conflict but a rivalry between, say, two sales reps or two City Council people where they will never come to blows, but they're both competing for the same goals or trying to promote harmony or trying to get someone to collaborate.
Examples are numerous. Sherlock Holmes versus Professor Moriarty. Conan the Barbarian versus Thulsa Doom. Batman and The Joker and many other range of potential conflicts ranging from like we said before, super villains fighting each other to smaller and more intimate conflicts where two people are competing for the same goal in a way that won't result in, you know, violence or supervillainy, but is then nonetheless emotionally significant for both of them.
And once again, we can use an example from Half-Elven Thief here and in Half-Elven Thief, Rivah's main adversary in the book is Marandis, who is the sort of official of the thieves’ guild that she reports to who hates her and wants to find any excuse to sell her into slavery. She's managed to avoid that so far. So that is another example from Half-Elven Thief of person versus others.
#3: The third common type of conflict is person versus environment. And what does that mean? It means the person is facing a conflict based on something that's happening in the environment. Types can include tornadoes, floods, hurricanes (which we are sadly seeing in real life right now), a pandemic, or getting stranded on desert island or a remote alien planet, that kind of thing. A famous example would be the 1995 movie Twister about surviving tornadoes. Twister is a little bit of a ridiculous movie, though I am looking forward to seeing the sequel Twisters, which I actually rented and will watch tonight. In my own books, I have not used conflict based on the environment too often, since I tend to prefer person versus others or person versus internal conflict. Probably the closest thing I have done would be some of the dungeon crawls, like in Frostborn: The Broken Mage where surviving a dungeon is a part of the plot, but in Ghost in the Tombs, there will be some person versus environment and what it will be we shall have to read and find out.
#4: The fourth type of conflict is person versus supernatural and what that is, where the protagonist of the story must face a god or supernatural force of evil. Obviously, a fantasy book where someone fights an evil wizard is one of those. It also turns up in horror novels pretty frequently, where the protagonist is haunted by ghosts or haunted by vampires or werewolves, or Cthulhu or something like that. Examples are abundant. Maybe one of the oldest ones is The Odyssey, where Odysseus battles supernatural forces attempting to keep him from returning home. In Half-Elven Thief, once again we have a supernatural threat where Rivah is compelled to steal an item from a powerful wizard, and she has to face that wizard’s powers and find a way to survive them. So with four types of conflict, let's see if we take a look at three different ways to add those types of conflict to your stories.
#1: Put your characters in an unfamiliar or hostile environment. For example in my books, in Frostborn, Calliande in Frostborn: The Gray Knight wakes up in a world far different from the one she has known and must act to protect herself and her original quest. There are many different ways you can do that. If you are writing a mystery novel, for example, you could have your protagonist be transferred to another police precinct where no one likes him or her. If you're writing science fiction, the options for hostile environments are abundant, considering that most of space is lethal to humans. There are other genre suitable ways you could do that.
#2: Force your characters into making decisions, and if you really want conflict, have them start off by making the wrong ones. This can be a good way to do that, so long as you don't make your character out to be an idiot. People make bad decisions all the time for what they think are good reasons, and if you can convincingly convey that, that is a good source of conflict. An example from my own books in the Dragonskull series, Gareth faces conflict with his parents over his rather ill-considered romantic relationship with Lady Iseult Toraemus. Then he has further conflict when that ends very badly.
#3: Have your characters face an external conflict in different ways, which then creates an additional conflict. When two different people face an external conflict, they may undergo a different internal conflict over the problem and decide to react to it in different ways that create additional conflict. For example, in Stealth and Spells Online: Creation in the back story, the protagonist Noah Carver finds out that the game he was working on, Sevenfold Sword Online, was being used for illegal activities. He wanted to blow the whistle on it, but his wife didn't want to lose her job over it, so she immediately divorced him. That led to a new external conflict between the two of them, since they both wanted to deal with the problem in different ways and more internal conflicts for Noah since of course, he is our protagonist.
So those are four different types of conflict and three ways you can apply them to the story and hopefully you will find that helpful as you think about writing your own stories and books. So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. I reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's special autumn episode, I share samples from four of my audiobooks.
Each audiobook is the second book in its series!
1.) Dragonskull: Shield of the Knight, narrated by Brad Wills.
2.) Ghost in the Flames, narrated by Hollis McCarthy.
3.) Wizard-Thief, narrated by Leanne Woodward.
4.) Cloak of Wolves, narrated by Hollis McCarthy.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 221 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October, the 2nd 2024 and today we are sharing a second Audiobook Sampler Platter. Back in June in Episode 204, I did not have time to record an episode that week so what I did was I made a quick update and then assembled the samples together of four of my audiobooks, and then patched that together as an episode. People seemed to like that. Once again four months later, I find myself without time to record a full-length clip. So this week, what I'm going to do is put together a second Audiobook Sampler Platter. This time will be 4 samples from the second audiobooks in some of my series, so we will have that coming up later in the show after I offer an update on my current writing projects right now.
I’m pleased to report that the rough draft of Ghost in the Tombs is done at about 93,000 words. I have also written a companion short story called Ghost Tablet and my newsletter subscribers will get a free ebook copy of Ghost Tablet when Ghost in the Tombs comes out. So now is a good time to sign up for my new release newsletter. If all goes well, Ghost in the Tombs should be out in the second half of October. I'm also 25,000 words into Cloak of Illusion, which will be the 12th Cloak Mage book and that should probably come out in November, if all goes well. I am 5,000 words into Orc Hoard, which will be the fourth Rivah book and I'm hoping to have that out in December
In audiobook news, I'm pleased to report that after some processing delays, Stealth and Spells Online: Leveling is finally available at all audiobook stores. It's excellently narrated by C.J. McAllister. You can get it at Audible, Amazon, Google Play, Apple, Chirp, Spotify, and all the other usual audiobook stores. Recording just started yesterday for Shield of Conquests. That will be excellently narrated by Brad Wills. Shield of Darkness, the audiobook of that is done and is currently working its way through processing. So that is where I'm at with my current writing projects and now on to our audiobook samples.
We shall have four audiobook samples this episode from the second book in four of my different series. The first sample will be Dragonskull: Shield of the Knight, the second book of the Dragonskull series (as narrated by Brad Wills). The second audiobook sample will be Ghost in the Flames, the second book in the Ghost series, as narrated by Hollis McCarthy. The third sample will be Wizard Thief, the second book in the Half-Elven Thief series as narrated by Leanne Woodward. The final sample will be Cloak of Wolves, the second book in the Cloak Mage series, again narrated by Hollis McCarthy. So those will be coming up very shortly.
Before we get to that, I'd just like to say thanks for listening to The Pulp Writer Show. I hope you found the show useful and enjoyable. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review your podcasting platform of choice. Stay safe and stay healthy and see you all next week with hopefully a full-length episode. And until then, here are our four audiobook samples.
In this week's episode, we discuss eight tips for finishing your first rough draft.
You can also get 25% off any STEALTH & SPELLS audiobook at my Payhip store with this coupon code:
LEVELING
The coupon code will last until October 8th, 2024. You can get the audiobooks here:
https://payhip.com/JonathanMoeller/collection/sevenfold-sword-online-audiobooks
In this week's episode, I take a look at why I don't set up preorders and I usually don't write prequels. I also share my thoughts about the video game STARFIELD.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 219 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September the 20th, 2024 and today we are discussing why I don't set up preorders for my books and why I prefer not to write prequels. Before we get to our main topic, we'll have an update on my current writing projects, Question of the Week, then we'll talk about a video game I recently enjoyed, and then we'll plunge on ahead to our main topic.
First up, current writing and audiobook projects. I am pleased to report that Shield of Conquest is now completely finished and available. You can get it at all the usual ebook stores. It has been selling quite briskly and has been receiving good reviews. So thank you all for that. My next main project, which you can probably guess if you've been listening to the show for the last few months, is Ghost in the Tombs. As of this writing, I am 62,000 words into it, which I think puts me about 62% of the way through it, because I believe the rough draft will be around 100,000 words. I'm hoping to have that out towards the middle of October, if all goes well. I'm also 21,000 words into Cloak of Illusion. That should hopefully be out in November and I've just started what will be the fourth Rivah book, Orc-Hoard. It originally had been entitled Elven Sorcerer for the fourth Rivah book, but I decided to change the title to Orc-Hoard and that will be out in either December or January, if all goes well.
In audiobook news, Stealth and Spells Online: Leveling is completely done and currently working its way through processing and the various audiobook platforms. You can get it at my Payhip store right now and it should be available at all the other stores in a couple of weeks. Stealth and Spells Online: Leveling was excellently narrated by CJ McAllister. Recording is almost done on Shield of Darkness, and hopefully we can approve the final version of that next week and then that'll work its way through processing and be available before too much longer. So that's where I am with my current writing and audiobook projects.
00:02:00 Question of the Week
Now it's time for Question of the Week, designed to inspire interesting discussions of enjoyable topics. This week's question: what is the most annoying video game enemy? Obviously, there is no profound reason behind this question, since we're talking about video games. I happened to be reading an article about the upcoming Starfield expansion, and the comments devolved into a rambling discussion of game design and most annoying enemies, which inspired this question. We had a good range of responses.
Reader AM wrote in to say that her greatest video game enemy is her own hand-eye coordination.
We've all been there, AM; we've all been there.
Justin says: The Legend of Zelda series is a great bunch of video games, but they do have their annoying bits. I nominate the Like Like worm. To get sucked in and spit back out (minus your shield) is incredibly aggravating. I cannot count the number of shields I’ve lost to this adversary. Later versions steal money or health, but for me, you know, the annoyance of having to go back to town to get a replacement shield (while trying to avoid encounters) ranks up there. Legend of Zelda also has annoying characters. Navi is the most so- her cry of “Hey! Listen!” quickly becomes painful.
I too remember the Like Like worm from the Legend of Zelda days and that was indeed very annoying.
JD says: Cliff racers from Morrowind. Do I need to say more?
Juana says: the vampire guarding the sewers in Vampire: the Masquerade-Bloodlines. You have to be maxed out in at least two disciplines to take them out. It's really difficult to get maximum disciplines.
Ross says: at least for me, it's Cliff racers in Morrowind. They're so far out ahead of anything else, I can't even think of what I’d put in second place.
Morgan says: not sure of all time, but in terms of more recent games, the Zoanthropes in Space Marine 2 are an absolute nightmare, especially when they come in pairs so one is always shielding the other.
Jesse says: Seymour in Final Fantasy 10. Only boss I remember that you have to beat five times.
Jenny says: that drum boss in Ocarina of Time.
William says: Zelda 2 has no shortage of troublesome enemies, like the Iron Knuckles. It’s probably for the best I never had the chance to play it back in the day without save states.
Brandy says: The first multiplayer run through Diablo, where you're through the Easter Egg levels and every other flick of the mouse you're screaming “run away, run away!” or “hold still, so I might smite thee!”
For myself, my answer would be those stupid Medusa Heads from the Castlevania series. If you’ve played any Castlevania game, you know what I'm talking about. You'll be climbing the stairs and the Medusa Head will somehow come in at exactly the right angle to avoid all your weapons and to knock you off the stairs to your death at the same time. Honestly, a lot of the old school Castlevania Games are much more enjoyable with save states on modern systems. A very strong runner up would be Lakitu from Super Mario Brothers. He's the guy in the cloud who drops all those Spiny Shells on your head. So we had quite a good range of responses this week, thought it appears that the Morrowind Cliff Racer may take the championship.
00:04:49 Thoughts on Starfield
Speaking of video games, I actually wanted to talk about Starfield a little bit because I beat the main quest in Starfield this month. By my standards, this is fast. I first started playing Skyrim in 2011, and I finally beat the main quest in autumn 2020 on the Switch version, since that was during the height of COVID and there wasn't much else to do. By contrast, Starfield came out in September 2023, so I beat the main quest in just a little bit over a year. So here are my thoughts on the game.
Overall, I would say I really liked it. It does capture the feel of being a competent space adventurer wandering around the galaxy. You can do bounty hunting, pirate hunting, mining, exploring, and a variety of other stuff. Back in the ‘90s, I really liked Wing Commander: Privateer, which had infinite random missions and Starfield kind of feels like an enormously expanded version of Privateer, or like Privateer with a Halo game attached to it, given the wide variety of firearms you can obtain. In the grand tradition of Bethesda Games, you don't even have to do the main quest or any of the scripted side quests. You can just wander around visiting random planets and fighting space pirates forever. Honestly, I probably spent more time playing randomly generated side missions than any of the scripted quests.
That said, I very much liked some of the scripted side missions. The Vanguard plotline was the best of them, in my opinion. You have to help the United Colonies find the origins of a super deadly alien predator called the Terrormorph, and at the end there's a genuinely hard moral question: does the greater good justify the means for people in positions of authority? The game also improved quite a bit since launch with new patches. The updates added a city map feature which is massively useful and a Space Car you can use for driving across planetary surfaces, which makes a lot of the game’s missions quite a bit simpler and easy.
Now, while I enjoyed Starfield, I concede that many of its critics had a point about its weaknesses. The game relies a lot on procedural generation. Every time you land on a planet, a bunch of nearby dungeons and features are randomly generated. This can get repetitive, though honestly I don't mind that very much. It makes it easier to play the game in bite sized chunks when it's late and I'm tired and I just want to mow down some Space Pirates or something. What is annoying is that sometimes the procedurally generated locations don't match with the procedurally generated quests, which locks you out of finishing some of the randomly generated quests. That was really irritating, though it only tends to happen at very high levels.
The game’s main plot revolved around multiverse stuff, and as I've mentioned frequently before, I am not a big fan of the multiverse as a storytelling concept. However, it works better in a video game than in a movie or a book, and Starfield's implementation of it is quite clever. Many games have the New Game Plus concept where you beat the game and then you start a new game, but things are slightly different. In Starfield, when you beat the game, you go to a new universe, you lose all your possessions, but you keep all your skills and knowledge, so you're starting the new game at level 65 or whatever. Additionally, a lot of the quests are subtly altered because your character knows in advance what is going to happen from the previous universe, so you can get a better outcome than you did the last time, which is honestly a kind of a clever game mechanic, which makes it a compelling journey to go from universe to universe and to put right what once went wrong. Anyway, I enjoyed Starfield and I will definitely play the Shattered Space expansion, which comes out at the end of September, but enough talk about video games.
00:08:14 Main Topic of the Week: Preorders and Prequels
This is writing podcast, so let's move on to our main topic, preorders and prequels. I have to admit preorders and prequel sounds like a really lame tabletop RPG for indie authors. Like if you roll a 20, your book gets picked up as an Amazon Daily deal for the US, but if you roll 1, your book file gets corrupted and you can't figure out how to fix it. Anyway, the inspiration for this alliterative title was that someone asked me about preorders, and someone else asked me about prequels within 24 hours. So let's start with prequels.
Reader Juan writes in to ask about preorders: something I noticed about your books. There's never a preorder option on Apple Books. Is this by design? I know you self-publish so I didn't know if that was a publisher feature or if there's a way to preorder there. If not, no worries, I just know Apple takes a little longer to load the book.
Preorders are available to self-publishers, but the reason I don't do preorders is by design. I never do preorders for a couple different reasons, which we'll go through right now.
#1: the consequences of missing a preorder date are moderately negative. If you miss a preorder date on Amazon, you get locked out of doing another one for the following 12 months. I'm not sure what happens if you miss a preorder on Apple Books, but I suspect it's about the same level of penalty and this ties directly into reason two.
#2 is that life is chaotic and unpredictable, and I absolutely hate making promises I end up unable to keep. Like if I get sick or something in Real Life comes along that I have to deal with immediately, I could easily miss a week of writing time, which would make hitting the preorder date either very stressful or impossible.
#3: If I wrote like only two books a year, I might do preorders. That would give me enough of a cushion of time to make sure that everything is ready to go well in advance of the launch date. But I usually write and publish like ten books a year, sometimes more. With books coming out so frequently, organizing that many pre-orders would be a serious headache and sometimes I don't actually decide what I'm going to write next until the day comes and I actually sit down to start writing. Like at the end of 2023, I pretty much decided on impulse to finish writing Half-Elven Thief and had that be my last book of the year in 2023. So with the amount I write and publish, managing the logistics of so many pre-orders would be a serious headache.
#4: And finally, reason number four and the most important reason: the worst consequence of missing a preorder is a loss of reader confidence. Without going into details, let's say there's been enough of that in the fantasy genre already, so preorders have too many negatives and not enough positives, at least for my situation. I'd rather just make a good faith effort of having things come out when I can and announcing them via my newsletter. Speaking of which, if you sign up for my newsletter, you get regular free short stories.
Now onto prequels. Concerning prequels, reader Danny writes in to ask: May I suggest writing a series of prequels to the Cloak Game series? Shield of Conquest made me hope that it would be a prequel book to the Cloak Game series, a book that speaks about the invasion of Earth by the elves and brings some backstory of the relationship between Kathran Morvilind and Tarlia- a teacher and a student, and the discovery and invasion of Earth, or other back stories that were not developed enough. For example, what about Aiden, brother of Riordan, or Riordan's experience as a Shadow Hunter?
Generally speaking, I am not a big fan of writing prequels. I have written a couple of prequel novels out of the 155 books I've written (Frostborn: The First Quest comes to mind) and sometimes I'll do short stories as a flashback. Probably the most recent example of that is Prophecy of the High Queen, the short story that describes the first meeting between Nadia and the High Queen written from the High Queen's perspective. The High Queen uses magic to look into Nadia’s past and her various potential futures, and so the short story bounces all over the place in time. I have also written novels that kind of jump around in time. In Cloak of Iron, the scenes from Lauren Casey's perspective go back to even before the Cloak Game series actually started to set up why Lauren was desperate enough to save her brother that that she was willing to deal with someone like Mr. Shang of the Deathless Society. Or in the very first Nadia book, Games: Thief Trap, where we blur through the first twenty years of Nadia's life in the first chapter.
That said, I do write the short stories in mind as bonus materials like the extra scenes on a movie DVD. However, at this point I don't think I would write a prequel novel, and I certainly wouldn't write a prequel series.
Why not? It feels like prequels are sort of like procrastinating before you continue on the main story, which is likely what most readers really want. I've noticed some writers (again, without going into details) have a bad habit of writing prequels instead of getting on with the main story. Making yourself continue the main story instead of getting sidetracked by prequels or side quests is difficult, but it must be done for the greater good of the story.
Additionally, a big problem with prequels is it's extremely difficult to generate narrative tension because you know in advance that certain characters are going to survive or certain situations are going to play out in a way you've already read in subsequent books. If I did, for example, my Andomhaim series as a prequel series, it would be set in a region of the world we've never visited and with characters we never encountered before, so that way there is a dramatic tension that the reader doesn't know how things are going to end and that will make the book more enjoyable.
Also, some things are really better left to the reader's imagination, and that can include back stories. Writing fiction is in some ways an exercise in creating a line drawing and letting the imagination of the reader provide color and shadow. Like, since we've been talking about Nadia, here's someone describing her from a first-person perspective:
"A woman in a dark coat and black jeans sat across from me. She had red-tinged brown hair tied in a loose ponytail and pale grey eyes the color of knives. I thought she looked like she could stand to eat more. That, combined with the eyes, gave her a look of feverish, almost unsettling intensity. I probably outweighed her by a good ninety pounds, but I felt the sudden urge to reach for the gun I wasn't carrying."
Now that's just a line drawing, right? Yet every reader will fill in that line drawing with something from his or her own imagination. In the same way, I think it is sometimes (even frequently) best to let the reader's imagination fill in the details of the character’s backstory. Like Riordan- we know he tried to save his brother Aidan and failed. We know that he became a Shadow Hunter and that his first wife joined the Rebels and tried to murder him to score points with her new friends. I could write out a prequel series describing those events, but I think at this point it wouldn't be as vivid as the one that readers have generated in their imaginations. Besides, writing a prequel story would be a distraction from the main story.
So that is why I don't set up preorders and I don't usually write prequels.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I review the movies and streaming shows I saw in the second half of summer 2024. The episode concludes with a preview of the audiobook of HALF-ORC PALADIN, as excellently narrated by Leanne Woodward.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 218 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September the 13th, 2024 and today we are discussing my Summer Movie Review Roundup, Part 2. Just to note to say that you may hear some odd background noises in this episode. My neighbor across the street is getting his roof replaced. I can't begrudge them that because no one likes a leaky roof, but it is slightly inconvenient because this is the only time today I have to record the podcast. So if you hear the occasional pop in the background, that is the sound of a nail gun driving shingles into a roof. Before we get to our main topics, let's have an update on my current writing projects and then we will do Question of the Week.
First up, Shield of Conquest is very nearly done. I am about 2/3 of the way through the final round of editing and if all goes well, it should come out shortly after this episode is available, so be sure to check your favorite ebook retailer and see if it is out. Once that is done, I will be going full speed ahead on Ghost in the Tombs and I'm currently 48,000 words into that, so about halfway through the rough draft, give or take, depends on how long the rest of the book takes and how certain scenes in the final half of the book out.
In audiobook news, Half-Orc Paladin is done, and it's now available on all the major audio stores: Audible, Amazon, Apple, Google Play, Chirp, Kobo, Payhip, Spotify, and a couple others, and you can get it there. We will close out this episode with a preview of Half-Orc Paladin (as excellently narrated by Leanne Woodward).
00:01:30 Question of the Week
Now let's have a Question of the Week. Question of the Week is designed to inspire interesting discussions of enjoyable topics. This week's question: what is your favorite superhero movie? No wrong answers, of course (including “I don't like superhero movies”, but it turns out no one said that, so I guess superhero movies are quite popular). The inspiration for this question was that I was thinking about how superhero movies are such a major part of pop culture. Nowadays when people think of superhero movies, they usually think of Marvel and the Marvel Cinematic Universe, but there were major superhero movies before the whole Marvel Cinematic approach really got going in the 2000s/2010s and they've been obviously part of pop culture for a very long time, and as you could expect, we had a wide range of responses from this.
Our first response was from JD, who says: If I had to pick just one, it would probably be Guardians of the Galaxy. The first film had a near perfect mix of action, drama, and comedy. For me, the best Batman film was the 1966 one starring Adam West.
Joaquim says: In the last millennium, when I was a child, we had DC Comics and Marvel Comics. I did like Batman in DC, Spider-man and The Avengers in Marvel. In the movies, I did not particularly like Batman, but I like the early Marvel movies, Avengers 1 and Captain America 2 the most.
Mary says: X-Men.
Todd says: 1978 Superman. Visually at 15, I believed a man could fly.
Juana says: My superhero is actually a couple - The Vision and Scarlet Witch (before they turned Vision into an emotionless thing a while back).
What's interesting is that the guy who was in charge of Picard Season 3, which I quite liked, is apparently going to be running a Vision show for Marvel sometime in 2026 (assuming Disney doesn't run out of money first), so it should be interesting to see how it turns out.
Stephen says: I know this is random- Shang Chi and the Legend of the 10 Rings. I know it was not completely an original storyline, but I liked it a lot.
I agree with Stephen. I thought Shang Chi and the Legend of the 10 Rings was one of the stronger Marvel movies and it's too bad it hasn't had a sequel.
Becca says: The Dark Knight trilogy. Those are the real Batman films for me. Ledger was certainly the best Joker. I do love the happier Batmans, too. I grew up on West’s version of Batman. For me, V for Vendetta is my favorite superhero movie and one of my favorite movies ever. I usually watch it at least once a year.
Michael says: Captain America: The First Avenger.
Juliana says: Second Captain America. The spy aspect really married well with the superhero genre in this one.
I agree with Juliana. I think Captain America: Winter Soldier is one of the better Marvel movies.
Roger says: only because we're entering the season, The Christmas Chronicles with Kurt Russell.
Andrew says: Deadpool and Wolverine, followed by The Dark Knight trilogy.
James says: I know Fox's X-Men get a bad rap generally, but Days of Future Past was amazing. I'd have to go with that, with The Dark Knight, Thor: Ragnarok, and Wonder Woman as runner-ups.
Cheryl says: don't really have favorites, but for eye candy, Thor.
Catriona says: The original Christopher Reeve Superman.
Jenny says: Mystery Men.
Jeanne says: Megamind.
Randy says: Christian Bale and Heath Ledger in The Dark Knight movies are definitely in the top three but Iron Man has always been my favorite. Good story, good pacing, and Robert Downey Junior just nailed playing Tony Stark, in my opinion. Not to mention it kicked off the longest, largest, story movie arc to this day.
BV says: Superman 1978.
Terry says: Fifth Element.
Gary says: Hancock.
For myself, I think my favorite superhero movies would be the Christopher Nolan/Christian Bale Dark Knight trilogy. Strong performances, great action, and they managed to do something very difficult, namely bring a satisfying end to a superhero story arc. It almost feels like The Dark Knight movies are the “real” events of Batman and all the other comics and cartoons and movies are legends and exaggerations after the fact, like how the whole glittering mythos of King Arthur and the Round Table developed around an obscure Roman British warlord in the 500s AD. Also, Heath Ledger's version of the Joker was amazing.
That said, for Marvel movies, which have been kind of the dominant form of superhero movies for the last decade, I think the best one of those would be Captain America: Winter Soldier (in my opinion).
00:05:45 Main Topic: Summer 2024 Movie/TV Roundup, Part 2
And now on to our main topic of this episode, my Summer 2024 Movie Roundup, Part 2. And if this movie roundup has a theme, it's miscellaneous. The reason for that is I did not actually watch all that many movies in the second half of the summer. There was no nefarious reason for that. I was just busy with travel and busy with multiple instances of home repair and busy finishing Half-Orc Paladin and Shield of Conquest. So I mostly watched some older stuff that I found on streaming, especially on Tubi, which has the delightful attribute of being free with ads. As usual, the movies are listed from my least favorite to my most favorite and the grades are totally subjective and based upon my own thoughts and opinions and nothing more substantial than that. So with that in mind, let's start out.
First up is The Burbs, which came out in 1989. It's a dark comedy/horror movie satire starring Tom Hanks as Ray, a suburban homeowner with a wife and a son. On vacation for the week, Ray becomes obsessed with the Klopeks, a new family that has moved on to his street. The Klopeks have no interest in maintaining their property and show signs of other odd activities: going out only at night, constant digging in the backyard, and strange noises and lights coming from their basement. Soon, Ray and his two neighbors become determined to find out just what the Klopeks are up to. It was darkly funny, though you could tell that the ending had been rewritten a few times. The movie couldn't decide if it wanted to be a satire of clannish homeowners or to totally validate their concerns, or both. I think it tried for both and couldn't quite get there.
Though it does kind of show how much the United States has changed or possibly declined in the last 35 years. Ray and his friends are shown as kind of losers, but they live in enormous, well-maintained houses. It's like how Homer Simpson in the first couple seasons of The Simpsons was shown as a bumbling loser, but yet he could afford to live in a four bedroom house, his wife didn't work most of the time, they had two cars and three children, and all without Homer having a college degree. By the standards of 2024, Homer Simpson lived like a king. Amusing anecdote-one scene in The Burbs was clearly inspired by A Fistful of Dollars, which I talk about more below.
Overall grade: C
Next up is The Batman vs. Dracula, an animated movie which came out in 2005. In this movie, Batman goes up against Count Dracula. This was probably as dark and gory as something can be while still technically remaining targeted at children. When a robbery goes bad, the Penguin accidentally releases Count Dracula from his tomb and becomes the Vampire Lord's new chief servant. Dracula is fascinated by the modern world, but he's especially fascinated by Batman since for obvious reasons he admires Batman's bat-themed motif.
Dracula offers Batman the chance to become his chief lieutenant, which Batman refuses and Dracula takes that personally. He'll get his revenge by turning Gotham City into a city of the undead and taking Bruce Wayne's girlfriend, Vicki Vale, as his new vampire bride. Unless, of course, Batman stops him. It was interesting how neatly Dracula slots into becoming a good enemy for Batman. After all, in the original Dracula novel, Dracula's nemesis Van Helsing was definitely a man of science who brought logic, reason, and scientific method to his fight against Dracula. Batman is also a man of science in the sense that he's a detective, so he does some detective work to unravel Dracula's weaknesses and to build weapons to use against him.
Overall Grade: B
Next up is Set It Up, which came out in 2018. This is a romantic comedy that reminded me a bit of the more cynical 1940s-era romcoms like The Shop Around the Corner. The female lead Harper works as a personal assistant for a workaholic female sports writer who terrorizes her employees. The male lead Charlie works for workaholic male venture capitalist who also terrorizes his employees. Both their bosses are miserable, demanding people who make everyone around them unhappy. One day, both Charlie and Harper are dispatched to get dinner for their bosses and end up fighting over the last available delivery man. However, in the wake of the encounter, Harper hatches a plan.
Both she and Charlie know everything about their respective bosses, so why not manipulate their calendars and schedules so they fall in love? They might be more cheerful, or at the very least they'll be in the office less frequently. Charlie has his misgivings about this plan, but after one more unfortunate encounter with his boss, decides to embark upon Harper's plan. Of course, Charlie has a high maintenance girlfriend who wants him to make a lot more money, and Harper is trying to find a boyfriend, but as per the rules of romcoms, perhaps Charlie and Harper will have more in common than they might think. This had a bit more crude humor than I might prefer but was still enjoyable. It did remind me quite a bit of the more cynical ‘30s and ‘40s movies like My Man Godfrey or the Shop around the Corner.
Overall Grade: B
Next up is The Bank of Dave, which came out in 2023. This is basically the cynical British version of a Hallmark movie, but with better production values. It is very, very loosely based on the activities of Dave Fishwick, a successful van dealer in the north of England who decides to start a local bank for local people, feeling that the Big London banks have lost sight of that. To do that, he recruits a London lawyer named Hugh to help him navigate a labyrinth of regulation around financial institutions. Of course the big banks dislike this idea and come after Dave hard. Dave is definitely the local Big Man, and it's interesting that humanity’s default mode of government seems to be Local Big Man. However, if one must have a Big Man, one could only hope he is as benevolent as Dave.
The movie was pretty funny, though a lot of the humor comes from the UK's class and regional divides, which are rather more pronounced than in the United States. Here in the United States, you can drive for 300 miles and be in the same state the entire time, and the local culture won't change all that much. The cliche is that the US East Coast and the US West Coast look down upon flyover country, but you can drive something like 1,000 miles from New York before you even get to Flyover Country. If you drive 300 miles in the UK, you've probably gone through six or seven regional accents and local traditions.
The Bank of Dave does kind of turn into a Hallmark movie since Hugh falls for David’s doctor niece. So basically a romance with the backdrop of British class/regional struggle as comedy.
Overall grade: B
Next up is Cool Runnings, which came out in 1993. A sports comedy film very (and I mean very loosely) based on the debut of the Jamaican Olympic bobsled team in the 1988 Winter Olympics. When sprinter Derice Bannock is unable to qualify for the Jamaican Olympic team due to an accident, he decides to instead to start a bobsled team to represent Jamaica in the Games. To do this, he recruits washed up former bobsledder Blitzer (played by John Candy) to act as the team’s coach. What follows is a pretty good example of a sports movie. The team must come together and perform while overcoming their own personal challenges and inner conflicts, especially Coach Blitzer, who has to dig deep and overcome his past to effectively coach the team. It's interesting that sports movies tend to follow one of two trajectories. Either the team rallies and wins the championship, or they don't win the championship and nonetheless achieve moral victory by overcoming their internal difficulties in learning to work together. I won't spoil which path Cool Runnings follows.
Overall Grade: B
Next up is Uncle Buck, which came out in 1989. This is a coming-of-age comedy film about a 40 year old man, oddly enough. I did think this was pretty funny. Bob and Cindy are a married couple with three children living in the suburbs of Chicago, and when Cindy's father has a heart attack, they need to rush to his side. Due to the unexpected nature of the news, they have to find someone to watch the kids while they're gone. In desperation, they turned to Bob's brother Buck, who alternates between working for his girlfriend at her tire company and making money on rigged horse races. While Buck is kind of a loser, he's basically a decent guy, just averse to responsibility and settling down. He quickly steps up to take care of the children, though he conflicts with the oldest daughter Tia, who is in the grips of a full-blown adolescent rebellion. Buck soon realizes that he's come to a crossroads in his life, which is reinforced when Tia runs away to a party for the weekend. Slightly dark in places, but definitely more family friendly than many ‘80s comedies.
Overall Grade: B+
Next up is the Adjustment Bureau, which came out in 2011. It is a science fiction romantic thriller based on the Philip K. Dick story, which is a very odd sentence to say, but it's true. Matt Damon plays David Norris, a congressman from New York who just lost the Senate race. Preparing for his concession speech. He meets Elise (played by Emily Blunt) and is immediately smitten with her. A month later, he runs into her by accident on a bus and receives her phone number. However, soon mysterious suited men with unusual powers arrive and burn the paper with the phone number. The men explain to David that they are The Adjustment Bureau, charged with making sure history unfolds according to the mysterious Plan. The Plan says that David can never see Elise again. David of course is not the sort of guy to take that lying down, so he soon finds himself trying to outwit the Time Cops and find Elise. It was interesting that The Adjustment Bureau was very similar to the Time Variance Authority from the Marvel Loki show, so I wonder if they drew on some of the same sources of inspiration. An interesting movie and worth watching. It actually wrestled with the oldest philosophical question in Western civilization: are all things predestined or do we have free will? Or is it somehow both? I have to admit that the scene where Elise dunked David's BlackBerry in coffee was very satisfying to me personally, since I had a lot of support headaches with Blackberries back in the 2000s.
Overall Grade: B+
Now, finally the favorite thing I saw in the second half of the summer 2024: A Fistful of Dollars, which came out in 1964. This was the first Spaghetti Western I've seen, which means it's Italian director Sergio Leone’s sort of stylized version of what the Old West was like. Of course, the movie actually ripped off the Akira Kurosawa samurai movie Yojimbo. In fact, it was so heavily ripped off Yojimbo that Kurosawa sued, settled out of court, and received 15% of A Fistful of Dollars’ revenue. Apparently Kurosawa made more from the settlement than he did from Yojimbo. Legal troubles aside, it was quite good and I could see how it heavily influenced many subsequent movies.
For example, the Star Wars character of Boba Fett was inspired by A Fistful of Dollars and Boba Fett in turn inspired the Mandalorian. Stephen King's rather disappointing Dark Tower series was inspired by Dollars as well. And there are many other examples, such as the scene in The Burbs I had mentioned above earlier.
Anyway, Clint Eastwood plays The Stranger, a mercenary gunslinger who seems to be drifting from town to town without a purpose. He arrives at San Miguel, a US-Mexican border town that is dominated by two crime families at each other's throats, the Rojos and the Baxters. Both clans seek to hire The Stranger for their organizations and the gunslinger begins playing them off each other for personal profit. As mercenary and as ruthless as he is, The Stranger seems to have a core of honor to him. A couple of times he goes out of his way to help people because he can, which sometimes gets him into trouble. Definitely worth watching as a classic film.
Overall Grade: A
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com, often with transcripts (note: transcripts are available from Episodes 140 onward). If you enjoy the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I discuss the origins of my HALF-ELVEN THIEF series, and describe some of the ideas that inspired it. I also talk a little about some of the common scams in self-publishing.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 217 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September the 6th, 2024 and today we are discussing the origins of Half-Elven Thief. Before we get into that, let's have an update on my current writing projects.
I am editing Shield of Conquest. I'm about 40% of the way through the first round of editing, so hoping to have that out in the middle of September if all goes well, but we'll see. I am 44,000 words Ghosts in the Tombs, which I am planning to have out in October and 14,000 words into Cloak of….uh…Illusion. That's how you can tell I've written a lot of books. I can't immediately recall the titles at the drop of a hat anymore.
In audiobook news, the audio for Half-Orc Paladin is done and working its way through processing on various sites. It should be up on Audible, Google Play, Kobo, Chirp and all the other major audiobook stores soon, but you can get it off my Payhip store right now since I was able to post it right away. So if you want to get before anyone else, you can do it there. So that's where I'm at with my current writing projects (once I remembered all their names correctly, of course).
00:01:16 Question of the Week
And now let's go to Question of the Week. Question of the Week is designed to inspire interesting discussions of enjoyable topics. This week's question: what is your favorite fictional villain? The inspiration for this question was that I saw a writer complaining how hard it is to write a book without a villain. It's not impossible, of course. The conflict of the story might be man versus nature, two people competing in a sporting event, or on equal footing. But it is easier to write a book about a villain and of course really memorable ones often become enduringly popular characters. So as you can imagine, we had quite a range of responses for this one.
Mary says: King Haggard in the last Unicorn. Evil, unfathomable, and dangerous. I can't believe he adopted a foundling, at that.
Jonathan D. says: If I had to limit it to one, I would go with Megatron. You have to be an iconic villain to still be the main bad guy for 40 years. Honorable mention to Scorpius from Farscape. He was only supposed to be in a few episodes at the end of Season 1 but was so good he became the main villain.
Bret says: Voldemort. I like villains to be simple, the embodiment of evil, evil from the moment they were born, never wavering from evil, and with no chance for redemption. But I prefer the villain to be the system and/or human nature. For example, in your Ghost Exile Book One, there are some bad guys, but since it's not known that point that there's a super villain behind the scenes, Caina is fighting the system (like corruption, slavery of Istarinmul) and the bad guys are bad because of human nature in the system, and that's a great book. One of my favorites.
Michael says: I am a big fan of Marvel comic books and they both have my favorite villains, Doctor Doom and Magneto, because they are both well written personalities and are perfect examples of people with power who will do whatever evil thing it takes to rectify evil conditions in their lives that they have personally survived.
Our next response comes from Becca, who says: I really liked Grand Admiral Thrawn and his use of art. He's an excellent character. Another Timothy Zahn series villain is the Modhri, a sort of hive mind that ends up with lots of different aspects.
The books she's talking about are the Quadrail series by Timothy Zahn and they're pretty good. Check them out if you get a chance. It's basically a noir-style train mystery but in outer space.
Simone says: Definitely Doctor Evil, because sometimes I also want some “freaking sharks with freaking laser beams attached to their freaking heads.”
I have to say I entirely agree with Simone. Sometimes you want sharks with laser beams.
Andrew says: John Simms playing The Master in Doctor Who.
BV says: Urzo, that villain cracks me up. In fact, the whole crew of villains are characters. Yep, Urzo was something else. Plus he makes me laugh.
Martin says: The Watchmaker from Jeffrey Deaver's Lincoln Rhyme series. I think the key to an engaging villain is that they have a capacity to win. The watchmaker matches Rhyme's deductive skills with his own meticulous nature. The question becomes who will make a mistake first and what the consequences will be. You can never be sure who will win. I also enjoy the fact that you only get to read it from the Watchmaker’s point of view without truly understanding him. It's only at the end that things click into place.
Jenny says: The best villain is when you feel like, yeah, maybe they have a point, but the whole way they're going about their plan is wrong. Like Thanos- bro had a valid point, but that wasn't the way to do it.
Scott says: Mine just so happens to be real Star Wars related, Darth Bane from Legends. He made the Rule of Two that we all know of. He wrecked the Sith Academy and the Jedi. He flew a lizard dragon from one planet to another. He went through so much pain, but he maintained his focus on his goal.
The books Scott are referring to as the Darth Bane Trilogy about Darth Bane and his apprentice Darth Zannah and if you get a chance, check them out. They're actually pretty good.
Barbara says: Just got to be Davros. You can't get past the Dalek creator, so ultimately evil, really ugly, and the voice is spot on.
Terry says: Sticking with Star Wars, Ventris. Read Dark Disciple and her emotional entanglement with Vos trying to take on Count Dooku.
Jonathan T. says: Another thing that makes Grand Admiral Thrawn great as a villain is that he is terrifying without being truly evil in the way that Darth Vader and the Emperor were. He is harsh and severe, but also wise, brave, and a good leader. He's even more effective as a morally ambiguous villain because he orchestrates his own removal from the Emperor's corrupt court (with the Emperor’s help, of course) but it allowed him to be untainted by the evils of the Death Star, Alderaan, and more. Furthermore, it allowed men like Pellaeon to redeem themselves under honorable commanders, such that when the time came to reunite with the Empire some 40 years later, the Imperial Remnant was welcomed with open arms and just a few years later were running the very government they had for so long opposed.
John says: Lazar from Your Highness. Best evil wizard in a movie and, well, the best wizard in a movie, hands down. He had so much magic, he used it for dumb stuff like making a feast of fish sticks and snorting a fairy. He’d trounce Gandalf, “he who has no nose” and laugh at the Sith.
Jay says: Lijah Cuu from the series Gaunt’s Ghost by Dan Abnett. This is a massive series set in Warhammer 40K, mainly from the point of view of regular guards rather than superhuman space Marines. It's been a decade since I've read those books and I swear I just thinking about him makes me want to murder him in increasingly inventive ways. I just hate him so very much.
Alex says: Alan Rickman’s Sheriff of Nottingham's-superb balance of evil and relatable humanity moments.
Michael says: Darth Vader for me.
Gary says: I like it when a villain can be written so you identify with them. Perhaps you could even wonder if they are really a villain. I have always enjoyed the portrayal of Boo Radley. I'm not sure he would really qualify as a villain, but in fact, that perception plays such a large role in it added a lot to the story.
Cheryl says: Loki.
David says: Doctor Doom.
John says: Murdock from MacGyver.
Barbara says: Roland from Ilona Andrew’s Kate Daniels series.
For myself, I think my favorite fictional villain would be the already mentioned Grand Admiral Thrawn from the Heir to the Empire trilogy, written by Timothy Zahn. He's an interesting contrast to Darth Vader and the Emperor from the original movies. He's just as capable of being ruthless as they are, but that's not his first choice the way it is with someone like Darth Vader. The Emperor and Vader relied on The Force. Thrawn uses logic and deduction.
What he usually does is studies his opponent’s artwork or style of artwork they favor, deduce their psychological blind spots from that study, and then builds attacks around those blind spots that his opponents will not (indeed, cannot see) coming. He takes the remnants of The Empire from the brink of defeat to the verge of total victory during the trilogy. I think it works because while Heir to the Empire is still Star Wars, Thrawn is a completely different kind of villain than Darth Vader and the Emperor while nonetheless being just as formidable. One way to make your characters more sympathetic is to have them go up against a strong, competent villain, which why no doubt is why it's often harder to write a book without a villain.
00:07:59 Main Topic of the Week: Origins of The Half-Elven Thief series
Now let's move on to our main topic for the week, the origins of my Half-Elven Thief series. This came about because one of the side effects of having been in self-publishing as long as I have, which is a really long time now, is that my email address has been out there a long time, so I get a lot of scam messages. Sketchy book promo sites are a dime a dozen and they spring up all the time and frequently send out cold call emails to authors. I know some of them are operated by the same guy or guys because in their e-mail database, my e-mail address is mistakenly linked to the name of LitRPG author Darren Holtberg Jr. Whenever the scammer guy or guy starts a new promo site with a name like Book Splurge, I get an e-mail address to “Dear Darren Holtberg Jr.” inviting me to the site. I should mention I've never spoken with Mr. Holtberg or read his books and I'm sure he's a fine author who doesn't deserve to have scammers emailing him or I get emails from sketchy book marketing sites that say in exchange for $5,000, they'll make sure your book gets featured in Publisher’s Weekly or something like that.
Lately I've been getting a lot of Facebook ads phishing messages claiming that if I don't click on their fake link and fill out their fake form, my Facebook ad accounts gets deactivated. Lately, they've all been coming from Hotmail accounts for some reason, and recently I had a message claiming to be from Facebook Ad Support that actually came from a dress that looks something like Jesus rises@hotmail.com. If Jesus Christ, the son of God, Lord and Savior of Mankind wanted to disable my Facebook ad accounts, I am pretty sure he would express his divine will through a method other than a Hotmail account. And if the rather less than divine organization of Facebook wanted to disable my ad account, they don't send warnings. They or whatever algorithm is running them that week just does it.
Another recent scam came from a book marketing service inviting me to write a free article for their members about the inspirations behind Half-Elven Thief. It was obviously an automated letter generated by scanning the Amazon sales ranks. I didn't want to write the free article for some scamming book marketing services but decided instead to write it for my site and make a podcast episode out of it. So therefore, here are the origins and inspirations for my Half-Elven Thief series.
I first started thinking about what would become Half-Elven Thief in early 2023, and a couple of different ideas went into the series. I'll talk about the business/publishing side of these ideas first and then the creative/artistic ones.
#1: Number one, I wanted to try writing shorter, less complicated books because I felt like my books had been becoming more and more complicated and difficult to write lately. Of course, that's not entirely true; my books have always been kind of complicated. Soul of Serpents was pretty complex. I wrote that way back in 2011. Soul of Sorcery was very complicated and that was 2012. But that means I've been writing complicated books for the last 13 years at a minimum, so I wanted to try something different.
#2: I also wanted to write something completely new and put it in Kindle Unlimited. Like many indie authors, my relationship with the Kindle Unlimited (KU) program has been fraught because of its exclusivity requirement. There is potentially a lot of money to be made in Kindle Unlimited, but at the same time that also prevents a book from selling on any of the other ebook platforms. I had experimented with putting up some of my older series on KU. What usually happens is that I end up making about 90% of what I would make if I had just kept the books wide. KU’s algorithms also have a pretty strong recency bias. The best way to have a book perform well in KU is to write a series of them and then release them fairly close together. They all tend to reinforce each other then, which of course is obviously easy with shorter, less complicated books.
#3: Marvel Lockout Syndrome, which I have talked about on the show before. I also wanted to write something completely unrelated to anything I had written before. By this point, I've written almost 50 books set in Andomhaim, over 30 books with Caina as the main character, and over 20 with Nadia is the main character. Readers tend to be completionists who want to read everything in the proper order, but at the same time you also tend to lose readers from installment to installment. Several dozen books and a character backstory can be daunting obstacles to starting a series.
I had been thinking about this for a while and then in 2023 we saw cinematic juggernaut Marvel Studios running into trouble after 15 years of putting out very interconnected movies. Marvel movies used to regularly pull in over a billion dollars, but suddenly they weren't performing at the box office like they used to. As with everything in pop culture, there's a billion different theories about that, and a billion terabytes worth of Internet arguments, but I strongly suspect continuity lockout was a big part of it. For example, The Marvels was the sequel to something like 10 different things with a combined watching time of over 50 hours. That's nearly an entire semester's worth of stuff to watch, and at that point that feels more like homework instead of entertainment.
So that was just sort of a crystallization of what I've been thinking about with the problems with really long interconnected series, so I wanted to write a short or self-contained series that would be a good entry point and introduction to my writing for people and yet wouldn't be connected to any of the other very large series that I have written. Those were the business/publishing reasons for Half-Elven Thief. Now let's talk about some of the creative ideas that went into it.
#4: I love basic/generic fantasy tropes. My absolute favorite kind of fantasy is what people call generic or traditional fantasy. I want to see a knight, a dwarf, an elf, and a wizard going into a dungeon and fight some orcs…maybe an evil wizard and steal their loot or go on a quest where they have to visit several successive dungeons and fight different monsters. Or a Conan style barbarian wandering around having adventures in decadent city-states and occasionally beheading an evil wizard. That's my favorite kind of fantasy story.
Of course, in the bad old days before self-publishing, you couldn't sell a book like that because the publishers didn't want traditional fantasy. That's why the original books in the Ghost didn't have orcs or dwarves or anything like that, since I wrote them long enough ago that I was still trying to sell them to traditional publishers. So when it came to Half-Elven Thief, I decided to write a book around some of those traditional fantasy tropes, like a thieves guild, half elves, sinister wizards, and so forth. In that vein, let's move to our next reason.
#5: Half-elves. So why is Rivah the main character of Half-Elven Thief, a half elf? The reason came from a semi ridiculous controversy in 2023. Apparently, Hasbro, the owners of Dungeons and Dragons, had decided to remove the terms half elf and half orc from the game since they might be potentially offensive. The usual Internet furor ensued, though the truth was that the game had been modified so you could have characters who were any combination of fantasy races like a character was half elven and half gnome or something. I suppose the larger issue is that Hasbro really wants to turn Dungeons and Dragons into a subscription service like Xbox Game Pass, but that's a different topic anyway. The idea caught in my head, and so I decided that Rivah would be a half elf.
#6: Now we go to the sixth and probably biggest creative influence on Half-Elven Thief: failures of leadership. Of course you can tell a story with traditional fantasy tropes, but all stories, regardless of genre, have themes to them. An author’s opinions of his own work is often erroneous, but I think one of the chief themes of Half-Elven Thief is failures of leadership. I thought about that a great deal in 2023 because in 2023 I knew a lot of people who quit the traditional helping professions like the medical field, teaching, law enforcement, and so on. They didn't quit because they disliked the work and not even because the money was bad but because the leadership at their institutions was so inept and even malignant that it turned the workplace into a toxic environment, so they left to seek more lucrative employment elsewhere, which overall is a net loss for civilization, isn't it? We need people to be nurses and teachers and cops, but if they leave not because the work is challenging, but because their managers are grotesquely incompetent narcissists, that is a bad thing.
To return to this week's question of the week about villains, one of the reasons Grand Admiral Thrawn on is an effective villain is because he's an effective leader. His soldiers are glad to follow him because he's not egotistical. He's not capricious or unfair, and he cares mostly about results. Unfortunately, in real life, leaders like Thrawn are in fact rare. We have far more leaders like Admiral Ozzel from the Empire Strikes Back, a petty, insecure, incompetent man who Darth Vader finally force chokes to death in exasperation. We've all experienced working under someone like Admiral Ozzel, and even if you're not in one of the helping fields, no doubt we all have had an incompetent or malicious supervisor before and it's remarkable how often incompetent managers turn out to be malicious ones as well. So I was thinking a lot about that, about how incredibly destructive bad leadership can be in the right circumstances. That reflected quite a bit into Half-Elven Thief.
So those were the business and creative inspirations that went into the Half-Elven Thief series. Finally, I would like to close with gratitude for how well Half-Elven Thief has been since released. I've tried three new things in the last three years and Half-Elven Thief by far, has gone the best. I'm grateful that so many people have enjoyed Rivah’s adventures.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes in https://thepulpwritershow.com, often with transcripts (note: transcripts are available for Episodes 140 onward). If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at 7 things you should not put on a book cover, and also discuss how I used to write tech nonfiction.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 216 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 30th, 2024, and today we're considering seven things that you should not put on your book cover. We’ll also talk a little bit about how I used to write tech books and have Question of the Week. Last week we also had a bit of a problem with the microphone levels. Hopefully that should now be adjusted and the sound should not be bouncing around randomly throughout the episode.
So first up, updates on my writing progress. I am currently done with the rough draft of Shield of Conquest, 97,500 words written in 21 days. Right now, I'm writing a companion short story, The First Command. That will be a short story that my newsletter subscribers will get for free in ebook form when Shield of Conquest comes out, hopefully sometime in September. I'm also 40,000 words into Ghosts in the Tombs, which will be the next main project after Shield of Conquest is out. I’m 10,000 words into Cloak of Titans, which hopefully will be around November.
In audiobook news, the recording for Half-Orc Paladin is done. That will be excellently narrated by Leanne Woodward. And if all goes well, that should wend its way through the various audiobook stores and be available soon.
00:01:19 Question of the Week
Now let's do Question of the Week, which is designed to inspire enjoyable discussion of interesting topics. This week’s question: what is your favorite movie in the fantasy genre? No wrong answers obviously, but I think it's an interesting question because I suspect fantasy is a lot harder as a genre to bring to film than police procedurals or romantic comedies. Quite a few responses for this one.
Mary says: The Princess Bride.
Justin says: The Lord of the Rings trilogy is in a category by itself. A faithful (given the constraints) adaptation of the greatest fantasy story of all time. Conan is very good, but The Princess Bride is what I watch over and over again.
Barbara says: Ralph Bakshi’s Wizards. I know it's animated, but I watch it every chance I get. Even hunted down the soundtrack. It was our go to entertainment when my husband and I were dating and right after we were married.
William says: Watching Terry Gilliam's Time Bandits as a child was an impactful experience for me. Personally, I don't really see the need to adapt perfectly good books into movies where you can make a perfectly good original movie instead like Star Wars.
Martin says: Lord of the Rings has an epic quality about it and has everything. One of my favorite fantasy films is Stardust. It's a great journey for the characters involved and has a wonderful mix of magic and action.
Jenny says: Legend and Labyrinth are iconic to me and Dark Crystal. Lord of the Rings is epic though, I agree.
A different Barbara says: Got to be Labyrinth. Bowie was spectacular. Not a fan of Lord of the Rings.
Gary says: Lord of the Rings is pretty obvious, but I've always liked Time Bandits.
BV says: Hand down, Lord of the Rings and the upcoming movie Shield Knight (which is not terribly likely).
Bonnie says: Willow is number one, then the original Dune. Yeah, I know-quite the spectrum.
Juana says: Lord of the Rings and Fantastic Voyage.
David says: Don't forget Krull.
Tom says: Lord of the Rings, then Stardust. Rewatched those so many times.
AL says: Willow also had a terrible plot. I think my second choice would be Bright, lol. And then the last Dungeons and Dragons movie.
Jeanne says: Without question, Lord of the Rings.
Darla says: Geez people, every movie you mentioned makes me want to see them again. There are so many good and not so good fantasy movies. I would say Lord of the Rings plus Rings of Power on Amazon. A really old movie from my brain is Scanners. Although the acting was totally terrible, the concept was intriguing.
And finally, Pippa says: Lord of the Rings, then Willow.
So yeah, we can see from those answers that Lord of the Rings is definitely the category winner, which agrees with my own assessment. For myself, I think the overwhelming answer would have to be Peter Jackson's Lord of the Rings trilogy. In my opinion, and your opinion may vary, The Lord of the Rings movie set the bar very high, so the trilogy is kind of in its own category. You can watch them 20 years later and they hold up well in a way a lot of stuff from 20 years ago does not.
But with that said, I think my second favorite fantasy film would be the Arnold Schwarzenegger Conan the Barbarian, since it does a pretty good job of capturing the spirit of the original stories and the soundtrack by Basil Poledouris is superb. The Anvil of Crom track is excellent. Also, James Earl Jones plays an evil sorcerer/cult leader named Thulsa Doom, which is of course excellent, although after reading all the comments and thinking about it, I think Dungeons and Dragons: Honor Among Thieves from 2023 would be tied with Conan the Barbarian in my second place fantasy film.
00:04:38 Reflections on Writing Tech Books
Now onto a slightly different topic, how I used to write tech books. I can always tell when the school year starts because suddenly I have numerous orders for the paperback copies of the Linux Command Line Beginner’s Guide and the Windows Command Line Beginner’s Guide. This happens because some professors have recommended them for their classes because the books are one- low cost and two- a good introduction to the topic. If you've only discovered my writing recently, and by recently I mean within the last six years or so, you might not know this, but I used to do a lot of tech writing. That was in fact my first successful attempt at writing from the Internet, tech blogging back in the second half of the 2000s. When I started self-publishing in 2011, I also wrote a bunch of tech books and Linux Command Line Beginner’s Guide and Windows Command Line Beginner’s Guide are definitely the most successful of them. Around 2018/early 2019 I stopped tech writing due to lack of time and the fact that fiction turned out to be much more lucrative.
That said, I occasionally get snide remarks and people saying well, why paid $0.99 for an ebook? All this information is available for free on the Internet or YouTube. That is true. However, it overlooks the fact that people learn information in different ways. For some people, having the information laid out step by step in a book is the best introduction to the topic. And the books are intended for absolute beginners. Part of the experience of being an absolute beginner is that you don't even know the proper questions to ask, which means it's hard to find research. It's hard to research and find relevant information on the Internet. It's said that experts know what they don't know. If you're a beginner, you don't even know what you don't know yet. That means you don't know what to Google or look for on YouTube. Linux Command Line Beginner’s Guide and Windows Command Line Beginner’s Guide were intended to give people a good beginning foundation on the topic.
And since the books have been out for 12 years, I think I've achieved that achieved that goal. I've gotten many emails from people who found themselves suddenly forced to use Linux. My favorite was from a teacher who unexpectedly found himself teaching a high school computer science class one week before it actually began. They said that the book helped them come to grips with the Linux Command Line. I'm glad that was helpful. I'm glad that the book has helped people, which is why I've kept them at $0.99 for over a decade now. And if you are learning command line for the first time and you're one of the people who bought the book recently, I hope it is helpful.
00:07:00 Main Topic: 7 Things You Shouldn’t Put on Your Book Cover
Our main topic this week is seven things you shouldn't put on your book cover. We have talked a lot about book cover design and related topics on this podcast so I thought would be a good idea to take a look at seven things you shouldn't put on your book cover. It is a delicate balance to get a cover that is eye-catching and represents what you want people to know about your book without being either offensive or boring. Studying other covers in your genre is a great start for learning how to make successful covers and to match what people expect to see on a cover.
Amazon has a broad “material we deem inappropriate or offensive” sentence in its guidance about inappropriate covers. So how do you know what makes for an inappropriate cover? As a general rule, over my book covers I've avoided any sort of nudity and no weapons pointed at the reader. If you have weapons on your cover, such as swords or guns or whatever, they should not be pointed at the reader. More specific questions you can ask yourself about whether something is inappropriate for book cover are: would someone be embarrassed or nervous to be seen with this book cover on the subway? Thanks to ereaders and phones, you can read whatever you want on the subway or the bus without people knowing what you're reading but if you have a paper book, would you be embarrassed to be seen with this cover in public? Would you have to hide this cover from a grandparent, a former teacher, or a teenager? Is this the kind of cover you would not want them to see? Would a newspaper be uncomfortable printing this cover as part of a story and would a local bookstore not be excited to have this cover in their window for the entire community to see? If the answer to any of those questions is yes, you may want to rethink your book cover. And now on to our actual list of seven things you should not put on your book cover.
#1: Awards that no one has heard of or bestseller lists besides the New York Times. If your book has won an award that isn't super well known like the Hugo or the National Book Award or the Edgar, etcetera, it shouldn't take up real estate on your cover. It's definitely not worth chasing some of those random tiny book awards that focus on Indies, some of which are more sketchy than others, just to have a shiny gold metal on your cover. If people don't know the award, it's at best confusing and at worst makes it look like the book couldn't win a real award. New York Times is the only bestseller list the average reader would care about, maybe USA Today if you were on it before it ended. And similarly, advertising your Amazon ranking on your cover is cringey and looks desperate, so unless you've won a prestigious award that people who are outside the book world would have heard of, it's probably a good idea to not put any awards on your book cover.
#2: Low resolution images and text and font that can't be read in thumbnail. Both too small and too stylized are problems. Test out your thumbnail on both color and an E Ink screens because you want it to be comprehensible and legible in both formats in thumbnail. Low resolution or pixelated images make your book look cheap and low effort, which will be especially noticeable and regrettable in print versions. Never zoom into a JPEG unless the JPEG is high enough resolution to support it. In any kind of photo editing or cover design, you want to work with the highest resolution photos possible because there naturally are more pixels to work with, and then you can do more things with it or zoom in a bit without it becoming appearing pixelated, which is not possible with low resolution images. So you'll want to avoid those for your book cover.
#3 of things you should not put on your book cover are images you don't own or AI generated images. Copyright matters. If you don't own the image or a license to use it, you're infringing on someone’s copyright and they can respond legally or send take down notices to the places where your book is sold. Be careful about using Creative Commons sites, since copyrighted work frequently ends up on those sites. Also, many Creative Common photos are restricted from commercial use and/or the artists require attribution. Tread carefully and make sure you understand the conditions for using images with Creative Common licenses.
For myself, I source my images either from reputable stack photo sites like Dreamstime.com or I use pictures I've taken myself, or I use images generated by Daz 3D. Because of the way DAS 3D licensing works, you can use any 2D images you generate from their 3D assets. If you generate a 2D image from those assets, you have the right to use it. As for AI generated images, read Amazon’s and the other site’s instructions on the use of the AI carefully before making something with the assistance of AI or wholly by AI.
It's possible Amazon and the other bookstores in the future may somehow penalize work created with AI, so it's not worth risking future problems by not disclosing AI use properly. Also, many people feel very strongly negative feelings about AI Art and associate it with books created using ChatGPT. As of right now on Amazon, if you publish a book, there is a check box you have to check saying that no elements of the book or its cover were created using AI. If you don't check that then your book has a little notice once published saying created with the assistance of AI, which can of course turn people off. And I suspect that Amazon added that so that if some point the legal environment turns against AI, they have a quick and easy way to say they're in compliance and getting rid of most of the AI generated content on their site. So for now, I would strongly recommend that you avoid using AI generated images on your cover.
#4: The fourth thing you shouldn’t put on your book cover is ineffective review quotes. One or two word reviews on covers like “magical” or “thrilling book” saying nothing about the book and make it look like there wasn't much that was positive to say in the reviews. Conversely, long reviews take up too much space on the cover and end up being hard to read. Someone who isn't well known or a celebrity public figure outside of your genre will look odd or someone who uses a random five star review from Goodreads, like for example Beth from Milwaukee says “I couldn't put it down.” Since the reader likely doesn't know Beth from Milwaukee, it's hard to be excited about her opinion or use Beth from Milwaukee's taste to compare with their own. Many people (often correctly) assume that the reviewer is paid or incentivized to write the review, and that it isn’t sincere.
For a public figure/celebrity/author, their review on your cover could be a liability later on if they end up associated with some type of scandal or crime. There is a major scandal going down right now with a major fantasy writer who, it turns out may have been involved in many inappropriate relationships (some of them may have been criminal, though none of this had been confirmed yet), and I bet a lot of people who have this major fantasy author’s blurb quotes on their book cover are kind of wishing they could take it off right now. Another potential pitfall is copyright, because technically anyone who writes reviews owns the copyright to that review. So if you quote, for example, from a random Amazon review, you technically don't have permission to do that unless you actually go out and get permission. So that is something to be aware of with quoting reviews on your cover. It’s generally not worth the hassle in my opinion.
#5: So the fifth thing you should not put on your book cover is scantily clad, shirtless, or nude people. Amazon does penalize authors for this, but the enforcement has always been rather inconsistent. The idea is that on Amazon there is what is something that's called “The Erotica Dungeon” where works that feature erotica or erotica style elements on their cover end up and they're not found by general search and you can only get to them through direct links. There's always problems with this, where people who actually do write erotica try to game the system so their books are visible outside of “The Erotica Dungeon” and people who don't write erotica but are mistakenly classified as it end up in “The Erotica Dungeon.” One of the surefire ways to end up in “The Erotica Dungeon” is to have scantily clad, shirtless, or nude people on your book cover. Amazon says book covers are not supposed to contain pornography, which is an intentionally vague warning from Amazon, which means they can interpret it however they want and they need to.
Some people find any amount of scantily clad people on a book cover to be gross, awkward, offensive, or embarrassing, even without having to carry the physical book cover around in public or at home. Some people think it makes the book looks like it's from the 1980s or the Fabio era of romance novels, and some people think it means the book is low quality or just erotica. Overall, I found that this tends to get enforced on Amazon when people complain about it, so overall it's best to avoid having scantily clad people in your book cover because it can become a problem for you later on. And in my opinion, in general, it's just in poor taste.
#6: The sixth thing you shouldn't have on your book cover is explicit violence/gore. Some people find this a little tricky to define because if you have, for example, on your book cover you have a man holding a sword and he's like making a dramatic pose, is that violence? Not really, no. But if you have the man, you know, driving the sword into someone’s, you know, mouth and blood is exploding on the back of the guy’s head, then that is definitely violence and will lead to your book being flagged. It's very hard to incorporate violence and gore well on your cover and could lead to your book getting flagged.
You'll notice that most with thriller or horror stories, which are often very violent. You know, the typical thriller story has, you know, the hero mowing down a bunch of bad guys and horror stories, often are quite violent, especially ones with, you know, serial killers or slashers. But they often don't have scenes from the books on the covers. It's a common convention for thriller novel to have a man with his back to the camera walking towards like the US Capitol, or something under a moody dramatic sky and a horror novel will have, like, you know, an abandoned looking house or a spooky looking forest on the cover or something of that nature. You notice that's not explicit violence. And it's a case where definitely less is more, and being understated is a better idea than being explicit. Anything that shows violence or abuse against children is very likely to be flagged, so avoid that.
And then finally, guns on book covers used to be forbidden, but this seems less of a problem now, provided the gun isn't pointed at a person. I've had a couple of book covers where a person is holding a gun, some Nadia ones. Avenging Fire and the Silent Order covers used to have people holding like future guns on them, but so long as the gun isn't pointed at a person or at the reader, then generally you're probably going to be okay. So just keep in mind that sometimes with violence on book covers, less is definitely more.
#7: The seventh and final thing that you should not have on your book cover is hate speech. Now hate speech is one of those things that is notoriously difficult to define, especially in the United States with the 1st Amendment and people constantly argue about what it is or what it isn’t or whether something is hate speech or isn't. And of course there's a spectrum to it where someone says something that's very obviously hate speech and can't be construed in any other way to a whole range of other statements that could be interpreted in different ways. But when it comes to book covers, Amazon specifically defines hate speech as “what we determine to be hate speech” and does not give specifics.
So that said, it's pretty easy to practically define it as anything that Amazon thinks makes it look bad or could harm their sales across the platform. So if you bear that in mind, it's probably pretty easy to avoid hate speech on your book cover, especially if you're writing about sensitive political topics. And again, that could be an example where once again you don't want to go too explicit, and it's probably fairly easy to avoid putting something that could be construed as hate speech on your book cover. So those are seven things you definitely do not want to put on your book cover.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your view on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at the pros and cons of KDP Print and Ingram Spark, and see which one works best for helping indie authors make excellent print books.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 215 of the Pulp Writer Show. My name is Jonathan Moeller. Today is August 23rd, 2024 and today we are looking at KDP Print and Ingram Spark and seeing which is the better choice for indie authors seeking to make print books.
Before we get to our main topic, we will have an update on my current writing projects and the Question of the Week. My current main project is Shield of Conquest and I pleased to report I am 74,000 words into it, which puts me on Chapter 16 of 23. It helps that I had a 10,000 word day for it this week and another 10,000 word day for last week, which of course really moves the needle forward. I am also 37,000 words into Ghosts in the Tombs, which will be my next book after Shield of Conquest. Then after Shield of Conquest will come Cloak of Illusion and I am 7,000 words into that. So good progress all around.
In audiobook news, recording for Half-Orc Paladin is almost done. Hopefully that should be wrapped up next week and then that will be available in audiobook before too much longer. So that's where I’m at with my current writing projects.
00:01:10 Question of the Week
Now let's take a look at Question of the Week. I haven't had time to do Question of the Week since July, so let's do one now: If you enjoy reading about history, what is your favorite historical period to read about? No wrong answers, obviously. We had a range of responses to this one.
Our first responses from Justin who says: My favorite historical periods are Roman (both Republic and The Empire) and American French and Indian War through The Civil War. The US was blessed to have the leaders that founded it. They were not perfect, but they were very good indeed.
What's interesting about that is if you read any biographies about George Washington, you'll find out what he probably wanted more than anything in life was prestige and recognition and I think deep down, he very much would have liked to have been, you know, King George The First of The United States, but at the moment of crisis, he was able to refuse the crown and be only president, be only Mr. President, instead of a king. So that is probably one of the reasons the United States has lasted as long as it has.
Our next response comes from AM who says: The 1964-965 World's Fair in New York is a moment when the American corporate optimism of the ‘50s came crashing into the aftermath of Kennedy's assassination and growing civil unrest (some of which was caused by the fair organizer’s policies and decisions as an urban planner in New York City). It introduced both video calls and Belgian waffles to the General American public. It also had a massive impact on pop culture and several of the attractions Disney created for it still exist today: The Carousel of Progress, It's a Small World, Great Moments with Mr. Lincoln, and the pieces of Ford’s Magic Skyway that are still viewable via Disneyland’s railroad.
Our next comment is from Sue, who says: for me, definitely Medieval/Tudor history, although I love all history. I was one of the few of my year at school who chose to study history rather than geography. Maybe that's why I get easily lost in a new place, lol.
William says: I have had the feeling that I should read more on the Holy Roman Empire, but all those princedoms and rulers with complex family names makes it a bit daunting.
He is entirely right about that. The history of the Holy Roman Empire is indeed quite complicated.
Catriona says: I have two. The English Civil War and Medieval British history pre-Norman invasion. Although truth be told, I love history in all respects. I left the UK 20 years ago and have been in Asia ever since, and am in awe of Angkor Wat, the Great Wall of China, and the history here.
Andrew says: The US Civil War. My dad bought a war game in the early ‘80s and got me hooked, followed by Napoleonic Wars.
Jeanne says: I've been recently reading a lot on early British history, from the Roman period to the early Medieval period. The history of the British Isles is fascinating because it is made of so many different peoples, languages, and cultures that have all had an influence on modern Great Britain.
Barbara says: early English history for me. Anything from William the Conqueror to Richard the Lionheart and Prince John. Richard was popular at the time because of the chivalry, but John was a much better ruler even though he was hated.
And John says: Europe 1500 through 1700, also known as “Knights with Guns.”
For myself, it's hard to pin down since it will be whatever catches my interest at any given time. Like when I visited the battlefield of Chickamauga in 2022, I went on a long reading spiral about the US Civil War. When I watched Season Four of The Crown, I wound up reading about Thatcher-era Britain to see all the many details that the show got wrong. When I recently read Ghost on the Throne about the Diadochi, the heirs of Alexander the Great, I did a lot of supplemental reading about Alexander the Great and the Wars of the Diadochi as well. Back in 2010, I beat Medieval 2: Total War as the Byzantine Empire faction, so after that I did kind of a deep dive on Byzantine history.
All that said, I think two historical periods I read about the most are the second half of the Roman Republic, specifically from the 2nd Punic War to the victory of Augustus and the high Medieval period of Western Europe from about the Norman conquest to the Black Death. I had to laugh when the “how often does your boyfriend think about the Roman Empire?” meme was popular last year because I do actually think about the Roman Republic/Empire a lot, but mostly to mine it for inspiration for fantasy novels. Obviously, the High Medieval period also provides a lot of potential ideas for fantasy books.
That said, those two historical periods offer a lot of examples of a fascinating riddle that has no answer: can a good person also be an effective leader who acts in the best interests of his people? Like, Caesar Augustus and King Henry I of England were in questionably very bad men who did a lot of very bad things, yet they're rated among the more effective Roman emperors and English kings because they brought peace and order to their respective realms, whether their realms wanted it or not. Monastic chroniclers at the time said that in King Henry's day, a virgin girl carrying a bag of gold could travel unharmed across England, and while this is obviously a political exaggeration, Henry did in fact impose peace and order on England during his reign.
Of course, a bad man can often be a bad leader as well, but I'm afraid one of the unfortunate realities of the human condition is that effective leadership does require a good deal of ruthlessness, and you see a lot of that in both the Roman and in the Medieval periods- bad men who were good leaders and bad men who were also bad leaders.
00:06:33 Main Topic: KDP Print vs. Ingram Spark
But this is not a history podcast. This is a podcast about writing and indie publishing, so let's move on over to our main topic, whether KDP Print or Ingram Spark would be better for indies to use to produce their print books.
There's an obvious question to ask first: why have print books? There's a couple of different reasons. Some people prefer print books (not as many as they used to), but some people still read print books over ebooks whenever possible. Some people enjoy books both as physical objects and collectibles, and some people enjoy giving books as a gift. Giving a physical book to someone is generally a more satisfying experience than emailing them a code to download the book off their favorite ereader. It is also easier to share print books between people. That way you can read the book and give it to a family member or friend who wants to read it as well without having to purchase an additional copy.
It is also an additional source of revenue for indie authors, not a huge source (with certain exceptions). Most indie authors will make more from their ebooks than they will from their print books, but there is potential revenue in print books as well. I checked right before I started recording this podcast and of the money I made from Amazon in 2024 so far this year, about 1.8% of it came from print books. You might say 1.8%, that's not that much. But in this economic climate, I don't think anyone who wants to stay in business should turn away an additional 1.8 percent of revenue.
Both KDP Print and Ingram Spark use what's called on demand printing, and we should explain what that is before we go any further. Printing books for self-published writers used to be kind of a nightmarish experience. You might, if you're familiar with the publishing industry at all, might have heard the old joke about how that if you self-publish, you're going to end up with a garage full of books and that did in fact happen to many people. They decided in the 2000s and before that they wanted to self-publish their own books. So they had a contract with the printer and the printer would probably have like a minimum order of like 5,000 copies or something. So you'd have to buy that, and then you'd have your garage full of boxes of books and you'd have to hand sell or find a way to sell all those books one at a time. It was a very unpleasant experience and I'm glad I never tried it, and that I'm fortunate enough to live at a time when the technology has improved quite a bit.
Print on demand works that basically it's like one copy is printed whenever you get one order; there's no inventory kept on hand. If you've bought indie books off Amazon, you might notice there's a bit of delay because the book first has to be printed and bound and then it gets shipped to you. This is by contrast to a traditional published book where if say, for example, Stephen King publishes a new novel, there will probably be an initial print round of like 100,000 copies or some equally large number, and then they’ll only print more if those initial 100,000 copies sell out. This is a very inefficient and cumbersome system, so you can see why ebooks and print on demand are much more economical and environmentally friendly, if you are worried about that.
That said, it doesn't actually have to be a choice of KDP Print versus Ingram Spark. They in some ways do different things, and as of today, August 23rd, 2024, you can use both essentially. They're not exclusive and you can do different kinds of print books through both. But we'll get to that in a little bit. Another important thing to be aware of as you're going to do print books is to have realistic expectations and mindset about it. I've noticed many new or younger authors have the dream they're going to get their book on a physical shelf in a physical store or library, but realistically that does not make a lot of financial sense for most people. Most authors (myself among them), will sell much more in ebooks than in the time it would take to chase down individual bookstores and individual libraries and try to sell print books to them. Bookstores and libraries are frequently overwhelmed with requests from indie authors, especially local indie authors, wanting to put their books in their stores. They may have created specific policies in response to that demand, and you may want to check their website before trying to get a local bookstore or a library to carry your book.
If you do want to get your book into a physical store, it is an uphill battle, and frankly, it's probably not worth the time it would take you to sell to fight that battle. Shelf space in bookstores is both limited and shrinking, especially as bookstores sell more things like toys or stationery/lifestyle items which have a bigger profit margin than books, and you don't have the resources as an indie author to compete against the Big 5 for space on those shelves. Bookstores usually expect a discount of around 35 to 45% off retail as well, which means the higher cost of printing on demand makes this very difficult and gives indies the big disadvantage of getting a book into a bookstore.
Now I know it sounds like I just was talking down print books quite a bit, but like I said, 1.8% extra revenue. So most of your print book sales will probably be online and probably from people who order directly, like your readers who most enjoy your book and want a physical copy for their collection or readers who will buy the physical book and give it as a gift to someone they want to give it as a present to.
I should note that I've been talking about applies to fiction, but the rules are slightly different when it comes to nonfiction. I should note that my nonfiction book, the Linux Command Line Beginner’s Guide across its entire lifetime, fully 25% of its sales have been in paperback. Because that is if people need specific nonfiction in print, especially if it's a technical nonfiction where they can refer back to it like my Linux book, then they will be more likely to order it in print. So that is something else to bear in mind as we now dive into the next section of the show, the difference between KDP Print and Ingram Spark. We will look at the pros and cons for both.
For KDP Print (that is Amazon's program for selling print books on their site), the pros are it's obviously the best option for selling print books on Amazon, and it's not uncommon for people to use KDP Print for selling paper books on Amazon and then some other service for selling paper books at other online stores. There are no setup fees and there is a window where you can make changes without a fee. The reporting is either real time or real close to real time and you can see print sales next to ebook sales stats. Like when I was referencing various sales figures throughout the recording of the show, I just paused quickly to check on my KDP dashboard and was able to pull up the figures with a couple of clicks. Pricing is an advantage. Amazon offers the most favorable rate for selling directly on Amazon.
In return, Amazon controls the minimum price for the book, kind of like they do for audiobooks, which is usually pretty similar to the cost of printing and shipping. When you set up a print book on KDP Print, Amazon will say based on its size, this is the minimum price. You have to sell at this price and you can't go any lower and then you can set the price however high you want. Usually it's best to set the price so that you get about $3 or so per copy or if you go into expand distribution, that you get dollar per copy of it sold. Expanded distribution, we're going to talk about right now in the con section of KDP Print. There are frequently issues with third party sellers. The problem is that KDP Print offers something called expanded distribution, where if you check that box, your book will be sold through Amazon on a variety of different sites like Barnes and Noble and other physical bookstores that have the online store for a reduced rate. So for example, if you sell a copy of your KDP Print book, you get $3 on Amazon, through expanded distribution you'd get like $1.00.
The problem with that is it doesn't always work right. Many of the stores don't always integrate properly with Amazon, so the book will show up, but the cover will be missing or the book just won't show up at all, or some of the stores only update like every month or even quarterly sometimes. So that can be a problem as well. KDP Print, like many print on demand services, does not offer the ability to make books returnable, which is something bookstores expect and want, and most physical bookstores will not take a book that is not returnable. There's a cultural component there as well. Most physical bookstores, especially most independent physical bookstores, do not want to order books from their biggest enemy, Amazon, and will flatly refuse if you ask. Some and even a significant number of libraries are unable to order print books from Amazon or it requires more paperwork or effort for them to do so, and therefore they don't really want to bother.
Now let's take a look at KDP Print’s main rival Ingram Spark, which is another print on demand service. The premise for this is that Ingram Spark is much better at Amazon at selling books at non-Amazon bookstores, which of course makes a lot of sense. It's also easier to sell to libraries from Ingram Spark than it is from KDP Print. You do have more freedom in pricing the book, which you have to be careful for because it is possible to set things up so that you lose money with every book sale, which Amazon KDP Print does not let you do for obvious reasons.
Opinions may differ, but some people do think the covers and interiors look nicer from Ingram Spark for than they do from KDP, and you can order bulk copies at wholesale prices, which you can't really do on KDP Print. You sort of can- you can order things at the author rates, but Ingram Spark has a bigger discount for that. You can also produce a bigger variety of books through Ingram Spark in different paperback sizes and different hardback sizes.
So all that sounds good, but there is a pretty significant list of cons as well. There are set up fees for each title, which there are not for Amazon KDP Print. Additionally, if you make any change to the book whatsoever after it is published, any change at all, whether it's a new cover, fixing a typo in the text, whatever, you have to pay a fee for any change you make in the book after it is published.
Unsurprisingly, it is harder to sell an Ingram Spark book on Amazon than it is anywhere else. Some people say (and I have no way of confirming this) that Amazon artificially increases the delivery times for these titles, but it's probably more likely is that Ingram Spark would have to print the book, ship it to Amazon, and then Amazon would have to ship it to the customer, which would add quite a bit of roundabout travel to the book, which is why some indie authors who are very into print sales tend to use KDB Print for any books that sell on Amazon, and they restrict those books to Amazon and sell their wide books at other bookstores using Ingram Spark.
So what conclusion can we draw from this? If you only have time to pursue one, go with KDP Print since Amazon is the majority of print sales, especially in the US right now. That's what I do. If I wanted to do more elaborate paperback books, I would probably go through Ingram Spark, but KDP Print is pretty good at meeting my needs. Unless something changes drastically, I will probably keep doing that for the foreseeable future.
However, if you have the time and the ability to do both, it is advantageous to do both. You will need separate ISBNs. You get an ISBN from Amazon and an ISBN from Ingram for the edition of the book you do through there. You could do books through KDP Print and have them just on Amazon and then have the books for the other stores, have those go through just Ingram Spark. This is a bit more work, but if you are an author who is very interested in print books or does a lot of business in print books, that may be advantageous for you to pursue.
So to sum up, KDP Print is the simpler, easier option and is probably good enough for most indie authors, whereas Ingram Spark offers a lot more options but is more expensive to use and probably requires greater knowledge to use effectively. But remember, if you are an indie author, you probably will still be making most of your money on ebooks so don't stress out too much about the paper books. And as I mentioned before, my Linux Command Line Beginner’s Guide, I got 25% of its revenue from its lifetime from the print book, but that means 75% of the revenue still came from the ebook.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we consider whether or not writers should substantially rewrite previously published novels. We also take a brief look at imposter syndrome in writers.
In this week's episode, we take a look back at one of our more popular episodes, which discusses three different methods for starting your novel and introducing the central conflict.
The episode ends with a preview of the audiobook of WIZARD-THIEF, as excellently narrated by Leanne Woodward.
TRANSCRIPT
00:00:00 Introduction and Writing Updates (August 2024)
Hello, everyone. Welcome to Episode 213 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 9th, 2024 and today we are looking back at one of our older episodes, specifically Episode 110: Three Techniques for Starting Your Novel and Introducing the Conflict (from way back in February of 2022). It was one of the more popular episodes, so it seems like a good one to replay. Next week, we will go back to recording new episodes, but I’ve had a lot to do in real life these past couple weeks, so it seems like a good time to rerun some old episodes. If you have 213 episodes of your podcast, what's the point unless you can dig into the archives and rerun an old episode every once in a while? We will return to new episodes next week. We'll also close out this episode with a short preview of the audiobook of Wizard-Thief (as excellently narrated by Leanne Woodward). So listen for that at the end of the show.
Before we get back to our old episode, let's have an update on my current writing projects. Half-Orc Paladin is done and it is available. You can get it at Amazon and Kindle Unlimited. People have asked when it's going to come to the other stores and it will once the series is done and all six books are out, which should be sometime in 2025. Now that Half-Orc Paladin is done, I am working on Shield of Conquest as my main project. I am on Chapter 3 of 22, which puts me 11,000 words into it.
After that, I shall write Ghost in the Tombs and I'm 31,000 words into that. And after Ghost in the Tombs is done, I will then start on Cloak of Illusion, and I am 1,000 words into that. So if all goes well, hopefully we will have Shield of Conquest in September, Ghost in the Tombs of October, and Cloak of Illusion in November, which pretty much takes us almost to the end of 2024.
So that's where I'm at with my current writing projects and now we will flash back to February 2022 and talk about 3 techniques to start your novel/introducing the conflict, and then we'll close out the show with a preview of the audiobook of Wizard-Thief, as excellently narrated by Leanne Woodward.
00:02:06 Re-airing of Episode 110 Begins. Introduction and Writing Updates from February 2022
Hello. Welcome to Episode 110 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 25th, 2022 and today we're going to talk about how to start your book and introduce your conflict. Before we get into that, let's have some updates on my current writing projects. Editing is underway for Dragonskull: Blade of the Elves, and I also wrote a tie-in short story to go with it called The First Warlock, which is an origin story for one the new villains introduced in Blade of the Elves. This week I finished Dragonskull: Blade of the Elves, started editing, and also finished The First Warlock, and so if editing goes well and all goes well, that should be out sometime in March. I also finished writing Chapter One of Cloak of Shards. That will be my next main project after Dragonskull: Blade of the Elves is published in March. In audiobook news, I am beginning to proof-listen to chapters for Frostborn: The Dragon Knight (as excellently narrated by Brad Wills). So if all goes well, we should be able to listen to Frostborn: The Dragon Knight on audiobook platforms before too much longer.
00:03:22 Reader Question on Services for Physical Book Publishing
Before we get into our main topic, we have one question from a reader this week. Steve asks: who do you typically do your physical publishing through, if I may ask?
I almost always use Kindle Direct Publishing Print. It's generally the easiest and the simplest to use and offers both paperback and hardback now. Other providers like Ingram Spark offer a lot more options and customization options, but Ingram Spark is definitely harder and more complicated to use than Kindle Direct Publishing Print. And it’s also easier to lose money doing that, since you can accidentally set yourself up with a negative return rate, which Amazon doesn't let you do. Draft to Digital has a print service. I've heard good things about it, but I've never actually used it, so I can't attest to it one way or the other. So if you're just starting out with your first book like I believe Steve is, then probably Kindle Direct Publishing Print is your quickest and easiest option for getting your book in paperback and hardback.
00:04:23 Main Topic of the Week: How to Start Your Book and Introduce Conflict
So our main topic this week will be how to start your book and how to introduce your conflict. And of course, there's only one sentence that can start out that topic: “It was a dark and stormy night.” That sentence is perhaps the most cliched opening line in English literature. Of course, the opposite of that is writers who try to make the opening line of their book as shocking and memorable as possible, like for example, something along the lines of “today was the day I died for the seventh time.” If you read websites and Internet groups where writers frequent, you will often see writers agonizing at length about the opening line of their novel. Generally, the agonizing is all unnecessary.
The introduction to your story has three purposes, and if you keep those three functions in mind, it will be much easier to both write the opening mind and the rest of the introduction. First, the introduction should catch the reader's attention. Second, the introduction should introduce the protagonist and the leading characters. Third, it should set the stage for the story’s conflict. Let's go through each of these purposes and then share three methods for getting your story off the ground.
First, catch the reader’s attention. As we mentioned above, the necessity of seizing the reader's attention and of crafting an interesting opening sentence is a source of much angst in various Internet writers’ forums. That said, it's best not to overthink things. The key is to provide just a little mystery, enough to inspire your curiosity and encourage the reader to continue further into the book. The easiest way to be interesting is not to be boring. That's, you know, easy to say, but difficult to do.
There are, alas, numerous boring ways to start a book, and you should avoid them. It is best to avoid descriptions of the weather, like the famous dark and stormy night. Likewise, it is a good idea to avoid starting your book with lengthy descriptions of the scenery or the setting. Writers who are good at writing lovely prose might pull that off. But I'm not one of those writers, and in my opinion, lovely prose is only useful as a vehicle to advance the plot. Like most advice, “don't be boring” is easy to say and harder to do. How do you provide a little mystery in your novel’s introduction? You want to set up a situation where you've inspired just enough curiosity in your reader that they keep reading. The first sentence doesn't have to carry the entire load, but it does help.
“After dropping my children off at daycare, I drove to the gas station, loaded my pistol, and walked inside.” This example of an opening sentence might be a bit overdramatic, but it serves to illustrate the point. The narrator is seemingly a responsible parent, dropping his or her children off at daycare before heading to work. Why, then, is the narrator walking into a gas station with a weapon? For many readers, this will inspire enough curiosity to keep reading.
Here is the opening sentence from my urban fantasy novel, Cloak Games: Thief Trap (which as of this recording is available for free on all book all ebook platforms). “One of the earliest things I remember is watching the entire United States Congress commit suicide on national television.” Readers have emailed to tell me that this is one of the more effective opening sentences that I have written. It is both a bit of a shock and a mystery hook. Why is a small child watching in the government commit suicide on national TV? If the reader wants to find out why, they will have to read on.
Second, introduce the characters. The introduction of the story must also present the main characters to the reader. Obviously, you don't need to introduce all the characters in the book to the reader right away, nor all the details about them. This, in fact, would be a bad idea. The easiest way to introduce any characters in the introduction is to have them engaged in something that reflects their personality and potential conflicts.
For example, consider the novel Dracula by Bram Stoker. The book opens with letters written by Jonathan Harker to his fiancée, Mina Murray. In the letters, we learn that Harker is a new solicitor on his way to Transylvania to conduct a real estate transaction with an eccentric rural nobleman named Count Dracula. This handily introduces the characters of Harker, Mina, and Dracula, and sets up the stakes. Harker wants to establish himself in his profession so he can marry Mina, and he just needs to conclude his business with Dracula. Unfortunately for Harker, Dracula turns out to be far more dangerous than he initially appears. Soon, both Harker and the reader realize that Dracula is in fact an ancient vampire and the book’s conflict begins. Introducing the characters is a good way to segue into setting the stage for the story’s conflict, which we will discuss next.
Third, introducing the conflict. The third and final purpose of the introduction is to introduce the reader to the story’s conflict or antagonist. There are lots of fun and exciting ways to introduce the conflict. And I say fun and exciting because this is often where the story starts getting quite energetic. In a fantasy novel, it might be when the hero's village is attacked by orcs. In a mystery story, it's when someone stumbles across a dead body. In a thriller novel, perhaps the hero finds a sinister terror plot that is already well underway. The conflict can also be introduced more sedately. In an action themed book, it is easy to introduce the conflict via sudden violence, the attack of orcs, or sudden murder. Other kinds of stories may not involve so much physical danger.
The central conflict of most romance novels, for example, is whether or not the heroine and the love interest will get together and whether or not they can overcome the assorted obstacles preventing them from having a relationship. A romance novel might introduce the conflict by having the love interest antagonize the heroine in some way. Perhaps the love interest is a lawyer who represents the heroine’s business rival or the heroine is a local law enforcement official and the love interest is an FBI agent who threatens to take over her case.
Regardless of how the conflict is introduced, the most important part of the conflict is that it must compel the protagonist to take action. If the conflict or the antagonist isn't serious enough to force the protagonist to act, then nothing happens and you don't have a story. It is possible to have the protagonist refuse to engage with the conflict, only to be forced into it later. For example, take a detective story where the main character, a retired cop, refuses to look into an old case. The retired cop's former partner is murdered and the grief over his death drives the protagonist into investigating.
Now that you're familiar with the three roles an introduction needs to fill, let's take a look at three different methods of writing an introduction: a prologue, Bildungsroman/a slow build, or in media res/in the middle of things.
First, a prologue. A prologue is a short preamble before the main story where you introduce the situation and certain facts about the setting to the reader, facts that your protagonist may not discover until later in the novel. The disadvantage of the prologue is that you will probably need to continue the introduction within the main body of the story, since the prologue is usually not enough to introduce the reader to the protagonist and the main conflict in an interesting way. The advantage of a prologue is that you can show the reader vital facts about the story and obtaining those facts might be a central plot point for the main characters.
One of the better examples of a good prologue I've read comes from the mystery novel Field of Prey by John Sanford. The novel revolves around Detective Lucas Davenport's efforts to find a pair of serial killers operating in rural Minnesota. The prologue introduces the two serial killers and shows how they stumble across their preferred method of capturing their victims. In terms of story structure, that means the reader immediately knows who the killers are, even though Davenport and the other detectives do not. The actual plot does not kick off until the first chapter, when a pair of teenagers accidentally discover where the serial killers have been hiding the bodies of their victims. But throughout the book, the reader's advance knowledge from the prologue adds an additional layer of tension to the story, especially when one of the investigators stumbles across the killers without realizing his mortal peril.
Field of Prey had an effective prologue, but I have to admit, a prologue is my least favorite technique for an introduction. In the hands of a capable writer, a prologue works, but I've seen a lot of prologues used to dump information on the reader that the writer couldn't figure out how to reveal in the story or to introduce a character who doesn't turn up until 2/3 of the way through the book. If you do use a prologue, you will likely have to combine it with one of the other two introductory techniques we'll discuss during this podcast.
That leads us to the second technique, Bildungsroman, which I think I pronounced correctly, but if I didn't, my apologies. The term Bildungsroman is a German word that means education novel and refers to a genre of fiction that revolves around the education and development of a young protagonist. Nowadays, in English, we tend to call these kind of books coming of age novels. As you might expect, books like this tend to be quite leisurely, following the protagonist from childhood to adulthood. I found that Bildungsroman is also a useful shorthand to describe a kind of introduction where the story slowly builds to the conflict.
The Lord of the Rings is a good example of a story with a leisurely introduction to the conflict. Frodo doesn't learn that his uncle Bilbo's magic ring is in fact The One Ring until well into the story, and even more time passes before he leaves with the ring to keep it safe. For that matter, the central conflict isn't fully expressed, that the ring must be destroyed and Frodo is the one to do it, until well into the book. It can be tricky to hold the reader's interest during a long and leisurely introduction. A good way to keep the reader's interest is to introduce an element of mystery to a long introduction. In a fantasy novel, the protagonist might have a secret he has to keep from everyone. Perhaps he has magical abilities and is hiding them for fear of persecution, or he’s secretly the heir to a deposed king and the current regime will kill him if they find him.
A Study in Scarlet, the first Sherlock Holmes story, is a good example of a slow introduction, even though the entire book is relatively short. Doctor Watson needs a roommate to help cover his rent, so he moves in with the mysterious Sherlock Holmes. Holmes has many eccentricities, lending an air of mystery to him, and finally Watson learns that Holmes is consulting detective. The actual central conflict of the book (Holmes is brought in to solve a mysterious murder) does not take place until well into the story, but the mystery around Holmes himself helps hold the reader’s interest.
That leads to our third potential technique for starting a story, in media res. Now in media res is a Latin phrase that translates to “into the middle of things” in English and refers to the kind of introduction where you immediately thrust the reader into the plot without much in the way of build up. There are many different methods to do this, and in some ways, it is much easier to write than a slower introduction. In a fantasy novel, for example, the protagonist might wake up to find his village under attack by orcs. In a military science fiction novel, the book could start with the protagonist leading his platoon or squadron into battle against the space bugs. I have to admit, this story trope does seem quite common in military science fiction. A contemporary mystery novel could open with the detective standing over the murder victim and starting the investigation that will be the central conflict of the plot. A legal thriller might open in the middle of a high stakes trial, with the judge issuing a ruling that sets back the protagonist case and forces her to pursue a different strategy.
The strength of starting the plot in media res is that you can immediately hook the reader with an action scene or some other kind of problem. It's easier to draw the reader's attention with a battle scene or some sort of dramatic sequence than it is with a slower introduction. You can then shift to the next phase of story structure and the conflict once you've gotten through the initial introduction. The weakness of starting in media res is that you're probably going to skip a lot of important information for the plot that you'll need to address later.
To return to our previous examples, why are the orcs attacking the protagonist’s village? Or why is the protagonist leading his platoon into battle against the space bugs? The danger is that you might be tempted to engage in massive info dumps later in the book, where characters state obvious things to each other that they already know, like for example, “as you know, Bob, we're both detectives engaged in a murder investigation.” Now people in real life generally do not talk that way, and using infodumps in dialogue or regular prose runs the risk of breaking the story’s air of verisimilitude. The way to avoid info dumps is to use the release of new information as part of driving the plot. As always, the best way to do that is to keep an element of mystery in the story, allowing you to reveal information for maximum dramatic effect.
To return to the example of the mystery novel that opens with the detective standing over the dead body, let's say that after the first few chapters, the detective’s superior threatens to pull him off the case. There could be any number of reasons. Perhaps the detective botched a similar case, or the detective's partner was killed investigating the similar case, and the failure haunts our protagonist to this day or the murder has political implications and the detective superior is feeling pressure from his bosses to bury the case. Revealing this information as a complication in the plot rather than an infodump will improve the story.
In our example of a fantasy novel where the protagonist’s village is attacked by orcs and the villagers are taken captive, perhaps the human kingdom and the orcs have been at war for centuries. Perhaps the orcs were responding to a human attack, or maybe there is a traitor in the human kingdom who is working with the orcs. Either way, it is better for the protagonist to discover this during the plot rather than explaining it all in the introduction. Starting the story in media res is a great way to kick off the book, but it can be a challenge to not let things slacken after that. Retaining an element of mystery and, of course, complications for a protagonist to face, will keep things moving and interesting for the reader. As a final point, it is possible to open your book with a combination of prologue, Bildungsroman, and in media res, though you might want to wait until you have more experience writing novels before trying something complicated. The harsh advice of “keep it simple, stupid” applies to many areas of life and keeping things as simple as possible is often useful for writing novels as well.
So, I hope you have found that helpful and that those techniques will be of use to you as you seek to start writing your own novels and short stories. So that is it for this week. Thank you all for listening to The Pulp Writer Show. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look back at one of 2022's most popular episodes and discuss how to use dialogue to create distinctive characters.
In this week's episode, we offer six tips for working with cover designers to create a great cover for your book.
In this week's episode, I rank the movies and streaming shows I saw in the first half of summer 2024.
In this week's episode, we'll take a look at five tips for creating distinctive character voices and viewpoints within your novel.
In this week's episode, I look at six ways indie authors can effectively work with audiobook narrators to produce great audiobooks.
In this week's episode, we take a look at seven attitude shifts for writers that will make them happier and more productive.
In this week's episode, I take a look at different pricing tiers for selling ebooks, and discuss the pros and cons of each.
In this week's episode, I take a look back at my SILENT ORDER science fiction series, and answer twelve of the most common questions from readers about the books.
In this week's special summer episode, I share samples from four of my audiobooks.
1.) Dragonskull: Sword of the Squire, narrated by Brad Wills.
2.) Ghost in the Serpent, narrated by Hollis McCarthy.
3.) Half-Elven Thief, narrated by Leanne Woodward.
4.) Stealth & Spells Online: Creation, narrated by CJ McAllister.
In this week's episode, we take a look at seven bad ways to open your novel and how to avoid their pitfalls.
In this week's episode, we take a look at seven ebook stores that failed, and what lessons indie authors can learn from them.
This coupon code will get you 25% off the audiobook of DRAGONSKULL: TALONS OF THE SORCERER (as excellently narrated by Brad Wills) at my Payhip store:
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The coupon code is valid through June 4th, 2024. So if you need a new audiobook for spring, we’ve got you covered!
In this week's episode, I look back at the movies I saw in Spring 2024 and rate them from least to most favorite.
To celebrate the arrival of CLOAK OF TITANS, this coupon code will get you 25% off any of the CLOAK MAGE ebooks at my Payhip store:
MAYTITANS
The code is valid through June 3rd, 2024. So if you're looking for a new book to start the summer, we've got you covered!
In this week's episode, I celebrate the 200th episode of The Pulp Writer Show by asking readers which book of mine they read first. The episode also has a preview of the audiobook of GHOST IN THE VEILS as narrated by Hollis McCarthy.
To commemorate the occasion this coupon code will get you 25% off EVERY SINGLE ITEM at my Payhip store:
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That's right, the coupon code will get you 25% off every single ebook or audiobook on my Payhip store, and it's good through May 20th, 2024. So if you're looking for something to read or listen to, we've got you covered!
In this week's episode, we take a look at some ergonomics and health tips for writers and other sedentary workers.
This week's coupon code will get you 50% off the audiobook of DRAGONSKULL: FURY OF THE BARBARIANS (as excellently narrated by Brad Wills) at my Payhip store:
SPRINGFURY
The coupon code is valid through May 25th, 2024. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 199 of The Pulp Writer Show. My name is Jonathan Moeller. Today is May the 3rd 2024 and today we are talking about ergonomics for writers. Before we get to our main topic, we will do Coupon of the Week, an update on current writing projects, and then Question of the Week. First up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Fury of the Barbarians (as excellently narrated by Brad Wills) at my Payhip store. That coupon code is SPRINGFURY. As always, that will be in the show notes with a link to the Payhip store. This coupon code will be valid through May the 25th, 2024, so if you need a new audiobook for spring, we have got you covered.
Next up, updates on my current writing projects. I am almost done with Cloak of Titans. I'm currently at 98,000 words. I am hoping to wrap it up after I finish recording this episode (either this afternoon or tomorrow), and so we are well on track to having the book out before the end of May, if all goes well. I am also 8,000 words into Half-Orc Paladin, which will be the sequel to Wizard-Thief and Half-Elven Thief, and the third book in the Rivah series. That will probably be out towards the end of July because once Cloak of Titans is done, I want to go full speed ahead on Shield of Darkness (the sequel to Shield of Storms from earlier in the year and the second book in the Shield War series). If all goes well, the next couple of books I publish will be Cloak of Titans, Shield of Darkness, and Half-Orc Paladin.
In audiobook news, Brad Wills is recording the anthology of Tales of the Shield Knight for me. We’re about 1/3 of the way through it, I think and making good progress. I'm looking forward to sharing that with you all. I just got the notification that the files for the audiobook of Ghost in the Veils (as excellently narrated by Hollis McCarthy) were uploaded, so just a little more proofing and then that should hopefully be available to you as well. So lots of good things to look forward to.
00:02:07 Question of the Week
Now it's time for Question of the Week, which is designed to inspire interesting discussion of enjoyable topics. This week's question: what is the board game that you've been playing the longest? Board games have many advantages in the modern age. They don't require electricity, they don't need to be charged, and they also have a pleasingly tactile feel that you just don't get from tapping a screen. Sometimes you learn a game when you're a kid and sticks with you ever since. We have some interesting answers this week.
Our first answer is from Jesse, who says: I have to say Labyrinth. Played it as a kid a lot with siblings. A year or two ago, my kids got it randomly from a relative, and now it's back. The real precursor to Mario Kart in terms of learning to hate your friends and discovering life is unfair.
For myself, I only started playing Mario Kart with my siblings when I was already well into middle age, so we thankfully avoided squabbling over that. If we had played Mario Kart when we were kids, we definitely would have squabbled. Back to Question of the Week.
Michael says: I don't really play them anymore, alas. I played chess in school but only so I didn't have to do physical education class. I used to look at the board and immediately resign and then just sit and read a book instead until the teacher wandered over. It used to annoy my opponents who took the game seriously.
So congratulations to Michael for devising a chess stratagem that did, in fact get him what he wanted.
MacKenzie says: hands down, chess. I may be awful at it, but it's definitely the record holder.
Mark says: checkers, because my mum is good at it.
Adelaide says: Scrabble for me.
Venus says: backgammon. My mother taught me to play. I don't know how old I was. She never let me win. Every time I beat her it was because I had a better game that day.
David says it's probably Shoots and Ladders, followed closely by checkers.
Grace says: I no longer play the same board games I did as a kid so the ones that I play now with friends. I've played I think Arkham Horror and Quacks of Quedlinburg the most. Both are fun, though Arkham Horror, we've won all of two times.
For myself, I think the board game I've been playing the longest is chess. I first learned to play when I think was I was ten and I've been playing on and off ever since. Amusingly for a post about tactile board games, I recently discovered chess.com and I like its large supply of chess puzzles, which are kind of like bite sized chess when I don't have time to play a full game, which is most of the time. However, last night I did have a bit more time to play and so I was able to play six games against actual human opponents on chess.com in about 40 minutes and I lost six times in a row. So it's a good thing I enjoy the game because there's definitely room for improvement.
00:04:45 Main Topic: Ergonomics for Writers
Now on to this week's main topic, ergonomics for writers. And let's start this with a disclaimer. I am not a health professional. I am not a doctor. I'm not a nurse. I'm not an ergonomics specialist. For medical questions, you should seek medical advice and verify anything I say with the opinion of actual medical professionals. When starting a new movement or exercise routine, it's a good idea to start gradually, both for reasons of health and to prevent burnout or getting overwhelmed. So that is your disclaimer. I am not a medical professional.
But I don't think you have to be a medical professional to notice that desk jobs have a serious problem, and that includes writing. If you're sitting for a long period of time, that can cause a host of health problems, including cardiovascular disease, obesity, potentially diabetes, etc. Sitting for long periods reduces your energy levels and can be detrimental to your mental health. Sitting for long periods in the wrong position can make joint, wrist, and back problems worse and cause pain. As an example, back in the old days when I did IT support, I was talking to a coworker who said that he was having back problems and so I made, you know, sympathetic noises and told him I hope he felt better. Then about an hour later I was walking down the hall and I happened to walk past his desk and I saw that he was using his laptop by sitting at the very edge of his chair, and his back was bent at like 45° angle to type on the keyboard. And I was like dude, this explains your back problems. So thankfully he improved his posture a bit after that.
If you do have a job such as being a writer where you are sitting for long periods of time, how can you sit in the most healthy way? Changing how you sit is a relatively quick thing to do that will reap long term rewards in terms of potentially avoiding back pain, shoulder pain, neck pain and so forth. Make sure that your chair and desk are set in the correct positions. There are lot of diagrams available to show you, that demonstrate how to have an ergonomic desk set up. You want your elbows to be at a 90° angle. You want your wrist to be neutral or supported. You don’t want them to be bent like T Rex hands. Your back and neck should not be leaning forward. The top of the monitor should be around eye level for neck health and in fact I have my main desktop monitor on this monitor stand I got off Amazon Basics just for the purpose of raising it to proper eye level.
You want your knees so your legs are not pulled underneath your chair or resting on your chair casters, since this stresses knee joints. If your legs aren’t long enough to go comfortably to a flat position when sitting normally, footrests work well and aren't very expensive or a large book will work, too. For your eye health, you want to look away from your monitor occasionally to reduce eye strain.
Another good solution for the health problems that sitting too much causes is moving. You can have walking breaks where you get up and move for at least a minute every hour. This is an excellent time to get some water to drink or to use the bathroom. Fitness and smart watches or a cheap kitchen timer can be used to remind you to get up or stand. It might be a good idea to pace while taking a phone call, since you're going to be on the phone anyway and if it's not a video call, there's no reason not to stand up and walk around a little bit, so long as you're not irritating your officemates.
Sometimes it's a good idea to take a brief walk daily. Some people who work from home use a walk around the block at the beginning of the day and the end of the day to mentally transition away from the workday in the absence of a work commute. Some people have the kind of work where they can do it while on a walking pad (like a low power treadmill) and an adjustable standing desk combination. This setup is a bit more expensive and can cost about like $350 USD for a basic setup and just like standing desks, they don't work for everyone. If you already have a treadmill, you can get a desk attachment for it for around sixty U.S. dollars.
The transcriptionist of this podcast has used a walking pad/standing desk combination for about six months now and finds that it helps with afternoon energy crashes. She usually uses it for webinars, Zoom meetings where she don't need to be on camera, and tasks that involve more reading than typing, such as research for these podcast episodes. She can type while she walks, so long as she keeps her pace to under about two mph. She says the key is to think of walking as a supplement to working and not expect it to be the same as walking on a treadmill at the gym.
For myself, I've mentioned before that pretty frequently that I use the Pomodoro technique while I’m writing where I'll write intensely for 25 minutes and then take a 5 or 10 minute break. That's also an excellent time to stand up and move around or if you’re me, drop and do some push-ups to help keep carpal tunnel syndrome at bay.
Another potential thing to think about is strength training/mobility. People tend to be scared of strength training because they're afraid of injuring themselves, but they really shouldn't be so long as they, you know, do the forms correctly. Strength training, as the name implies, strengthens muscles that support your joints and becomes even more important as we get older, since the human body tends to lose muscle mass as we get older.
As little as two sessions of strength training a week have been shown to lead to fewer injuries and greater longevity. Strength training is important in the sedentary job like writing since we don't have tasks to build muscles already built into the workday. Writing is a lot of things, but it's not particularly great for building physical strength. Having a consistent strength routine also means that your body can instantly adapt to challenges like shoveling heavy snow or helping to carry a person in an emergency or getting the bag into the overhead bin on the plane without having to ask for help. As people get older, that kind of thing gets harder to do otherwise. In the case of shoveling, it can put a lot of strain on your heart, so it's best to prepare for these kind of life challenges with consistent strength training.
There's a lot of strength training that doesn't require a lot of money or a gym membership. Body weight and resistance band strength training are beginner friendly and free or inexpensive. And as I mentioned earlier, you can totally do push-ups for free with no equipment. Another potential strength training exercise that may work for you is resistance band training. That's great for those who travel often or live in a very small space, such as a typical modern urban apartment. Latex or cloth bands that provide resistance for body weight movements can be found quite cheaply on most major retailers. Some are in the shape of a loop, while others have attached handles. Resistance band training includes exercises for those who are unable to stand at all or for long periods of time.
Another good technique is dumbbell only strength training. Dumbbells can actually be used for lower body exercises like squats as well as well as upper body exercises. They are relatively inexpensive compared to a full barbell or strength machines and they don't take up a lot of space, which again is useful if you're living in a small space or place where space is constrained. Sample routines with video demonstrations abound on YouTube, if you’re not sure where to start. Otherwise, you can find online training programs from companies like Street Parking or CrossFit Linchpin for about $20.00 USD per month, and they have structured training routines that have been scaled down to work with just dumbbells.
Sitting correctly and moving often sounds like things that shouldn't matter to someone in a job that relies on the mind but physical health and a strong mind are strongly intertwined. People in intellectual jobs, I've noticed, tend to think of themselves as a mind that happens to have a body attached, especially people who are very often heavily into the sciences and engineering. But it's really, I found, the opposite. We are essentially a physical body that happens to have a mind attached to it and the better shape you can get your physical body and physical health into, the clearer your mind will be. I mean, just think about how hard it is to think clearly when you have chronic pain or chronic illness or some kind of medication you have to take to manage those things that interferes with your thinking, gives you cloudy thoughts.
Truth is, this has been known for centuries and still confirmed by endless research studies. The Romans had a Latin phrase, “mens sana in corpore sano”: a healthy mind in a healthy body. That sums up how interconnected the goal of both are. Ideally, when you're a writer, you want to prolong your career and increase your energy levels by spending at least a small time each week moving and strengthening the body. Sitting correctly also goes a long way towards preventing back and joint pain, which can definitely hurt your productivity and cause problems in other areas of your life as well.
Finally, the most important thing with any exercise program is consistency is more important than perfection here. Start small and keep going. I've often said in this podcast, don't let the perfect be the enemy of the possible, and this is definitely true with exercise as well as writing.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. Once again, a word of thanks for my transcriptionist for helping me pull together the research for this episode. As you might have guessed, she has a strong interest in physical fitness for people who sit at a desk and work a lot. A reminder you that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at seven popular movies about writing & writers and take a look at what they got wrong.
This coupon code will get you 50% off the audiobook of DRAGONSKULL: CURSE OF THE ORCS (as excellently narrated by Brad Wills) at my Payhip store:
SPRINGORCS
The coupon code is valid through May 20th, 2024. So if you need a new audiobook for spring, we’ve got you covered!
In this week's episode, we take a look at direct selling for indie authors, and compare the pros and cons of Payhip and Shopify as platforms for selling direct.
This week's coupon code will get you 50% off the audiobook of DRAGONSKULL: BLADE OF THE ELVES (as excellently narrated by Brad Wills) at my Payhip store:
00:00:00 Introduction, Writing Updates, and a Reader Question
Hello, everyone. Welcome to Episode 197 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April the 19th, 2024, and today we are talking about the pros and cons of Payhip and Shopify for direct sales by authors. Before we do that, we will do Coupon of the Week and some updates on my current writing projects. I have some questions from readers and will discuss what I did to celebrate publishing my 150th book.
First up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Dragonskull: Blade of the Elves (as excellently narrated by Brad Wills) at my Payhip store. That coupon code is SPRINGELVES, spelled SPRINGELVES. As always, the link and the coupon code will be in the show notes for this episode. This coupon code is valid through May the 14th, 2024, so if you need a new audiobook for spring, we have got you covered.
Now let's have a look at my current writing and audiobook projects. Wizard-Thief, as I mentioned in last week's episode, is done and is out on Amazon and Kindle Unlimited and is selling quite strongly. Thank you very much for that. Now that it is out, my main project is Cloak of Titans, the 11th book in the Cloak Mage series. As of this recording, I am about 34,000 words into it, which puts me on Chapter 7 of 24. I think the final book length will end up being about the length of Cloak of Embers, which was about 110,000 words. Once Cloak of Titans is finished, my next project will be Shield of Darkness, so I will finally be getting to the second book in the Shield War series, which will be a follow up to Shield of Storms from back in January.
If all goes well, I think Cloak of Titans will be out in the second half of May, maybe towards the start of June. I'm hoping to have Shield of Darkness out shortly after that, probably towards the end of June. I have also started working on the sequel to Wizard Thief, which is Half-Orc Paladin. That will come out after Shield of Darkness is done, hopefully not too long after Shield of Darkness is done. So that will probably be around the middle of July or so. So that is what I'm working on for books for the next couple of months.
In audiobook news, recording is underway for Ghosts in the Veils. That will once again be recorded by Hollis McCarthy. I have Brad Wills working on the Tales of the Shield Knight anthology, which once it’s in audiobook, I’m going to sell it as a bundle on Audible and Amazon and all the other usual audiobook stores. I will also be giving away short stories individually for free from that collection in my newsletter, so that is once again a very good reason to sign up for my new release newsletter. Leanne Woodward has agreed to narrate the second book in the Half-Elven Thief series, Wizard Thief. If all goes well, that will probably happen in June. And also in June, CJ McAllister will be narrating the second book of the Stealth and Spells Online Series, formerly known as Sevenfold Sword Online. So that is where I'm at with my current writing projects.
Now we have one question from a reader that is not connected with our other segments. It's from Robert who asks about the Half-Elven Thief series: is this series available in paperback? I'm pleased to say that yes, it is. Both Half-Elven Thief and Wizard-Thief are available in trade paperback. Probably the cheapest place to get them is on Amazon, but I have expanded distribution for them so you should be able to buy it online from a variety of other stores.
00:03:43 Celebrating Book #150
As I mentioned previously on the show, Ghost in the Veils was my 150th book. Thank you for reading, everyone. Quite a few people asked how I wanted to celebrate, the implication being that I wanted to take a trip or something like a cruise, that sort of thing. However, with all respect to the cruise industry, if I wanted to catch norovirus, I could do it much closer to home for far less expense. However, I have established a precedent for celebrating major book milestones like this. Way back in 2019, Dragontiarna: Knights was my 100th book and to celebrate that milestone, I got a Nintendo Switch, which was the first dedicated video game console I had used since 1998 or so. Given that six months later COVID started, that turned out to be a wise purchase because suddenly I had a lot more time for video games. I got to beat a bunch of games I never had time to finish otherwise back in the ‘90s, like Super Mario Brothers, Super Mario Brothers 3, the original Castlevania trilogy for NES, the Super Nintendo Castlevania games, Super Metroid, and I finally finished Skyrim. It wasn't all a retro nostalgia trip because I did finish a few newer games on it as well, like Metroid Dread and Bloodstained: Ritual of the Night.
I recently had one of those numerically significant birthdays that are divisible by a large number, so I commemorated that occasion by getting an Xbox. It is a fine game console, but the problem with the Xbox was unlike the Switch, using the Xbox monopolizes the television. I finished the original Halo trilogy on Xbox and Skyrim again, but the whole Xbox monopolizes the television thing was kind of a difficulty for finding time to play it. But then a new device came to my attention: portable monitors. Obviously, most monitors are portable depending on size, but this new sort of monitor is basically a laptop LCD panel with a kickstand. It runs off a USB-C connection for power and you can connect a device to it with a USB-C or mini HDMI. Overall, these portable monitors tend to weigh about as much as an iPad in a case. They were basically intended for business travelers, since they fit easily into a laptop bag and then you can have a dual monitor set up with your laptop while you're on the road.
However, it also connects just fine to an Xbox. If you can hold a laptop comfortably in your lap, then a portable monitor is about one third of that total weight. I moved my Xbox over next to the couch, connected it to a portable monitor, and have been using the Xbox that way. It is really quite exceedingly comfortable.
Since I've beaten Skyrim a couple of times now, I need to decide on a new long-term game, which is why Question of the Week will be what it is shortly. So the “too long; didn't listen” version was celebrated my 150th book with a sub-100 dollar portable monitor off Amazon. It's really quite enjoyable and thank you for coming along for all 150 books.
00:06:35 Question of the Week
It quite naturally segues into our Question of the Week. This week's question: what Xbox Game should I play next? No wrong answers, obviously. The reason I asked this particular question is because I keep defaulting to Skyrim or Halo when I play an Xbox game and would like to try something different. My leading candidates so far are Starfield, Witcher 3, and Dragon's Dogma 1. As you might have expected, this inspired many comments.
LG says: I'm glad to hear you’re an Xbox player, too. I like to separate my work/study computer from my gaming space, so having the controller plus TV in another room works well for me. Revenant 2 is my new favorite game. It jumped forward in my “to play” list when Halo Infinite's campaign wasn't personally feeling right. This game has got fantastic narratives, brilliant variety, exciting exploration, and frequent boss fights, it’s souls-like but forgiving, the level/combat/gear systems are great, and there's a totally viable offline/single player mode.
Justin says: We are a Nintendo family. Not quite 30 years ago, the PlayStation came out. Amid whining, I had the kids vote on what platform we would stick with. There is no way our entertainment budget could handle more than one. The most complaints have been missing out on the Metal Gear franchise, so that's my vote.
Malcolm says 150 books. What an amazing feat. Congratulations. I feel like I've been on the journey with you, having read every book you have written and every series. I particularly enjoyed any book with Ridmark and Calliande and like Dragonskull, the next generation of Arbans. I also thoroughly enjoyed all the Demonsouled books, wasn't so keen on the Cloak and Ghost crossovers, but still a good read. Whatever you do, enjoy this landmark. Have fun. To answer the question, I do not usually play video games, but one that did catch my attention and play through all of them is the Dragon Age games.
MacKenzie suggests Red Dead Redemption. The graphics hold up remarkably well. It's astoundingly clear for a Rockstar game and has an amazingly authentic feel to it. I'm not even a huge Western fan, but there's something extremely relaxing about riding out of town into the desert to hunt varmints.
I think that is probably why so many people will go hunting in real life.
Michael says: Starfield is a great game, but no modding yet on Xbox.
Perry says: I haven't owned a console in over a decade, nor have I played any of those games, but my preference would be for Witcher 3.
James says: How does Baldur’s Gate 3 not make the list? Best game I've played maybe ever.
David says: Fallout 4 was fun.
Mark says Witcher. Starfield, I found to be slow to start with. I play Skyrim over and over again. I kind of do that as well. You can always mod Skyrim if you have the anniversary edition and haven't already.
Robb says any car racing game.
Juana says Witcher 3. Martin says Witcher 3. Becca says Witcher 3. So there are many votes there for Witcher 3.
William says Hogwarts Legacy.
Jake says: I honestly can't recommend any games, no matter what platform they come in. Xbox, PlayStation, Atari…just not worth it anymore. So I'd skip the games and write a book, maybe continuation of the Silent Order series. That's my vote. Thank you for that advice, Jake, I suspect it might be a little self-interested, but I appreciate that.
Next one is from Michael, who says next Xbox game is called: buy a PlayStation.
Barton says: only played Witcher 3 out of those, but it was engrossing.
Bobby says Starfield and Hogwarts Legacy are both enjoyable as well as Jedi Survivor.
And finally, Jim says: Child of the Ghost. Wait…not a game….yet.
Thank you everyone, for all the suggestions. I think what I'm actually going to do is I'm going to try Starfield because that comes with Game Pass and I have Game Pass already. If I don't like that, I will I probably start Witcher 3 because I got that one was on super sale like last year for something like 10 bucks and so it's been sitting in my account and I haven't played it. But if I try Starfield and don't like it, I will switch over to Witcher 3. If I don't like Witcher 3, maybe it'll be time for Baldur’s Gate 3.
00:10:40 Main Topic: Shopify vs. Payhip for Direct Sales for Writers
But as much as I enjoy video games, I enjoy writing more and this is not a video game podcast. This is The Pulp Writer Show, so I think we should segue over into talking about an actual writing topic. This week's topic is comparing Shopify and Payhip for direct sales or as a direct sales platform for indie authors. And before we dig in, I should have a disclaimer. As you may know from my frequent mention of it on this show, I use Payhip quite a bit and that's how I do my direct sales. That said, I am not sponsored by Payhip. I don't get any stuff from this, whether financial benefits or an affiliate program, that kind of thing. I haven't used Shopify, but we did look into it quite a bit for the show and any opinion I express on this podcast is my own and not influenced by either Shopify or Payhip in any way.
All right with that out of the way, let's dig into the topic. First off, why do direct sales? We should probably define that first. Direct sales is when an indie author sells a book using an ecommerce platform like Payhip or Shopify or Gum Road or a bunch of others without going through one of the big stores like Amazon or Apple or Google Play. So why do this? You get a greater cut of the profit than through ebook stores, whereas on a platform like Amazon, you max out at 70% of the sale price is what you get as the author. On direct sales platforms, you can potentially get nearly everything minus credit card fees and platform fees, which is higher than any of the other stores offer. You get paid faster. If you make a direct sale from the author, the author gets the money almost instantaneously, depending on their payment setup.
Freedom/control. This is the big one. There is a lot of freedom in doing your own direct sales. It is a lot of work, but then like all forms of freedom, it is often quite worth it. It's much easier to run sales or issue coupon codes, as you know if you listen to the show regularly. Every week I give out a different coupon code for a discount on my Payhip store. It's also very good for people who want to sell online courses or memberships, which is not something I'm interested in doing. People who are interested in doing that usually need to employ an online sales platform such as Shopify or Payhip rather than trying to sell it on something like Amazon or eBay.
There are a couple of things to note about trying direct sales. There is quite a bit of learning curve since you have to set up the store yourself and that involves a lot of clicking and uploading and so forth. You also need to learn about things about like Value Added Tax, shipping, file delivery services, etcetera. And if you are selling in the United States, you also have to be careful you comply with whatever these sales tax laws are for your jurisdiction or for where you're selling in the United States.
Direct sales don't count towards ranking on other platforms, if that's something that's important to you, if you want your book to be a number one category bestseller on Amazon, direct sales will not help with that. It does take a bit of time to set up and maintain, and it also takes time for readers to get used to it and will not likely be a large portion of your sales, especially at first, since users tend to stick to the platform where they already have built up a library. This is one of the reasons why the Steam game platform is so dominant, because it's been around for a long time and a lot of the users have very big Steam libraries, so they're not super keen on jumping to a different distributor.
Readers will need a carrot not a stick to get them to try a new platform, which is one of the reasons why I do those coupon codes all the time. So now to the actual nitty gritty of Payhip versus Shopify. We can sum it up quite neatly by saying it this way: Payhip is primarily designed for digital products. Shopify is primarily designed for physical products, but both are capable of selling either physical or digital products. Shopify allows for greater analytics and customization, while Payhip has a great basic service that keeps the costs low.
So in terms of pricing, which costs more? Payhip pricing has three tiers. There is the free tier, which you pay obviously $0 per month and then Payhip takes 5% of each transaction. There is the middle tier, where you pay $29 USD per month and Payhip takes 2% of the transaction. Then there is the top, most expensive tier, which costs $99 USD per month and Payhip takes 0% of the transaction fee. Obviously, you would only consider that tier if you were making more than $1,200 USD a year in direct sales.
Shopify does not have a free tier. At the basic tier, it costs $39 USD per month and Shopify takes 2.9% + $0.30 USD per transaction. At $105 USD per month, Shopify takes 2.6% + $0.30 USD per transaction. At $399 USD per month, Shopify takes 2.4% + $0.30 USD per transaction. We can see that with Shopify, you are already going to be paying more out the door. If you're just starting with direct sales, it might make more sense to start with the free tier on Payhip and then look at more costly options on either service as your needs grow and if you need the additional, more expensive features.
So let's look at the pros on Payhip. The biggest pro on Payhip is low bar to entry in both terms of cost and in terms of technology needed to create a basic storefront. I've been doing direct sales on Payhip since 2021, and it's a very simple platform to use. There's a little bit of a learning curve, but it's not a huge one compared to something like WordPress or Adobe Photoshop. As we mentioned, the lowest tier plan is free but with a 5% cut of sales. The Pro plan, the top tier that we mentioned earlier, is $99 USD but then there are no transaction fees. It can handle UK/EU Value Added Tax automatically unlike Shopify because Payhip is based out of the UK, so that is built into their platform.
Payhip also has some handy features that Shopify doesn't or that Shopify doesn't offer without like a plug-in app, that kind of thing that Shopify offers: settings for selling online courses, memberships, affiliate marketing, and a referral system. When I have had to contact Payhip about some sort of tech issue, I've always found their customer support to be very fast and responsive. As I mentioned before, I'm not being paid to say that. That is just my own personal experience.
The pros for Shopify are basically for more advanced users, I think. $29 USD a month for the lowest pricing plan and then plus a cut and plus a transaction fee, that can add up if you have a lot of transactions. I think Shopify is really aimed more toward more advanced users than someone starting out with the basic ebook store on Payhip. However, to be fair, you do get a lot of stuff for that money. Shopify has an advanced website builder feature with more customization options on the pages. It has much more advanced SEO and analytics tools than anything Payhip offers. It is very useful if you're selling physical products. It also offers features to support delivery of physical items, such as customized shopping options based on location. More third-party apps or third-party payment options are available through Shopify (for example, Amazon Pay or Apple Pay). Shopify does offer a lot of customization and it does have a pretty good app store, where if there's a feature that Shopify doesn't have, there's a pretty good chance you can find one of the apps in their store that will sort of offer bolt on functionality for the new feature that you are looking for.
So, in conclusion, if you want to do direct sales as an indie author, should you use Payhip or should you use Shopify? And as so often in these cases there is no right answer, there is merely the tool that is best suited for your needs as an indie author and a small businessperson. If you want to be able to heavily customize the site, Shopify offers more options for that than Payhip. If you are primarily selling digital products like I am, then Payhip offers better value, because you can just go with the free tier and still make more money than you would selling for the same price off Amazon. Since I don't really at this time have any interest in selling physical products online, Payhip it is. That said, if you do want to sell printed books or your own merchandise direct, then Shopify is the way to go. But if you don't have any of that kind of stuff and you still want to keep your shop costs low, then Payhip is probably the better option for you since you can use their free tier. So that is a look at Shopify versus Payhip and if you are thinking about direct selling as an indie author, I hope you have found that helpful.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful and a word of thanks to my transcriptionist for helping me to pull together all the research for this episode. A reminder that you can listen to all back episodes of the show on https://thepulpwritershow.com. If you enjoy the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
SPRINGELVES
The coupon code is valid through May 14th, 2024. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
In this week's episode, I answer a reader's question about whether or not I will use KDP's new Virtual Voice program to create AI-narrated audiobooks.
This coupon code will get you 50% off the audiobook of DRAGONSKULL: SHIELD OF THE KNIGHT (as excellently narrated by Brad Wills) at my Payhip store:
SPRINGSHIELD
The coupon code is valid through April 30th, 2024. So if you need a new audiobook for spring, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Update
Hello, everyone. Welcome to Episode 196 of the Pulp Writer Show. My name is Jonathan Moeller. Today is April the 12th, 2024 and today we are talking about whether or not I will use Amazon Virtual Voice to produce audiobooks. Before we get to our main topics, we will have Coupon of the Week, some writing updates, and then a few random questions from readers. First up, let's do Coupon of the Week. This episode will go live on Tax Day in the US, so let's have a discount on an audiobook. This week's coupon code will get you 50% off the audiobook of Dragonskull: Shield of the Knight, as excellently narrated by Brad Wills, at my Payhip store. That code is SPRINGSHIELD and that is SPRINGSHIELD again and that of course will be available in the show notes. This coupon code is valid through April 30th, 2024, so you need a new audiobook for spring, we have got you covered.
Now let's have some updates on my current writing projects. I am very nearly almost done with Wizard-Thief. I'm hoping to finish up edits shortly and actually publish it on either April the 15th or April the 16th. So when this episode goes out, I may be publishing it literally as you are listening to this. This book, like Half-Elven Thief, will be available on Amazon and Kindle Unlimited.
Next up, my next main project after Wizard-Thief is published, is going to be Cloak of Titans, the 11th book in the Cloak Mage series. It's not the end of the series; I'm planning that there's probably going to be about 15 books with four more after this one. But we are going to be blowing up a lot of the subplots in this book. So while this is not the end of the series, it will definitely have the feel like the end of a lot of plot arcs. I'm 22,000 words into it, and if all goes well, I'm hoping it will be out sometime toward the end of May and will be available on Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and Payhip.
In audiobook news, recording is underway for Ghosts in the Veils and if all goes well, that should be out sometime toward the end of May. So those are the updates on my current writing projects.
00:02:09 Reader Questions and Comments/Question of the Week
Before we get to the Question of the Week, let's have a couple of unrelated questions from readers. Cameron wrote in to ask: I'm just interested in knowing how the name Calliande came about and does it have any meaning? I originally thought up the name Calliande because I wanted a unique and distinctive sounding name for the character, and so I was looking at various French and Welsh names that started with C and were about that length. I was rearranging the letters and swapping the vowels out and I came across that name and I thought, you know, that works, we're going with that.
Amusingly, when I first wrote Frostborn, in my head it was pronounced Callian-DAY. But then when I did the first couple of Frostborn audiobooks from Podium way back at the end of the 2010s, Steven Crossley, the narrator pronounced it Calli-AND and ever since then, because that's where the direction he went, the official pronunciation has been Calliande and that's been the way it's been pronounced in all subsequent audio appearances of that character.
Our next question is from Scott, who asks about a screenshot of the PC game Pillars of Eternity I posted on Facebook the other day. Scott says: that's on my Steam Wish List, but I haven't gotten to it yet. What do you think of it? I like it. I am enjoying it. I've had it since 2014, but I've decided the time has finally come to buckle down and finish it. If you played the original Baldur’s Gate back in the ‘90s or Knights of the Old Republic or Icewind Dale or Planescape: Torment back in the ‘90s, then you will enjoy Pillars of Eternity. It's definitely worth playing. It's also an old enough game now that should work on most systems, and if you have Xbox Game Pass, the game’s owned by Microsoft now, so you have Xbox Game Pass so you can play it as part of your subscription on your Xbox.
Now it's time for Question of the Week, which we ask to have interesting discussions and maybe find out some good suggestions for things we might not have thought of otherwise. And so this week's question: if you listen to podcasts, what podcasts do you listen to most frequently? No wrong answers, obviously.
MacKenzie says I have four podcasts on consistent subscription: The Art of Manliness, The Black Pants Legion, A Delta Green actual play podcast (content warning for very dark humor), and of course The Pulp Writer Show. Thanks, MacKenzie.
Maaike says: currently just one, Kick in the Creatives posted by Sarah Busby and Tara Roskell. Through them I discovered a few more, but I haven't really found the time to really listen to them just yet. I don't know whether I can write or not, but I do know I can draw and paint, so that's what I'm focusing on. Thinking of doing NaNoWriMo though to see how my writing is. It's definitely worth trying NaNoWriMo just for once for the experience so you can see how you enjoy it or not.
Michael says only two regularly, The Pulp Writer Show (thanks, Michael!) and the Legend of the Bones, which is an epic, gritty D&D solo play narrative where the dice rule.
Perry says The Pulp Writer Show (not sure if you've heard of it) and The Self-Publishing Show (currently on episode 33 of 400 plus).
Anne Marie says Cabinet of Curiosities by Aaron Mahnke.
Jesse says: mostly Critical Role.
Justin says: I didn't start listening to podcasts until I went full time with my current job in 2021. I listen to a bunch now, but most of my regular listens are The Glass Cannon Network, What Culture Wrestling, What Culture Gaming, and Adeptus Ridiculous.
It's interesting how I actually haven't heard of most of these podcasts, which I guess goes to show how diverse and widespread the podcast ecosystem is, where if you have a podcast that can be very famous in a specific niche, it might be like THE podcast in that niche, but anyone who's not familiar with that particular subject of interest may have never heard of the podcast.
For myself, I did not really start listening to podcasts until 2019, which is when I started listening to some of the self-publishing ones. In the past few years. I have also discovered retro video game podcasts. In that time, I've mostly listened to The Sell More Books Show and the Remember The Game podcast about retro video games, which is quite funny (but it does have some foul language, so if you check that out, be aware of it).
00:06:40 Main Topic: Amazon Virtual Voice Audiobooks
Now on to our main topic of the week: Amazon Virtual Voice audiobooks. This was prompted by a question from Reader PML, who wrote in to ask: several of my favorite authors have opted to use AI Virtual Voice to release some of their older titles in audio format. I emailed you a while back hoping for more audio releases for Caina and Nadia. You indicated that audio publishing is expensive and you preferred to release the titles that were not short in length. I totally understand, but I wondered if you have considered releasing your back titles using Virtual Voice. The performance is not bad and I would really enjoy listening to all the books featuring Caina and Nadia. I don't know what the pricing scale is, but it's probably quite a bit less than a live reader. So thank you, PML for that question and for listening to all those audiobooks.
If you are not familiar with the term, Virtual Voice is Amazon's new program for creating AI narrated audiobooks. Will I be using Virtual Voice to turn some of my older titles to audiobooks? No. Why? So there's three levels to my answer here. One, is it ethical to use AI for audiobook narration? Two, is AI narration good enough for audiobook narration? Three, does this help visually impaired listeners? I should mention that I have in fact experimented quite a bit with AI narrated audiobooks. Part of the reason I did this was because I wanted to understand the technology so I had an informed opinion about it.
Google Play beat Amazon to the punch about two years ago, and I experimented with turning the Silent Order series into audiobooks with their technology, since I don't think the Silent Order series sells well enough to support audiobooks. After that experiment, I didn't think the AI generated audiobooks were good enough to sell in good conscience and just because you're selling something doesn't mean anyone will buy it. More on that to come. So instead, I put those AI narrated audiobooks on YouTube for free. That said, I did turn on AdSense for the audiobooks, so I made a satisfactory, if small bit of money from YouTube ads in 2023.
Overall, the response from people who listen to those audiobooks seemed to be that they loved the story (thanks, everyone!), but they hated the artificial voice. Like if they had actually paid for it instead of listening to it for free on YouTube, I could just imagine the complaints. I think a lot of the authors who create Virtual Voice audiobooks and audiobooks using similar products from Google Play or other companies will be disappointed by the response they get for those audiobooks. Like I've said before, audiobooks are basically self-publishing on hard mode. But if you're coming to the market with an AI generated audiobook, it will be even harder to sell than one voiced by a human who knows what he or she is doing.
So with that sort of background in mind, let's go on to the details for the answer to my question. One: is it ethical to use AI for audiobook narration? Ethics in AI is a bottomless quagmire of an Internet discussion. Overall, in my personal opinion, I think AI technology creates vastly more problems than it solves and is really nothing more than a very fancy autocomplete. I also suspect there's a bit of a speculative bubble to AI technology like there was with cryptocurrency and NFTs. For a while, all the Galaxy Brain influencer people thought crypto and NFTs were the future, and then the bubble burst and a significant portion of everything connected to crypto and NFTs turned out to be a big old scam and all the Galaxy Brains migrated over to touting AI. I suspect a lot of the AI technology rushed out now has the same speculative bubble effect and when the bubble bursts, some companies are going to be out billions since they spent all that money building infinite crap generators.
A lot of people are rushing to shove AI into stuff because it's trendy and not because it's useful, like how (this is a 100% true story), the Washington State Lottery decided for whatever reason to put an AI image generator on its site, which it had to pull down hastily when that image generator started creating deepfake nude images of its users. It is also amusing how some of the really pro-AI Galaxy Brains like to say that the US needs to develop AI or else the Chinese will get it first, as if having an infinite crap generator to make deepfake nudes will somehow determine geopolitical dominance in the 21st century. But all that said, I don't think AI is going to go away. The US courts seem (so far at least) consistent in their opinion that AI is in plagiarism but isn't copyrightable, and there's a wide range of useful activity in the not copyrightable but not plagiarism space. This might change if something gets all the way up to the Supreme Court or if Congress passes some legislation on that or the EU puts out new regulations that the companies have to follow because the EU is such a big part of their market. But for now, that seems to be the position.
AI can do useful things that crypto and NFTs can't. Like for example, suppose you're applying to 40 different jobs and you can use ChatGPT or Microsoft Copilot to crank out 40 different customized cover letters for your job applications. Given how messed up the job market is at the moment, I could hardly blame someone for doing that. And you see examples of people using generative AI not to create artwork, but to handle data processing type chores (like the cover letters) in clever ways that don't seem to cross any moral or ethical boundaries. So I suspect everyone will have to examine their own consciences and decide where their own line is for generative AI.
For me, I decided I'm not going to sell anything that I didn't make myself, or in the case of an audiobook, was made by a human I hired. If I'm selling something, it was 100% written by Jonathan Moeller or 100% narrated by a human I hired, and the cover image doesn't include any AI generated art elements. This is also true of books and stories I give away for free, like my permafree series starters. That's where I've decided my line is going to be with AI usage.
I have used AI images for Facebook ads, since ads are low resolution anyway and you often have to change out the image every week or so. Ad images are essentially disposable, and I've heard people say AI art is also disposable, so why not use the disposable products of AI art for ad images?
Number two, is AI narration good enough for audiobook narration? All of my criticisms of AI aside, AI voice or Virtual Voice isn't a new technology. It's just improved text to speech synthesis technology and text to speech has been around since the late 1960s. The AI part just makes the synthetic voice sound closer to an actual human voice than the more obviously artificial tones of older technology. It's also pretty good at imitating the real human voice by now, which is why you can go on YouTube and see comedy videos of President Biden trying to make his way through Skyrim or something. Is this AI narration good enough to support creating a paid audiobook? Well, kind of, sorta. It's good enough now that it creates a near perfect imitation of a human voice.
The trouble is that the voice is so perfect that it triggers the uncanny valley effect, which is when you encounter something that almost seems human but isn't. It's also really bad at emotion. The best narrators make it sound like they're telling a story, and that means varying the emotion of the voice at appropriate times, even if you're not trying to create a distinctive voice for each character. Text to speech simply isn't very good at that. That's part of the reason I won't use Virtual Voice. I don't feel the end product is of high enough quality to sell. Give it away for free on YouTube? Sure. But sell? Definitely not. It would be good enough for very dry nonfiction things like legal casebooks, geological and oil surveys, that kind of thing. A nonfiction book that required varied emotion like a war memoir, for instance or comedic travelogue would not work at all well with AI narration.
And finally, number three: does this help visually impaired listeners? While I don't want to use AI nourish and create paid audiobooks, I would like to see the technology become more ubiquitous and more integrated with ereader apps and operating systems. I think the mission of technology is to help us overcome or ameliorate the inherent frailties of the human condition. That is the best and most ethical use of technology. So I would like to see AI narration eventually become just a button in the ereader app for visually impaired listeners. Like you hit the read aloud button and then the computer reads to you in a voice of your choosing. You'll still have the option to buy a human narrated audiobook if available, but the option to have the device read to you would be there if you want or need to use it.
We're already kind of there, technology-wise. All the major operating systems for computer and mobile have read aloud functions. It's just not implemented consistently across the platform and the voices aren't always very good. I won't use Virtual Voice or AI narration to create any audiobooks for sale. Unless something drastically changes in the field, I don't think I'm going to change my mind on that, though of course anything is possible. In the spirit of full disclosure, as of right now (as of this recording on April 12th 2024), I have agreements with four different narrators to produce four different audiobooks, so I think I am literally putting my money where my mouth is.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at the pros and cons of some of the most popular writing software, and a share a preview of the new HALF-ELVEN THIEF audiobook narrated by Leanne Woodward.
I'm hoping to start on SHIELD OF DARKNESS soon, so let's look back at some of the DRAGONSKULL audiobooks! This coupon code will get you 25% off the audiobook of DRAGONSKULL: SWORD OF THE SQUIRE (as excellently narrated by Brad Wills) at my Payhip store:
SPRINGSQUIRE
The coupon code is valid through April 23rd, 2024. So if you need a new audiobook for spring, we've got you covered!
Transcript 00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 195 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 5th, 2024 and today we are talking about the pros and cons of different types of writing software. We also have an update on my current writing projects and as usual, Question of the Week. Before we get into that, let's do Coupon of the Week. For this week's coupon, I'm hoping to start on Shield of Darkness soon. So let's look back at some of the Dragonskull audiobooks. The following coupon code will get you 25% off the audiobook of Dragonskull: Sword of the Squire at my Payhip store and that is SPRINGSQUIRE. Again that is SPRINGSQUIRE and that will be in the show notes. This coupon code will get you 25% off Dragonskull: Sword of the Squire audiobook, as excellently narrated by Brad Wills. This coupon code will be valid through April the 23rd, 2024. If you need a new audiobook for spring, we have got you covered.
Now for an update on my current writing projects. The rough draft of Wizard Thief is done. It came to about 74,000 words, which means it is about 15,000 words longer than the first book. I suspect no one will complain. I am now writing Thief’s Favor, an ebook short story set in the world of Wizard-Thief. Newsletter subscribers will get a free ebook copy of Thief’s Favor when Wizard-Thief comes out, hopefully before April is over. I am also 19,000 words into Cloak of Titans and after Wizard-Thief is published that will be my main project and then once Cloak of Titans is done, it'll be back to Ridmark and Andomhaim with Shield of Darkness.
In audiobook news, the audiobook of Half-Elven Thief is done, as excellently narrated by Leanne Woodward. You can get it at all the usual audio bookstores, Audible, and all the others except for Google Play. For some reason, they seem to be having slow uptake on audiobooks for the last couple of weeks, and hopefully that should be cleared up soon. Otherwise, you can get Half-Elven Thief, as excellently narrated by Leanne Woodward at all the usual audiobook stores, and we will include a sample of the audiobook at the end of this podcast episode. So hang around for that.
00:02:13 Question of the Week
Now, for this week's question of the week, which we do have interesting discussions on my blog and Facebook page. This week's question of the week was: what was the first musical album you ever purchased with your own money? No wrong answers, obviously. The idea for this week's question arrived because over Easter weekend I helped someone set up a device for ripping LP records to MP3. This was an interesting experience because it was in fact the first time I had ever attempted to use an LP record in any form, since by the time I became interested in purchasing music (more on that at the end of the segment), the LP era was well and truly over. Or was it? I thought it was amusing that vinyl outsold CDs in 2023 because as I learned firsthand, when I was setting up this LP ripper, vinyl is so much more cumbersome and fragile than either CD or streaming. Anyway, we asked people what their first album they purchased with their own money was and here are some of the answers.
Malcolm says War of the Worlds LP vinyl.
Justin says Rush, A Farewell to Kings on cassette tape. In the mid ‘90s, my daughters found my box of cassettes, a legacy of my military days, and it immediately became theirs.
ABM says my first album (well in this case, CD) was Tragic Kingdom by No Doubt.
Chris says Grand Funk Railroad, Survival. I’m that old, lol.
Bonnie says Chicago Transit Authority and K-TEL Hits of the Month. Had “Cover of The Rolling Stone” on it.
Brad says Jaws 1975 and that set me on the path of being a lifelong fan and rabid collector of film music.
Venus says: my last day of 8th grade, I bought Annihilator-Alice in Hell and Metal Church-Blessing in Disguise. Same day, same store, same transaction.
Cheryl says my very first purchase at the age of 14 back in the ‘60s was an album by the Walker Brothers from a secondhand shop. The first new album was Sticky Fingers, Rolling Stones, 1971.
Tom says the Trainspotting soundtrack.
Pamela says the Letterman 1968 Going Out of my Head.
Michael says the soundtrack for Mad Max-Beyond Thunderdome, a musical feast of Jean Michel Jarre crossed with Tina Turner. On cassette tape, naturally.
Scott says Guns and Roses, Appetite for Destruction.
Brandy says Sisters of Mercy, Vision Thing.
Rhion says I grew up in a college town and by age 4 I had a full, green milk of LPs from the discount bin. By five, I had four. I had my own personal collection and my own stereo because my uncle would go to dorm dumpsters at the end of the semester to grab stereos, et cetera, to refurbish. My first purchase was Oingo Boingo's Only a Lad and my second was Men at Work. They were $0.75 each. I remember because it was $0.25 over my budget. I had to ask for a quarter from my uncle.
And finally, John says Leonard Nimoy Sings at a garage sale for twenty-five cents. It had The Ballad of Bilbo Baggins on it. Oh dear. If you have never seen The Ballad of Bilbo Baggins, which is a song about Bilbo Baggins sung by Leonard Nimoy of Star Trek fame, once you've finished listening to this podcast episode, go to YouTube, search for The Ballad of Bilbo Baggins and watch the music video of Leonard Nimoy singing The Ballad of Bilbo Baggins. It is hilarious.
Thanks to everyone for their comments for Question of the Week. For myself, my answer for what the first musical album I ever purchased was a bit odd because it was, I suspect it was later than most of the people who mentioned this and the reason for that is I have a very odd relationship with popular music because for some reason I almost always have a hard time understanding song lyrics. Song lyrics usually sound like either monotonous droning or warbling to my ear. I don't know why. My brain just works that way. One of the few exceptions is Johnny Cash, who I can usually understand on the first try without any difficulty. Because of that, I've never really connected with most popular music, whether way back when I was a teenager or in the modern age. To this day, I still gravitate towards the soundtracks of computer games and movies that I like.
So the first soundtrack I deliberately purchased with my own money was part of a computer game collection, specifically, the Quest for Glory collection, which came out in 1997 and that came with a CD of Quest for the Glory 5: Dragon Fire soundtrack, which I wanted. I already had all the Quest for Glory games on CD or in some cases floppy disk, but I bought that collection just so I could have the soundtrack CD. 27 years later, I still have it and I listened to that soundtrack while working on the final scenes of Wizard-Thief.
00:07:12 Main Topic: Pros and Cons of Writing Software
Now let's venture into our main topic of the week, the pros and cons of the best writing software. I got thinking about this because a few years ago I was at the gym. Usually when I'm at the gym, I go on the treadmill and I bring a tablet with me with an ebook and whether I'm running or walking or whatever, I will read on the treadmill. While I was doing this, an elderly gentleman came up next to me on the next treadmill and asked if I knew of any word processing programs that would work on an Android tablet. Boy, did I have answers for him. I started to describe the various pros and cons of different writing software, and he very quickly got bored, made a polite excuse, and wandered away.
However, this is a writing podcast with people who are interested in the business of writing, and so I thought it would be a good topic for this week's show because if you ever want your book to be read by other people, if you're not just, you know, handwriting it in a journal for your own emotional satisfaction, then at some point you will probably have to convert your book to a digital file and you will need a software program to do that, and if you're really serious about writing, you will probably need a word processor of some kind or a similar program.
So the first one we're going to look at is one that many indie and traditional writers swear by. It's called Scrivener, and it is a program specifically designed for writing books or novels. The pros: it is designed specifically for writing. It has features for outlining, breaking documents into chapters, and tracking writing goals, etc. It has a one-time cost of $60.00 US instead of a subscription, which is increasingly rare nowadays since everything seems to require a subscription instead of a one-time price. And as an added bonus, they offer a free trial so you can try it out and see if it is to your liking. They offer a student discount, where if you buy it with a valid.edu address, you should be able to get a discount.
So now here are the cons. The learning curve on Scrivener is pretty high. For basic writing, for something like Microsoft Word, you just open up Word to a blank document, start typing, and if you just want to do that, then the program will definitely meet your need. Scrivener is a bit harder to learn and you would probably benefit from watching a few tutorial videos on how to use it beforehand. I personally do not use Scrivener, though I don't object to it obviously because I know many indies and tradpub writers who know what they're doing swear by it, but for me it is kind of overkill and I don't use it.
If you are thinking about Scrivener, it's probably good to ask yourself, will you actually use the extra features? Because my own writing process is pretty simple. I just type out an outline in one Word document, and then I type out the rough draft in a different Word document, and I don't need fancy outlining software or something like that for my process. That's not to say you can't use fancy outlining software, or that the software isn't good.
You might remember last year on podcast I had an interview with Troy Lambert of Plottr, which is a very excellent program designed to help you outline your novel but if that's not something you're interested in doing, then Scrivener will probably be overkill for you. Scribner is probably best for people who take extensive notes on their work, especially if they're trying to organize research based on the chapters where it's needed. It may be best for the kind of people who enjoy curating Notion and Trello accounts and they're able to think about their book in a visual way. It is also good for people who extensively revise blocks of text within a chapter or move chapters around a lot. If that sounds like your writing process, and it sounds like something would be good for you, then it is definitely worth giving the free trial of Scrivener a try.
Now let's move on to a more general word processing program and one that probably many people out there are familiar with: Google Docs. That is part of the Google suite of office software. You can do PowerPoint-esque presentations, spreadsheets, and documents in Google Docs. The biggest pro of Google Docs is that it's free. All you need to do is sign up for a free Google account and then you have free access to Google Docs and can start typing.
It is very easy to use between multiple devices since it runs primarily in a web browser. If you are using one computer, you can close out and open a web browser on a different computer and use it that way. There are dedicated apps for both Android and iOS devices. It's very easy to share between multiple people and accounts and collaborate in real time, and this is honestly its biggest advantage over Microsoft Office besides the cost. Autosave also works extremely well.
However, like everything else in life, there are cons. One of the cons of Google Docs is that it gets really slow with large files. I did try to write a book in Google Docs once and I tried a couple of short stories. The short stories are fine. If you try to write a novel in Google Docs, I found that starts to get really slow after about the 25,000 word mark or so. For obvious reasons, since Google Docs is an online service, it is very hard to use without an Internet connection. Perhaps the most important con of all is to be sure to back up to an additional location. If you lose access to your Google account for whatever reason, that means you lose access to all your files, including the book you were working on in Google Docs. So if you're using Google Docs, it's a good idea, it's in fact an excellent and imperative idea, to download your document every so often and save it in another location.
Now let's move on to probably the most common word processing software on the planet as of this recording, Microsoft Word. Full disclosure, that is what I use most of the time. In fact, my podcast notes are in a Microsoft Word document. The pros are that you've probably already heard of it and many people are familiar with this product through work or school. If you've had an office job, you've probably used Microsoft Word at some point. And if you have gone through the modern educational system, there's a very good chance that you used Microsoft Word or Google Docs in school. Another advantage is that it's very easy to find online tutorials from Microsoft Office products. Another advantage is that Word is essentially the industry standard for publishing, which makes it a lot easier to share with the editors, translators, beta readers, etcetera. There are a couple of cons, though. Microsoft, like many other software companies, has been switching heavily to the subscription model, so I believe they still sell individual licenses for Office where it's a one-time fee, but then it's tied to a specific computer forever. If you want to really use Office, you have to get a Microsoft 365 subscription, which is often kind of a bummer if you are on a limited budget, which is why it's good there are free options like Google Docs available.
Another con of Microsoft Word is that the program is, at this point, 41 years old. The first version of Word was released in 1983. Obviously, it has changed a great deal since then but feature after feature has been built up and piled onto Word to the point where in all honesty (this is as someone who uses Microsoft Word pretty much every single day for the last 15 years), it has a monstrous maze of overlapping and interlocking features. There's a common meme about how if you try to move a bullet point half an inch in Word, you'll start hearing sirens and explosions outside and your entire document will be messed up. This is not far from the truth. For just straight typing, Word is fine, but for more elaborate stuff it quickly becomes a big headache.
Another con is that the real time collaboration features like Google Docs has are definitely lacking, and you really can't do that well with Word. If that's not something you do, it's not something you need to worry about but if you do a lot of collaboration, that is something to keep in mind. Again, in full disclosure, I could sit here for the next two hours and talk about the various bad experiences I've had with Microsoft Word, but the fact of the matter is, I've written 150 novels and I've written most of them in Microsoft Word. So it is right now the program I use to write.
So on to the next writing suite of software. I wrote most of my books in Microsoft Word, but the ones I haven't written in Word I've written in LibreOffice, which is a free office suite that you can download for free. It doesn't require an Internet connection once it's downloaded. So let's go to the pros. It's free and open source. The interface kind of sort of looks like Microsoft Word, so if you are familiar with Word, the learning curve is not terribly steep. Some think that LibreOffice is faster than Word. Depending on how your system is configured, LibreOffice can be quite a bit faster than Word, having used both. LibreOffice is probably the best for privacy advocates, especially for those who are concerned about Microsoft and Google storing their work in their cloud services and possibly training various AIs on it.
For myself, that's not something I worry about a great deal, because all my stuff has been pirated extensively for years, and as we all know, most of the big AIs out now were trained on pirated data, which they're getting sued about now. From my point of view, the horse is already out in the out of the barn for this, so there's no point in worrying about it. LibreOffice also has the advantage of being interoperable with most file formats. By default, it saves in what's called the open document format, but it is mostly cross compatible with the Microsoft Office formats.
The cons aren't quite as many as Google Drive in my opinion, because it doesn't have to be online. Even though the user interface is very similar to Word, it's not identical and some people don't care for it. LibreOffice also has no built-in cloud storage functionality like Microsoft Word or Google Docs, so if you need to store your documents in the cloud somewhere for backup, you have to piece it together with another storage option. Though this is the other side of one of the pros, because LibreOffice does not require an Internet connection in order to work once you have it downloaded. So those are the pros and cons of some different writing software. Which one you pick is up to you and your particular writing needs.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A quick word of thanks to my transcriptionist for helping me pull together the research for this episode. A reminder that you can listen to all the back episodes on the official website at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcast platform of choice. Stay safe and stay healthy and see you all next week.
And now let's close out this week's episode with a preview of Half-Elven Thief, as narrated by Leanne Woodward.
In this week's episode, we take a look at eight pieces of writing advice from famous writers. I also discuss why I decided to change the name of my SEVENFOLD SWORD ONLINE series to STEALTH & SPELLS ONLINE.
To celebrate the release of GHOST IN THE VEILS, let's get caught up with some of Caina's older adventures in the GHOST NIGHT series. This coupon code will get you 25% off any of the GHOST NIGHT ebooks at my Payhip store:
SPRINGNIGHT
The coupon is valid through April 16th, 2024. So if you're looking for some spring reading, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 194 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March the 28th, 2024 and today we are talking about eight pieces of writing advice from famous writers and what I think of those pieces of writing advice. So it should be an interesting show. Before we get to our other topics, let's have Coupon of the Week. To celebrate the release of Ghost in the Veils, let's get caught up with some of Caina's older adventures in the Ghost Night series. This coupon code will get you 25% off any of the Ghost Night ebooks at my Payhip Store: SPRINGNIGHT and that is SPRINGNIGHT. And of course that will be in the show notes, along the link to the Ghost Night ebooks on my Payhip store. This coupon code is valid through April 16th, 2024, so if you're looking for some spring reading, we have got you covered.
Let's have an update on my current writing projects. As we mentioned with the Coupon of the Week, Ghost in the Veils is done, it is out, and selling briskly. Thank you for that, everyone. You can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and Payhip. The reviews so far have been good, and it's been selling briskly. So thank you everyone for that. Now that that is done, my next main project will be Wizard-Thief, the second book in the Half-Elven Thief series, and I am in fact almost done with that. I'm on Chapter 11 of 12 though it might turn out to be 14 chapters in the edit. I would in fact be finishing it tomorrow, but I am taking the weekend off for Easter so hopefully I will get the rough draft wrapped up in the first week of April and the book out and available on Amazon and Kindle Unlimited before the end of April.
After Wizard-Thief is out, my next two main projects will be Cloak of Titans (I am 17,000 words into that) and then Shield of Darkness, the sequel to of the sequel to Shield of Storms from earlier in the year. In audiobook news, the Half-Elven Thief audiobook is done and I'm pleased to report it was narrated excellently by Leanne Woodward (the first book she has narrated for me). That should be available in the next couple of weeks at all the audiobook stores. Recording will start in a few weeks for the audiobook version of Ghost in the Veils, and that will also be excellently narrated by Hollis McCarthy.
00:02:20 Question of the Week/Title Change to the Sevenfold Sword Online Series
Before we get to our main topic, we will do Question the Week and then an update on my books formerly known as Sevenfold Sword Online. Our Question of the Week was: what is your all-time favorite video game, like the one you keep coming to back play at to play again and again across decades? No wrong answers obviously and we had some good comments on this.
Todd said, well, this is an easy one. Diablo and then Lands of Lore. Patrick Stewart really did give the King Richard character gravitas.
Sam says Final Fantasy 14, an MMO with an amazing story and an amazing community.
Justin says World of Warcraft, though I'm not very good at anything but the Auction House and Conquest of the New World, a DOS turn based strategy game I've played for 30 years now.
For myself, I think I might be one of the few people who have played computer games in my generation who never played World of Warcraft. I spent a lot of time supporting it and fixing computers that broke when they tried to run World of Warcraft, but I never actually have played it.
Pamela says, I play Lord of the Rings Online every day with my husband. I occasionally go back to Age of Empires.
Ross Logan says Morrowind, though TIE Fighter is pretty solid also.
For myself, I have played both TIE Fighter and Morrowind and thought they were both great, great games.
Jay says XCOM 2: War of the Chosen.
John says, played the old Wizardry series in the early ‘80s fanatically. I've played Eve Online since 2006, but lately I just refuel alliance stations. Also used to play a lot of the real time strategy Warcraft and StarCraft games, Age of Empires, Homeward, and also the first Diablo.
Becca says the Mass Effect trilogy for me.
Michael says, I spent a lot of hours on Skyrim, played it on PS3, 4, and 5, but spent even more time on Final Fantasy 14. They keep adding more DLCs with the newest one and the whole new storyline coming at the end of June. Ultimately, the whole Final Fantasy franchise has been my favorite ever since about 1990. I can relate with Michael there because I have played Skyrim on PC, Nintendo Switch, and Xbox, but I've only actually beaten it on Switch and Xbox, never on PC.
Brandy says all the Diablo games I don't have the hand eye coordination or computer to play much these days. My partner is much more game-oriented, from tabletop to 40K to Fallout, and Franken Fallout. I read a lot, which I suppose works out.
As a writer, I support that!
Jason says Dragon Quest 9 on 3DS is my ultimate going back to game. I'm waiting for port remaster, aiming to be able to play it somewhere than other on that tiny 3DS screen.
Justin says Elden Ring. Before Elden Ring came out, it was probably Diablo 2.
Yogi says Skyrim, can't get enough, want a new version come out. Had to get into New World to satisfy that need.
Mike says I have not played as much over the last few years, but I enjoyed the Diablo series.
A different Michael says, some epic answers here already. Morrowind is my all-time favorite, but not because I keep going back to it. In fact, the opposite. The game moved and impressed me so much that I've never played it again as to not dim the memory with repetition. Also, the old Infocom text adventures, Zork III in particular. For games I keep going back to, probably Master of Magic, Medieval 2: Total War, and Lord of the Rings Online.
Rhion says, Master of Magic. I still have my DOS diskettes for it!
For myself, I think it comes down to a toss-up between two titles. The oldest one is Master of Magic from 1994, though I think the remake from 2022 is a worthy successor. Admittedly, the 2022 remake took a bunch of patches to get there, but in the original form from 1994, the game also required many patches, so it's just continuing the legacy of the original game. The newer one is Skyrim, which as I mentioned, I've been playing on and off since 2011 and even though I finally beat the main campaign during COVID in 2020, I still keep coming back to the game. Though if we are measuring by the length of time I've been coming back to the game, Master of Magic wins since I first played that in 1994 and Skyrim was first in 2011.
A semi-important announcement: I have decided to rename the Sevenfold Sword Online series to the Stealth and Spells Online series. The motivation for this decision came from the many, many, many emails I have received asking where Sevenfold Sword Online fit in between Dragontiarna, or Sevenfold Sword, or if the Calliande Arban NPC in the books will turn out to be the real Calliande Arban from Frostborn. And the answer to all these questions is no, of course not. Sevenfold Sword Online is something totally different than the Frostborn epic fantasy series. It's a LitRPG series with many science fiction elements. The premise is that 700 years in the future, an evil corporation made a virtual reality MMORPG game based on my Frostborn books and a former developer sets out to expose the evil corporation from within by playing the game. It's not part of Frostborn or the other Andomhaim series, but all this confusion is not the reader's fault. It's my fault.
By naming it Sevenfold Sword Online, I think I set the table wrong, so to speak. What do I mean by setting the table wrong? Imagine that you sit down to a meal. The tablecloth is the red and white pattern traditionally associated with Italian restaurants. On the table you see a shaker of garlic salt and another of Parmesan cheese. Next to your plate is a pizza cutter, and in front of it is a basket of garlic breadsticks. Your beverage is in one of those red plastic cups that Pizza Hut had back in the ‘90s. Naturally, you're expecting the waiter to bring out a pizza. Instead, the waiter brings out a plate with carne asada tacos and lime and jalapeno tortilla chips. You're going to be very confused. Why is there a pizza cutter next to your plate if you're having tacos? I mean, they could potentially be the best tacos in the history of Mexican cuisine, but it's still weird because you sat down and everything indicated that you were about to get a pizza.
By naming the LitRPG series Sevenfold Sword Online, I think I set the table wrong and created incorrect expectations that it was actually part of the main Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, and the Shield War series. It probably also kneecapped sales for the series, since people assumed it was part of Sevenfold Sword. Therefore, Sevenfold Sword Online has been renamed to the Stealth and Spells Online series. Hopefully this will be a better indicator of what kind of book it really is. Now after talking about all of that, I really want some tacos.
00:08:58 Main Topic: Eight Pieces of Advice from Famous Authors
So let's look at eight piece of advice from famous authors and see what I think about them and if I agree with them or not. The first one is from Robert Cormier, who says “the beautiful part of writing is that you don't have to get it right the first time unlike, say, a brain surgeon.” I would definitely agree with that. For instance, when I published Ghost in the Veils, I forgot that in the first book I said that Calliope’s eyes were green and in the second book her eyes were suddenly dark and reader Juanna pointed that out. So I made sure to go back and quickly change the color of Calliope’s eyes to the correct green color in Ghost in the Veils. But you know, a little annoying to make that mistake. It's not a big deal, whereas if you make a mistake in brain surgery, that is pretty much a one and done situation.
Our second piece of writing advice is from George Orwell, who of course wrote 1984 and Animal Farm and other classics of dystopian fiction. He says, “writing a book is a horrible, exhausting struggle, like a long bout of some painful illness.” I think that applies more to authors who are traditionally published than indies, because I've never found writing a book to be objectively painful. It helps to have perspective. I mean, I used to spend eight hours a day unloading trucks. That got painful, especially when it happened to be 100° out in the summer. By contrast, when I write a book, I'm sitting in my office chair pressing buttons on a keyboard. That is objectively less painful, and I suppose the like the mistake I mentioned earlier about Calliope’s eye color would have been more painful if it was traditionally published and I couldn't just change it myself as opposed to if it was traditionally published and then, well, that's it. It's going to be that way forever now. So I think that writing in general is less painful for indies than it is for the traditionally published.
Our third piece of writing advice is from Margaret Atwood. She says, “If I waited for perfection, I would never write a word.” That is also very true. As we mentioned earlier, you definitely don't have to worry about your rough draft being perfect. You just got to get it on the page and then I would also suggest you don't have to worry about your final draft being perfect. You have to worry about being good enough and get it to the point where it is good enough because perfection does not exist in this world.
Our fourth piece of advice comes from Stephen King, who says, “Good fiction almost always starts with the story and progresses to theme. It almost never starts with the theme and progresses to story.” If you swap out the word story for conflict, I definitely agree with that because I know some writers tend to worry a great deal about what is my book going to be about when I think instead they should be worrying about what's the conflict in my book going to be and how is that conflict get resolved?
Our fifth piece of radio advice is from Elmore Leonard. He says, “Cut all the parts people will skip.” I agree with that very much. The tricky part is learning what the parts that people skip are going to be. So overall you want your book to be not boring and you want to cut out as many of the boring parts as is physically possible to do so.
Our six piece of advice is from Neil Gaiman, who says simply, “Finish things.” That is very good advice because I've noticed that a trouble many new and starting out face is actually finishing the books and I often say that when a new writer says, do I need to be working on, you know, my website or my mailing list or my social media or all that? I say no, the best thing to learn how to do is to finish a book, because that is a skill that will serve you well for the entirety of your writing career. If you can't finish the book, then there's no point in having the social media and the website and the mailing list and all that. So learning to finish things is the vital skill for any writer.
Our seventh piece of writing advice is from Harper Lee, who said, “I would advise anyone who aspires to a writing career that before developing his talent, he would be wise to develop a thick hide.” There is also good advice, especially considering she wrote To Kill a Mockingbird, which when it came out engendered a fair bit of unfair criticism for her. It is definitely important to have a thick hide when you are a writer. We've all seen the news reports of a writer who gets a bad review on Goodreads and flips out and melts down on Twitter. Or, in the worst cases, drives across the country to confront the reviewer in person. That is always a bad idea, do not do that. The trick to deal with any kind of criticism, especially online criticism, is to just not respond to it. The Internet criticism cycle tends to have a very short attention span, and so if you just wait it out, eventually some other bright shiny object will capture people's attention and that will be that. So the best way to cultivate a thick hide in the in the era of the Internet and Twitter and social media and all that is to learn to not to respond to things.
Our eighth and final piece of advice comes from Kurt Vonnegut, who says, “No matter how sweet and innocent your leading characters, make awful things happen to them in order that the reader may see what they are made of.” That ties in with our earlier talk about conflict and that is how you indeed see what your characters are made of and how you find the bones of your story. What is the conflict and how will the conflict test and put the characters to the trial and how will the characters grow, develop, and change as a result of the trial to which they have been subjected? If you want your characters to have a happy ending, they have to suffer for it first.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful and a quick note of thanks to my transcriptionist for helping me to pull together the quotes for this episode. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, many with transcripts. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at what makes a book's ending disappointing or unsatisfying, and offer tips and tricks on how to avoid that.
This week’s coupon is for the audiobook of GHOST IN THE WINDS as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE WINDS for 50% off at my Payhip store with this coupon code:
SPRINGWINDS
The coupon code is valid through April 12th, 2024, so if you find yourself needing an audiobook to leap into spring, you can listen to the epic conclusion of the GHOST EXILE series!
TRANSCRIPT
Spoiler Note: Please skip 11:50-12:53 if you would like to avoid a summary of the ending of the TV series Breaking Bad.
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 193 of the Pulp Writer Show. My name is Jonathan Moeller. Today is March the 22nd, 2024 and today we are talking about how to avoid unsatisfying endings, specifically how to avoid unsatisfying endings while writing your novel.
Before we get into all that, we will first have Coupon on the Week and some writing progress updates and then our Question of the Week. So first up, Coupon on the Week. This week's coupon is for the audiobook of Ghost in the Winds, as excellently narrated by House McCarthy. That is the epic conclusion to the Ghost Exile series. You can get the audiobook of Ghost in the Winds for 50% off at my Payhip store with this coupon code: SPRINGWINDS and that is SPRINGWINDS and of course the coupon code will be in the show notes as always. This coupon code is valid through April 12th, 2024. So if you find yourself needing an audiobook to leap into spring, you can listen to the epic conclusion of the Ghost Exile series.
Now, for an update on current writing projects. I am very pleased to report that as of this recording, Ghost in the Veils, my 150th novel, is now complete. By the time the show goes live, you should be able to get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and Payhip. So I'm very pleased that's done, and that's out, and I hope you all enjoyed the book.
Next up, now that Ghost in the Veils is done, my main project will be Wizard Thief, the second book in the Half-Elven Thief series. I am about 42,000 words into that, so about halfway through and if all goes well, I hope that will come out towards the end of April. I am also 14,000 words into Cloak of Titans and that will be my main project once Wizard Thief is finished.
In audiobook news, we're currently proofing the audiobook of Half-Elven Thief. That will be narrated by Leanne Woodward and if all goes well, that should be out sometime in April. I'm looking forward to sharing that with you all. So that's where I'm at with my current writing projects.
00:02:08: Question of the Week
Let's go into our Question of the Week. This week's question is what apps and services do you use to listen to music? No wrong answers.
Justin says: on my PC, I'll generally use YouTube. The Brave browser removes the ads so I don't have to listen to them. For when I’m away from my PC, I stuffed 128 GB chip in my phone and copied my MP3 files over to it. The basic Android music app handles the music, no problem. When driving, I'll sync the stereo to the phone with Bluetooth. It will play music, navigate, and do hands free calling. I tried connecting to it directly but it seems I can either connect the sound or the charger. Doing both makes for horrible static.
Joaquim says: I like to buy MP3 files or CDs. When buying CDs, I try to buy AudioRip CDs on Amazon, else I rip them myself. All MP3 files are on a USB stick which I use in the car audio. At home, I use my laptop with an external Sound Blaster G6 and Sennheiser headphones. I use VLC media player on the laptop.
My next comment is from Barbara, who says: Years ago, I purchased the Microsoft Zune because after my research, I determined I got more bang for my buck with it than the Apple product. I still have the Zune, which I haven't used in a while. I also have the app on my computer and that's what I use listen to my music. Unfortunately, I'll be replacing this 10 year old computer at some point and may have to find a different program. That's interesting because about 14/15 years, I used the Zune Desktop Music player as my preferred music player on my PC because I thought it worked better and was faster than any of the alternatives. But I have not thought about that in years, to be honest.
Our next comment is from Randy who says: iPhone, iPad, Intel Mac Book Pro, and an Apple Music family subscription. I also have a two terabyte library of purchased music that I keep on a couple of different portable drives, backups because I should think about rewriting my vinyl collection down to MP3 again. I personally thought it was very impressive. Two terabytes because my music library is a mere 59 gigabytes by comparison.
Juana says Pandora and Amazon Music.
Michael says: I stream from YouTube Music, sadly. Oh well, good to support small independent companies. ( Original response had emojis here to indicate the last sentence was a joke/tongue in cheek).
Brandy says: I listen to Pandora or iHeart radio stations from places where I've lived. It probably dates me, but I like either music with limited to no commercials but similar genre groups (and I refuse to give money to Apple if I can help it) or just a straight radio station. Both I leave on the background while I'm reading, cooking, cleaning or painting, etcetera.
Jacob says iTunes for the longest time. Then I made the switch to Spotify using a phone, PC, and TV.
Jesse says desktop Rhythmbox on Ubuntu for MP3s. If I'm using Pandora, Pithos or Pianobar. Back when I did a lot more Linux stuff, personally I used Rhythmbox a lot on all my Ubuntu computers, so good to see it still being used out there.
Elizabeth says: I'm a Spotify gal. It's got almost anything I could look up. It's got some great rain and classical playlist for sleeping.
Jake says: I use iTunes on my phone and computer. Finally, Bonnie says: old fashioned FM radio. Hard to beat free, I have to admit.
For myself, I use iTunes for PCs, and I prefer to buy MP3 files and music whenever possible. Since I work on my PC for most of the day while writing or editing, that's what I usually use for listening to music. When I'm away from my computer, I use an iPod touch I got in 2021, and when that little device finally dies, I'm going to be very disappointed since Apple doesn't make them anymore and I will have to choose a new service for my portable music playing. I have played Spotify on my phone a bit, but I still prefer having the actual files. Very good discussion, I thought, on this week's Question of the Week.
00:05:50 Main Topic: How to Avoid Unsatisfying Endings for Your Novel
So now let's move on to our main topic this week: how to avoid unsatisfying endings for your novel. I've said it before on this podcast and on my various websites, but I think the ending is a lot like the punchline to a joke. The ending ties everything together and makes what happens before makes sense. If you don't have a satisfying ending to your story then that is like a joke with a bad punchline. People just get annoyed by it. People will remember the end of the series (even a very long series) more than the entire rest of the series, and it will ultimately determine how they feel about the entire series.
The most famous recent example, I think, is the Game of Thrones show, with Season 8 ending in a way that many people did not enjoy. In many ways, I think the ending of Game of Thrones with Season 8 sort of killed the show’s pop culture dominance. I mean, for a while when the show was at its peak, that was the show to watch. It was the example of prestige television and it was all a lot of people could talk about, but the ending just, you know, really ruined that and sort of subverted and undid the rest of the show. It destroyed the show's popular culture dominance and really led to reduced merchandise sales and tie in games and may be a factor why George R.R. Martin will probably never finish the series because of how badly the show turned out. This is a reminder that a bad ending will make the reader cheated and worse yet, make them feel mocked for ever caring about the characters at all. The Game of Thrones shows is a good example of that.
With that in mind, let's look at some of the common problems with endings. One is bad writing. To some extent, bad writing can be subjective. One person's bad writing is another person's brilliant prose. However, there are certain structural things with bad writing and bad plotting that can lead to an unsatisfying ending. For one thing, there are examples where the author doesn't know what the ending is and hasn't been able to figure it out, so it sputters out or ends weakly, or dodges any sort of final battle and event, and it just sort of fizzles out at the end. No one enjoys reading that.
Another example of bad writing is a twist that doesn't fit the logic of the book or doesn't make sense. It is possible to do a surprise ending that's satisfying, but it has to be written in a way that resonates with the rest of the story and if you look back at the rest of the story, there is foreshadowing that accurately leads to this ending. If the twist ending comes totally out of left field and makes no sense whatsoever, that is going to lead to some unsatisfied readers.
Another big problem is an unfinished series or abandoned cliffhanger, which is why readers have trust issues with unfinished series. With every single series I've written, whether Frostborn, Sevenfold Sword, Dragontiarna, The Ghosts, Cloak Games, or Silent Order, I frequently have people email me every single time a new book comes out to tell them when the series is finished because they only read finished series. Some of that is the fault of publishers who will sometimes kill a series after the second book and leave it permanently unfinished if the second book doesn't meet their sales expectations. Some of this is the fault of certain high name writers who've had every opportunity and all the money in the world to finish their series, yet just can't seem to get around to it. This is a good example of why you need to have a satisfying ending and not leave things hanging.
Another good example of bad writing is a good ending that is undone or awkwardly avoided in order to stretch it out to another book or relaunch the series. You have a happy ending. Everyone lives happily ever after, and then you change one of the characters suddenly so that the series can continue. That is something to avoid and to paraphrase Sherlock Holmes from one of the original Sherlock Holmes stories, the supreme gift of the artist is the knowledge of when to stop and that includes writing long series.
Another potential problem is a confusing ending. Even a well written ending can be a problem if it's confusing. Ambiguous endings can leave the reader, especially casual ones, feeling confused or feeling like they missed something or are disconnected from the characters. Introducing new characters or plot threads too close to the ending so the ending feels crammed, or like it doesn't focus on the main characters or plot, can also be confusing for the reader. Themes and character arcs need to be clear throughout the book, and those need to be resolved with an equal amount of clarity. One potential reason for a confusing ending is things are left unresolved and that can inspire dissatisfaction in the reader. So when you reach the end of your story, it's good to have as much resolved as possible, even if you want to leave something open for the sequel.
Another potential problem with the ending is if the ending is too unhappy or too dark. Depending on the genre and the kind of book you're writing, the time to put your characters through hardship and tragedy in order to develop them is in the middle of the plot, not abruptly at the end. If you want your characters to be happy in the end, true, they do have to suffer for it and earn it, but depending on the kind of book you're writing, having them end the book while being miserable and defeated is probably not the best way to go about it. Ambiguous or bittersweet or sad endings have a much higher burden to be extremely well written, and that's one of the reasons tragedy was seen as the highest form of playwriting in Ancient Greek and Elizabethan cultures.
A sad ending for the sake of simply having the sad ending isn't as original or edgy as many writers think it is. That said, unhappy endings can work if it fulfills the character arc or set themes of the book, especially if these are well established throughout the story. I think the ending of the TV show Breaking Bad probably is an excellent example of this, because Breaking Bad is the account of mild-mannered chemistry teacher Walter White degenerating into a ruthless drug lord. The series ends with Walter White killed in a shootout while rescuing his former protege and then he dies surrounded by his beloved meth manufacturing machines.
By any stretch, this is a very grim and relatively unhappy ending, with the protagonist getting shot to death but it works because it resolves the themes of the story, where White essentially chose this life of violence, and so he brought upon own head. In a sense, it's not happy so much as it is satisfying in that he got to go out on his own terms, defeating his enemies and freeing his former protege from being imprisoned.
Another potential good way to have a satisfying unhappy ending is if it moves the other characters to a happy ending or resolution. In other words, the death is not pointless. In the play Romeo and Juliet, obviously Romeo and Juliet both die at the end, but their deaths permit their feuding families to reconcile and put aside their generations-long feud that has caused so much suffering. So while their deaths were tragic, they were not pointless and wasted.
Let’s go to the opposite side of an unsatisfying unhappy ending. An unsatisfying, unearned, or abrupt happy ending can be just as unsatisfactory. A forced happily ever after that doesn't feel earned, is rushed at the end, and not explained can be very unsatisfying. One recent example I can think of is a while back, I saw the movie My Man Godfrey from 1936. It's a good comedy movie, a good progenitor of the screwball comedy genre, but I think the ending is kind of weak because the main character and the main female character kind of get together at the end, so it would go well, it's the end of the movie, so I guess they should get get together and get engaged. They seem very ill suited for each other and spent most of the movie bickering, but it was just, you know, the genre convention that the male lead and the female lead were going to get together at the end of the movie. So I think that's one flaw and one unsatisfying part in an otherwise very good movie.
Deus Ex Machina is also something to avoid because it leaves the reader feeling cheated or like the suffering of the characters didn't matter. An unearned ending where there are dire consequences throughout the book, but they don't show up, feels, you know, like a cheat where the characters got away with something that they shouldn’t have been able to get away with. Another unsatisfying example of a happy ending is if it all ties up too neatly, where everything just falls into place for no particular reason.
Happy endings are generally the most satisfying when they're earned, when the characters really have to suffer and strive and struggle to get to them. So both unhappy and happy endings have their own pitfalls, though in general I do think happy endings are usually easier to do unless you really know what you're doing.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found this show useful. A quick note of thanks to my transcriptionist for helping me to pull together with the research for this episode. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I rate the movies and TV shows I shaw in Winter 2024.
This week’s coupon is for the audiobook of GHOST IN THE PACT as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE PACT for 50% off at my Payhip store with this coupon code:
MARCHEXILE
The coupon code is valid through April 5th, 2024, so if you find yourself needing an audiobook to leap into spring, we’ve got one ready for you!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 192 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 15th, 2024, The Ides of March, which we’re traditionally told to beware, and today we are looking at my Movie and TV Review Roundup for Winter 2024. Before we do that, we will do Coupon of the Week, an update on my current writing projects, and our Question of the Week.
So first up, Coupon of the Week. This week's coupon is for the audiobook of Ghost in the Pact, as excellently narrated by Hollis McCarthy. You can get the audiobook for Ghost in the Pact for 50% off at my Payhip store with this coupon: MARCHEXILE and that is spelled MARCHEXILE. As always, the coupon code will be in the show notes. This coupon code is valid through April the 5th 2024. So if you find yourself needing an audiobook on this Ides of March, we've got one ready for you.
So an update on my current writing projects. I am about 56% of the way through the first edit of Ghost in the Veils. That means the book should be on track to come out before Easter (which is at the end of March this year), if all goes well. I'm also 40,000 words into Wizard Thief, so hopefully that will come out before too much longer after Ghost in the Veils. I’m 11,000 words into Cloak of Titans. So that is where we're at with my current writing projects.
00:01:19 Question of the Week
Now on to our new feature: Question of the Week. This week's question is inspired by the fact that I've spent a lot of the last few weeks setting up my new computer and getting it configured properly. So the question is: what is the first computer you ever used? No wrong answers, obviously.
Joachim says his first personal computer was an Atari 1040 ST with 1 MB of RAM. I participated in the “religious war” with the Amiga 500 users, which was better and looked down at the MS-DOS PCs, which only has 640 kilobytes of RAM.
Justin says: my first computer was a Timex Sinclair. It had two kilobytes of RAM and I forked out $50 for the 16 KB RAM extender module. The manual that comes with it says you will never need this much memory. I use a cassette tape recorder/player to record more programs and it ran a 300 baud.
Todd says his first computer was in 1994. I purchased a 486 DX 2 8 megabytes of RAM for use in school. I believe the hard drive was about 250 MB. The monitor weighed a ton. I wrote a bunch of machine code and played Wolfenstein 3D like crazy.
Tarun says in 1993 it was a 386 with four megawatts of RAM with Windows 3.1. I played a lot of Prince of Persia and got bad grades in school. Then the computer was locked up. In my educational defense, I did do some Pascal programming.
AM says: my first computer was an Apple IIe at school. Getting to play Number Munchers or Oregon Trail on it was some kind of behavioral reward (and a very effective one at that).
William says his first computer was a Macintosh SE in my parent’s home office, though “using” is an overstatement since all I did was play a few simple preinstalled games. I also have fond memories of playing the original King's Quest with said parents and something like a Compaq Portable.
Rich says Commodore 64 with cassette drive. Didn't have cassette the first day. Spent the whole day punching in code for a blackjack game. My sister walks into the room to turn the computer off, erasing everything. That is a bummer.
Juana says: a Gateway. My whole family came to gawk at it, and me setting it up! It had 120 megabytes of RAM. Twice what was the ones that used in the college computer lab! I thought I was set for life.
Venus says Commodore Vic20. We played Radar Rat Race and Mom gave us a stack of computer magazines and tape recorder, so we played every game that was in the magazines at the time after we typed in the programs and saved them to the tapes. You are the first person outside my family that ever heard also had one. More on that later.
Cheryl says: we got our first computer in the early ‘90s: an Amstrad with an AWA printer. I was doing courses for work, so I needed something to print the assignments, but we also played games on it: Wolfenstein, Lemmings, and Stock Markets. They're the only ones I can remember.
Craig says: Apple IIe. I'm oldish. With dot matrix printer and handheld modem, dial-up Internet access, the one you had the dial phone into the holding cradle after you called it in.
Tracy says: at college we used the TRS80s. I think she may win the award for oldest computer mentioned in this topic.
And Perry says: IBM PC clone at school, a friend’s family had a Commodore 64. Our first family computer was a Commodore 128.
For myself, I had the same first computer as Venus earlier in the thread. That would be a Commodore Vic20. It had 20 kilobytes of RAM and the Word file for the rough draft of Ghosts in the Veils, which I'm editing right now, is 355 kilobytes in size. So to load the Microsoft Word document of Ghosts in the Veils in Microsoft Word format, I would need about 18 different Commodore Vic 20 computers. That's like 1 computer per chapter and a half. So it is amusing to see how computer technology has changed quite a bit over time.
00:04:56 Winter 2024 Movie/TV Review Roundup
Now to our main topic. We are inching closer to spring, so I think it's time for my Winter 2024 Movie Review Roundup. I got a Paramount Plus subscription to watch the Frasier reboot and since Paramount owns Star Trek and the Frasier reboot was only 10 episodes long, I ended up watching a chunk of modern Star Trek this winter. This was a new-ish experience because the last new Star Trek I watched was Star Trek Beyond way back in 2016. That was only eight years ago, but it's been a very eventful eight years, you know? I did watch a lot of Star Trek back in the 1990s. If you had held a gun to my head and demanded, you know, if I consider myself a Trekkie, I would say no, because I think Gene Roddenberry's socialist/utopian vision for the Federation that he put into Star Trek is fundamentally kind of goofy. The shows and movies were at their best when they stayed away from it or subverted it, like how the Federation can only be a utopia because Starfleet seems to have a Black Ops section that does all the unsanctioned dirty work and regularly runs amuck. Or like how Starfleet seems to have an actual mad science division that cooks up all kinds of nasty stuff.
So anyway, these are the movies and shows I watched in Winter 2024, and as always, my ratings are wholly subjective and based on nothing more rigorous than my own opinions. We will go through these in order from least favorite to most favorite.
So the first movie I watched was Now You See Me, which came out in 2013. Last year, I compared Adam Sandler's Murder Mystery movie to a C- student, but a fun C- student who everyone likes for his great parties and goes on to have a successful career as a regional sales manager. By contrast, Now You See Me is the sort of moody art student who always wears a black porkpie hat and thinks of himself or herself as deep and complicated, but in fact, they're just confusing. This is an apt comparison for this movie. Anyway, the plot centers around four sketchy magicians who are recruited by a mysterious organization called The Eye to carry out a series of high-profile heists using stage magic. I have to admit, that concept sounds even more ridiculous as I said the previous sentence.
Anyway, after the first heist, the magicians become fugitives from the FBI but keep carrying on shows, sometimes staying ahead of law enforcement. The trouble is that nothing they do makes very much sense, and it all falls apart if you think about it for more than two seconds. Additionally, the movie overall feels very choppy since they rushed from scene to scene very quickly. The actors all gave very good performances that were entertaining to watch, but honestly, that was about the only thing the movie had going for it. Overall grade: D-
Next up is The Marvels, which came out in 2023. This movie was logically incoherent, but actually rather charming and funny. It kind of reminds me of those ‘70s or ‘80s style science fiction movies that don't make much sense, though The Marvels was much lighter in tone than anything that came out in the science fiction space in the ‘60s or ‘70s. The movie got a bad rap because it didn't make back its budget, and apparently Disney rather shamefully threw the director under the bus. But to be fair, the budget for The Marvels was an enormous $274,000,000. To put this into context, the top three movies of 2023 (Barbie, Super Mario Brothers, and Oppenheimer) combined had a total budget across these three movies of $350 million, and together they grossed something like 15 times more than The Marvels did.
Anyway, the plot picks up from the end of Ms. Marvel when Kamala Khan, Captain Marvel, and Monica Rambeau discover that their superpowers have become entangled. This means that if two of them use their powers at the same time, all three of them switch places randomly. This makes for a rather excellent fight scene earlier in the movie when the three characters don't know what's going on and are randomly teleporting between three different battles, much to the frequently amusing confusion of all participants. Once things settle down, Captain Marvel and her new friends realize that an old enemy of Captain Marvel is harvesting resources from worlds she cares about. So it's up to them to save Earth from this old enemy’s vengeance. I have to admit, the plot of the movie didn't actually make much sense, but it was overall much funnier than Ant-Man 3 and Secret Invasion. The best thing about the movie was Kamala Khan and her family. Kamala, Monica, and Captain Marvel also had an entertaining dynamic together and the planet of space musicals was also pretty funny.
I think the movie's biggest, unconquerable weakness was that it was the 33rd Marvel movie. There are all sorts of theories of why the movie didn't perform at the box office: superhero genre fatigue, everyone knew it would be on Disney Plus eventually, the lasting effects of COVID on movie theaters and the movie business, Disney throwing the director under the bus, Disney inserting itself into the US Cultural Wars, etcetera. All those reasons are subjective and subject to personal interpretation.
What I think is objectively quantifiable is that The Marvels is the sequel to a lot of different Marvel stuff: The Avengers movie, Wandavision, Captain Marvel, the Guardians of the Galaxy movies, Secret Invasion, and Thor: Love and Thunder. That's like 50 to 60 plus hours of stuff to watch to fully understand the emotional significance of all the various characters in The Marvels. 50 to 60 hours of watching sounds like almost an entire entire semester's worth of homework assignments at this point.
As someone who has written a lot of long series, I know that you lose some of the audience from book to book. I think that's ultimately why The Marvels didn't make back its budget. The Marvel movies as a series have just gone on too long and are just too interconnected. Ultimately, I am grateful to The Marvels. Realizing and understanding the concept of Marvel Continuity Lockout Syndrome helped me decide to write something new that wasn't a sequel or even connected to anything else I had written, which eventually led to Rivah Half-Elven and Half-Elven Thief. Overall grade: B-
Our next movie is My Man Godfrey, which came out all the way back in 1936. This movie is considered the progenitor or one of the progenitors of the screwball comedy genre. A homeless man named Godfrey is living in a trash dump in New York, though despite his circumstances, Godfrey remained sharp and quick on his feet. One night, a wealthy woman named Cornelia approaches him and offers $5 if he’ll come with her. Godfrey is naturally suspicious, but Cornelia assures him that she only needs to take him to a hotel to win a scavenger hunt by finding a forgotten man, which was a term President Roosevelt used to describe people who have been ruined by the Great Depression and then forgotten by the government.
I have to admit, Cornelia immediately reminded me of the way the more obnoxious YouTubers and TikTokers will sometimes pay homeless people to participate in dance challenges and suchlike. King Solomon was indeed right when he said that there is nothing new under the sun and what has been done before will be done again. Anyway, Godfrey is offended by Cornell's imperious manner but after he sees Cornelia bullying her kindly but none too bright younger sister Irene, Godfrey decides he'll go with Irene so she can win. A grateful Irene offers him a job as the family's butler. At his first day at work, Godfrey very soon realizes the reason the family has gone through so many butlers: they are all certified certifiably and comedically insane. In addition to these other problems, Cornelia is harboring a massive grudge against Godfrey for losing the scavenger hunt and wants payback. Wacky hijinks ensue. Fortunately, Godfrey has some hidden depths that he will need, which include being much smarter than his employers. Admittedly, this is not hard.
1936 was towards the second half of the Great Depression in the United States, so obviously the movie has more than a bit of social commentary. The characters joked that prosperity is just around the corner and wonder where they can find that corner. The rich characters are uniformly portrayed as some combination of frivolous, clueless, or malicious. I think the movie was pretty funny, if sharply so, but the big weakness was that the male and female leads were so clearly unsuited for each other but got together at the end of the movie simply because it was the end of the movie. Still, it was definitely worth watching because you can see how this movie influenced many other movies after it. I definitely recommend watching it with captions if possible, because while human nature has not changed in the last 90 years, sound technology has in fact improved quite a bit. Overall grade: B.
Next up is Charade, which came out in 1963. This is a sort of romantic comedy, sort of thriller that has Audrey Hepburn playing Regina, an American living in Paris who is in the process of getting divorced from her husband. When she returns to Paris, she learns that her husband was murdered in her absence and it turns out that he was in possession of $250,000 he stole from the US government during World War II. Regina had no idea about any of this, but the US government thinks that she has the money stashed away somewhere. It turns out that her late husband also betrayed the men he worked with to steal the money and they're convinced that she has the money as well, and they're going to get it from Regina regardless of what they have to do.
Regina's only ally in this mess is a mysterious man calling himself Peter Joshua (played by Cary Grant), who may or may not be one of the other thieves operating under an assumed identity. I liked this movie, but I think it had two structural problems. First, Regina wasn't all that bright, though she did get smarter as the movie went on, probably out of sheer necessity. Second, it had some severe mood whiplash. The movie couldn't decide if he was a lighthearted romantic comedy or gritty thriller, though finally snapped into focus as a pretty good thriller in the last third of the movie. Amusing tidbit: Cary Grant only agreed to do the movie if Audrey Hepburn's character would be the one chasing his character in their romance, since he thought their age gap would be inappropriate otherwise, because he was so much older than Hepburn at the time of filming. Overall grade: B+
Next up is the new Frasier series from 2023. I admit I had very, very low expectations for this, but it was considerably better than I thought it would be. My low expectations came partly because the original show was so good. Some seasons were stronger than others, of course, but the show had some absolute masterpieces of sitcom comedy throughout its entire run. Some of this was because I think the 2020s are a much more humorless and dour age than the 1990s, so I had my doubts whether the new show could be funny at all.
Fortunately, my doubts were misplaced. The new Frasier is actually pretty good. It's interesting that the show's generational dynamic has been flipped on its head. In the original show, the pretentious Frasier lived with his working-class father. 20 years later, it's now Frasier who lives with his son Freddie, who dropped out of Harvard to become a firefighter and consciously rejected his father's love of intellectualism and cultural elitism. The inversion of the original dynamic works quite well. It has some moments of genuine comedy because, like his father before him, Freddie is more like his father than he realizes.
The show also avoided the pitfall of bringing back legacy characters that Disney and Lucasfilm stumbled into with Star Wars and Indiana Jones and the Dial of Destiny. Disney brought back legacy characters like Luke Skywalker and Indiana Jones but made them into sad, old losers. Frasier, by contrast, while frequently an unsympathetic comedy protagonist who brings his own misfortunes onto his own head, is most definitely not a sad old loser. He's famous, respected, and wealthy enough that he can afford to buy an apartment building in Boston at the drop of a hat. If you know anything about the United States, you know that the East Coast is the most expensive area of the of the country. Despite that, he remains the same well-meaning buffoon that he always was, the sort of man who, as a colleague aptly says, always goes that extra, ill-advised mile.
There's a story that when Ricky Gervais was advising the creators of the American version of The Office, one of his chief pieces of advice was that Michael Scott could not be as incompetent as David Brent was in the original UK version of the show. American culture, Mr. Gervais said, was generally much less forgiving of incompetence than British culture. I thought of this as I watched Frasier because all the characters were in fact extremely competent at their jobs. Even Frasier himself, when he finally gets out of his own way, is a very good psychiatrist and teacher. Anyway, the show was funny and I think it deserves a second season. We'll see if that happens or not. Overall grade: A-
Next up is Star Trek: Lower Decks Seasons One through Four, which came out from between 2020 and 2023. As I mentioned earlier, I ended up subscribing to Paramount Plus for a month after I watched Frasier, so I decided to watch Star Trek Lower Decks, since I'm forever seeing clips of that show turning up on social media. Lower Decks is a pitch perfect, affectionate parody of Star Trek from the point of view of four relatively hapless ensigns on the Cerritos, one of Starfleet’s somewhat less prestigious ships.
We have the self-sabotaging rebel Mariner, the insecure and ambitious Boimler, the enthusiastic science girl Tendi, and cheerful engineer Rutherford, who nonetheless has a dark and mysterious past that he can't remember. Season Four also adds T’Lyn, a Vulcan whose mild expressions of carefully measured annoyance make her a dangerous loose cannon by Vulcan standards. The show is hilarious because it makes fun of Star Trek tropes while wholeheartedly embracing them. The ensigns run into a lot of insane computers, random space anomalies, rubber forehead aliens, and other Star Trek tropes, including the grand and venerable Star Trek tradition of the Insane Admiral. Starfleet officers always seem to go off the deep end when they get promoted to Starfleet Command. The senior officers are also varying degrees of insane and drama generators. Starfleet, from the point of view of the Cerritos crew, is a vast bureaucratic organization that veers between ineffective idealism, blatant careerism, and whatever crazy project the Insane Admiral of the Week is pursuing.
Yet since American sitcom characters have to be competent (like we just talked about above with Frasier), when the crisis really kicks into high gear, the Cerritos crew can pull itself together and save the galaxy with the best of them. I did like how the show grows from an affectionate parody to its own thing, with all the characters experiencing struggles and personal growth in their arcs. I liked it enough that when the 5th season of Lower Decks comes out, I'll subscribe to another month of Paramount Plus (assuming Paramount Plus still exists and hasn't been brought up by Warner Brothers or Skydance or something). Overall grade: A-
Next up is Predator, which came out in 1987. When Carl Weathers died in early February of 2024, I realized I had never actually got around to seeing Predator. So I did and I’m glad that I watched it. Predator was an excellent blending of thriller, science fiction, and horror. Arnold Schwarzenegger plays Dutch, who commands a team of operators who do Black Ops work for the CIA. Since it’s 1987, the CIA is up to its traditional shenanigans in Central America and Dutch is dispatched to help out his old friend Dillon (played by Carl Weathers), who has been ostensibly assigned to rescue a Pro-American cabinet minister from rebel guerrillas in the jungle. Since this is the CIA, naturally there is more than the mission than is apparent on the surface. However, the mission quickly becomes irrelevant when Dutch and his team realize they are being hunted by an unknown creature with capabilities unlike anything they have ever seen before. It turns out the creature is the Predator, an alien hunter who comes to Earth and takes human skulls as trophies. Soon the movie turns into a death match duel between Dutch and the Predator.
The movie did a very good job of showing the Predator’s capabilities such as stealth, heat vision, and his shoulder laser without explicitly spelling them out for the audience. It was a very well put together piece of storytelling and it is of course the source of the famous Internet meme of a muscular white arm gripping a muscular black arm and also Schwarzenegger's famous line of “Get to the choppa!” Also to quote a famous Internet meme, if you had a nickel for every future governor of a US state who is in this movie, you would have two nickels, which is not a lot, but even two is pretty weird, right? Overall grade: A.
Now for the favorite thing I saw in winter 2024. That honor goes to Star Trek: Picard Season Three, which came out in 2023. Honestly, this was so much better than I thought it was going to be. I thought I would watch one or two episodes and then give up. Instead I watched the whole thing in like two days over the New Year's holiday. I watched the first episode of Picard Season One way back in 2020 was free on YouTube, but I didn't like it enough to subscribe to CBS All Access (or whatever the heck it was back then). The first episode also seemed more ponderous and dour in the sort of 21st century realistic prestige television snooze fest than I really wanted to watch. But Season Three of the show got high reviews from people whose opinions I generally respect when it came out in early 2023. Since I had Paramount Plus for a month because of Frasier, I decided to give it a go.
I'm glad I did.
How to describe the plot? You may remember that back in summer 2023, I watched the Battleship movie. Battleship is objectively a bad movie, but it does have one interesting subplot that would make a good movie all on its own. When space aliens imprison most of the US Navy, a bunch of retired veterans take a decommissioned battleship out to war to save the day. This basically is the plot of Picard Season 3. The plot kicks off when Doctor Crusher contacts Admiral Picard after they have not spoken for twenty years. Apparently, Picard had a son named Jack with Crusher that she never told him about and mysterious assailants are trying to kidnap Jack. On the original show, Picard and Crusher definitely gave off the vibe that they probably got romantic whenever they were alone in the elevator together. The fact that Doctor Crusher got pregnant with Picard’s son is not all that surprising. Picard had always been adamant about his desire not to start a family and given that any son of the legendary Captain Picard would be a target for his equally legendary enemies, Crusher decided to keep the boy a secret. Picard, understandably, is shocked by the news, but teams up with his former first officer, Captain Riker, to rescue his son.
Jack has an extensive Robin Hood-esque criminal history, so it seems that his misdeeds might have caught up to him. It turns out that deadly weapon is locked in Jack’s DNA and the people pursuing him aren't merely criminals but powerful enemies intent on destroying Starfleet and the Federation. Jack Crusher's DNA will give them a weapon to do it, which means it's up to the crew of The Enterprise to save the galaxy one last time. This was ten episodes, but it was very, very tightly plotted, with not many wasted moments. Sometimes you see movies that seem like they should have been streaming shows, and sometimes streaming shows seem like they really should have been cut down to movie length. But Picard’s Season Three does a good job of telling a tense story that we've been impossible either in a movie or the old days of network television. The show very quickly plunges into the crisis and keeps moving from new tension to new tension. The gradual reveal where Picard at first feels guilty that he has to ask his friends to help rescue his estranged son and ex-girlfriend like he's living his own personal version of some trashy daytime TV show, only to slowly realize that something much more dangerous and much, much bigger than his personal problems is happening, was put together well. The show was also another good example of how to bring back legacy characters right.
All the characters from Star Trek: The Next Generation are older and have been knocked around by life or suffered personal tragedies, but none of them are sad old losers like in a Disney or Lucasfilm project. The new and supporting characters were also great. Seven of Nine returns as the first officer to Captain Shaw, a by the book officer who thinks Picard and Riker are dangerous mavericks. He has a point. Shaw turns out to be extremely competent in a crisis.
Amanda Plummer was great as Vadic, a scenery chewing villain who has very good reasons to hate Starfleet and the Federation. Vadic’s love of spinning directly in her command chair was a great homage to Amanda Plummer's late father, Christopher Plummer, who played a villain with a similar tic way back in Star Trek VI in the ‘90s. It is also great how the show wrapped up some of the dangling plot threads from the ‘90s, like Picard’s strained relationship with his former mentee Commander Ro Laren or the brief return of Elizabeth Shelby, Riker’s former First Officer.
A few people have complained that Worf is now a pacifist, but he's a Klingon pacifist, which basically means he'll attempt negotiation before cutting off your head, but he is still probably going to cut off your head. Less Conan the Barbarian, more serene Warrior Monk. I think Data had an excellent ending to his character arc, which started with his character’s very first appearance way back in the ‘80s and Brent Spiner did a good job of portraying Data's fractured personalities and then how they achieved unity.
I'd say the weakest point of the show was how consistently dumb Starfleet command is. The plot hinged around Starfleet gathering its entire fleet together for a celebration and then putting all those ships under a remote control system, which seems both exceptionally stupid and very convenient for the bad guys. But to be fair, this is Starfleet, an organization whose high command regularly spits out insane Admirals and also has an unsanctioned Black Ops/Mad Science division that it can't control, so it definitely fits within the overall context of Star Trek. I mean, that's like half the premise of Lower Decks. And if you've ever worked for a large governmental, military, healthcare, or educational institution, you understand. We all know that working in a large institution under leaders who are either insane or dumb isn't exactly an anomaly in the human experience. I mean, the Roman Empire circa 190 A.D. was the most powerful institution on the planet and the Empire's maximum leader liked to spend his time LARPing as a gladiator in the Coliseum. Anyway, the emotional payoff at the end of Picard Season Three was very satisfying, and how the show wrapped up a lot of threads from Next Generation, Deep Space Nine, and Voyager was pretty great. It's like the people who were in charge of Season Three of Picard watched the Star Wars sequel trilogy and thought, you know, we can do better and then they did. Overall grade: A
So those are the movies and TV shows I watched in Winter 2024. If you're looking for something to watch, hopefully one of them sounds like it will catch your interest. That's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform or choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at six of the worst pieces of writing advice on the Internet, and explain why you shouldn't listen to them.
This week’s coupon is for the audiobook of GHOST IN THE THRONE as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE THRONE for 50% off at my Payhip store with this coupon code:
SPRINGTHRONE
The coupon code is valid through March 29th, 2024, so if you find yourself needing an audiobook to leap into spring, we’ve got one ready for you!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 191 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 8th, 2024, and today we are talking about bad writing advice. In fact, we're talking about the worst writing advice, but more on that later. Before we get to any of our other topics, let's do Coupon of the Week. This week's coupon is for the audiobook of Ghost in the Throne, as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Throne for 50% off at my Payhip store with this coupon code: SPRINGTHRONE and that's spelled SPRINGTHRONE. Of course the coupon code, as always, will be in the show notes for this episode. This coupon code is valid through March 29th, 2024. So if you find yourself needing an audiobook to leap into spring, we've got one ready for you.
Before we get to any of other our other topics, let's first have an update on my current writing projects. I am 81,000 words into Ghost in the Veils, which puts me on Chapter 19 of either 21 or 22. I'm not entirely sure because I think I reused some numbers in my outline, which is obviously something we will fix before we get to the final draft. I am hoping to finish things up next week, if all goes well with the rough draft and then we will be on track to hopefully have the book out before Easter. I'm also 37,000 words into Wizard Thief, the second book in my Half-Elven Thief series and if all goes well, that will be out in April.
I'm also 9,000 words into Cloak of Titans, and if all goes well, that should be out in May, I believe. And then after I write that, that's when I'll start working on Shield of Darkness, the Second Shield War book. As I mentioned in the previous episode, the audiobook of Shield of Storms is now available. It's definitely available on Audible, Amazon, and Apple. It's on my Payhip store. It's on Kobo. I believe it is on Nook Audio. Processing is going rather slowly for the other stores, which is unfortunate, but since most of these sales will probably come from Audible anyway, it's not that unfortunate, but hopefully it should be available on all the other stores before too much longer.
00:02:16 Question of the Week
Now we’re going to have a new topic that we're going to do every week as part of the show. It's called Question of the Week. I could hardly claim this is an original idea. I noticed that many blogs and many podcasts do a question of the week feature, but it seems like a good one to add to our show and website here. So this week's Question of the Week (the very first Question of the Week, as a matter of fact): If you listen to audiobooks, what apps do you use? Of course, there are no wrong answers. We had a variety of good answers to this question.
Reader JL says: I use Audible. Paid for one year in advance. Use the credits unless the cost of the Audible book is less than the cost of the credit. I've noticed that sometimes this is the case if I bought the book or have it out in KU. That is true. Amazon has this feature called WhisperSync, where if you've bought the ebook you can sometimes get a discount on the audiobook if you buy it directly rather than using an Audible credit.
Reader Joachim says: I use Smart Book Player on Android. I only use audiobooks in MP3 format.
Reader Adam says: Audible, Graphicaudio.net, direct purchases from authors and/or Kickstarter rewards, Google Play Books, mostly DRM free downloads. Preference is direct from authors or a service which allows downloading titles for archival purposes.
I should mention if you buy any of my audiobooks through Payhip, the fulfillment is through Book Funnel, which does allow you to download the MP3s to keep them for archival purposes if you're offline or you don't have access to your phone or computer.
Doug says he uses Audible and he just finished Shield of Storms and is now listening to Sevenfold Sword Online: Creation.
Tom says he uses the Audible annual 24 credit subscription. That's like 2 credits a month. I realize that’s common for people who work in jobs like construction or industrial jobs where they can listen to audiobooks the entire day, and so therefore will go through quite a few of them.
Venus says she listens to Libby or Nook, mostly Libby. If your library has access to Libby or a similar listening service, you can get audiobooks that way.
And finally, Bonnie says: Truthfully, I've tried Audible, but I am not a fan of listening to books. Would rather do the reading myself.
So as you can see, there are a range of options and opinions when it comes to listening to audiobooks. For myself, I use a combination of the monthly credit from Audible and discount audiobooks from the Chirp daily e-mail. If you do listen to a lot of audiobooks, it might be worthwhile to subscribe to Chirp, because then you could get some bargains on audiobooks in genres that may interest you.
00:04:55 Main Topic: The Worst Writing Advice from the Internet
Now on to this week's main topic: the worst writing advice you can find on the Internet. The reason I wanted to do this episode was the same reason I started this podcast. I've been a writer for a long time. Ghost in the Veils is going to be my 150th book, and so I've gotten more experience than I'm not going to say everybody, but I do have more experience than many writers. I decided the podcast would be a good way to share some of that experience in a way that isn't pushing it on people or charging for expensive courses or anything like that. The advice is there if you want to listen to it, and if you don't want to listen to it, that's just fine too.
However, the flip side of this coin is that there's a lot of really terrible writing advice out there, like just plain bad writing advice that’s more destructive than helpful. To cover that, I asked for our transcriptionist to do some research for me and pull together some of the worst writing advice she could find on the Internet and then we would talk about it here. She found six particularly bad pieces of writing advice that we would debunk.
The first piece of worst writing advice is that writing talent is innate. If you can't be a success right away, there is no point. This is just plainly false. Almost anyone can improve at any skill, and writing is no different with a sustained commitment over time. It just takes practice. A good way to debunk this is to look at the early works of famous writers like Jane Austen, to show that their writing improved over time. Or if you dig heavily into J.R.R. Tolkien’s works, you'll see that the first initial drafts of what would become Lord of the Rings were not super great. By the time The Lord of the Rings actually came out, Tolkien had improved a good deal as a writer. Many authors have a rough first book or even rough first series and then go on to greater success or greater acclaim because they just practice and get better. With practically anything, practice will improve and writing is no different in that regard. After all, if you have a favorite author and you look at his or her first book and then compare it to his or her latest book, odds are you will notice a significant improvement in skill and that will be true for anyone.
Number two: you need an MFA (that's a Master of Fine Arts degree) to be good enough to write a book. This is something I could rant about for a significant length of time because I think there are serious criticisms to be made of the way higher education is funded in the United States and serious criticisms to be made of the ways the student loan program works, but that's rather off scope for this podcast, so instead we're going to focus on why you don't need a Master of Fine Arts degree to be a writer. MFA programs tend to lean heavily towards poetry and literary fiction (literary fiction being, you know, fiction that isn't genre fiction, like, you know, mystery, science fiction or fantasy). The stereotype of literary fiction is it tends to be about creative writing professors having affairs with one another and while of course this is a cliche, there is a measure of truth to it.
MFA programs tend to be a very homogeneous group of people who value a very specific type of writing/style. Genre fiction is often looked down on and “commercial” is used as an insult by many instructors in MFA programs, which is all well and dandy, but if you're writing literary fiction, commercial fiction has a better chance of being able to pay your taxes and your mortgage. An MFA credential does not guarantee results and employment prospects and is extremely expensive unless you get into a funded program. We mentioned the problem of student debt a little earlier and if you go into a MFA program, you’re going to have a lot more student debt. There's also the opportunity cost of spending two years learning to write in an MFA program. Finally, to illustrate the point, think of your top ten favorite writers and look up how many of them have a Master of Fine Arts degree. The percentage will probably be fairly low. So overall, I would not recommend going into an MFA program if you want to be a writer.
The third piece of terrible writing advice is to only write when you feel inspired. This is bad because writing if you, even if you enjoy it, is still a form of work, and if you only do work when you feel like doing work, it's never going to get done. It's good to remember that progress is always better than perfection, and this type of thinking feeds into procrastination. Steve Jobs very famously said when he took over Apple again at the start of the 21st century that real artist ship and the correlate to that would be real writers publish. A good example to look at is athletes in various phases of training and competition. They don't train when they feel inspired. They create a plan and stick to it in order to meet their goals. The structure that comes from plans makes it easier to define your goals and track your results, so it's a good idea to try a disciplined approach to writing, I think and try and write as much as you're able, whether it's 500 words a day or 1,000 words a day, rather than waiting for you to just get inspired. This is true for pretty much any field of work and also writing.
The fourth piece of bad writing advice is to only write what you know. If this was actually good advice, then all books would be about writers trying to write and maybe household chores and tax preparation. This would be terrible advice for fantasy and science fiction writers, if taken at face value. Writing using your own knowledge and experiences can make your book more engaging, but think of it as a starting point or way to add texture to your story, not a rule.
That said, if you want to write about something you don't know about, you don't actually have to become an expert in it. You just have to know enough to fake it. Remember, as we've talked about in a previous episode of the show, your book doesn't have to be realistic. It has to feel realistic. We want not realism, but verisimilitude, where it feels realistic. You can make it feel realistic with a lot less research than you can to become actually an expert in something. Only writing what you know is a very good way to limit your writing and get less writing done than you would otherwise.
The fifth piece of bad writing advice we found was to write based on what's trending so the book will basically market itself. This is a bad idea, because by the time you finish and the book is ready to sell, the market may have already grown tired of the trend and moved on to dystopian mermaid stories or something else. Readers also have a sense when a story is rushed or written in a different way. It's much better to write something that you're excited to write. It's also important to realize that not all categories are equally lucrative or easy to market, though. A book on soil testing methodologies is unlikely to make anywhere near as much money as a romance, for example.
The sixth and final piece of bad writing advice we're going to talk about this week is that there is no point in writing now that AI is taking over. Go do something else. A good example of why this is bad advice is the game of chess. Recently I got back into playing chess on a regular basis. I've known how to play the game since I was like 10, I think, which is an increasingly long amount of time ago, but I haven't played in a while. I got back into it after a gap of several years and I was baffled and somewhat surprised to see that there's actually like chess influencers now. I mean, everything else has influencers. I mean, they're like, you know, stationery influencers and video game influencers and packing material influencers. I was astonished to see that there are chess influencers and that they are in fact photogenic young people who post Instagram pictures of themselves playing chess. They have live streams of themselves playing chess, and they get into feuds with each other like every other group of influencers on the planet.
Where this relates to writing/AI is that for decades now, it's been literally impossible for a human to defeat a properly configured computer at chess. It can't be done. If you have a chess program that's configured to make maximum use of its resources, it will beat even the best human player every single time and the end result of this is no one cares. The chess community continues on having all its influencers, rivals, and feuds and playing the game because as one of the chess influencers himself said, watching a human play a computer at chess is like watching a human try to arm wrestle a hydraulic press. You know who's going to win. It's boring. No one cares. Everyone goes back to the humans playing each other at chess and the chess engines are there for people who want to play, you know, bots on the Internet.
And I suspect that is going to be the case with AI writing. You may get to the point where AI is able to spit out a novel, but it will be like a computer playing chess. It's like, yeah, that's nice, but no one actually cares. Even if AI became a major source of fiction, there would still be many readers out there, given the negative anti-AI feelings that are very prevalent on the Internet, who would prefer fiction written by humans as a preference, just like there are viewers who hate special effects heavy movies like Marvel movies and seek out movies using a lot of practical effects or physical stages.
The final weakness with this advice that there is no point in writing now that AI taking over is that legislation regarding AI and copyright is still marked with uncertainty. If you can't copyright the product of an AI engine, there's no point in trying to sell it. So for all those reasons, I don't think that AI is an excuse not to write and that it will probably end up like being a chess engine. Any chess computer can defeat a human, but that really doesn't matter very much.
So there we are, six pieces of bad writing advice that you can safely ignore. That's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com, often with transcripts. Speaking of which, a big thank you to my transcriptionist for helping me to research this episode. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at techniques for ensuring accuracy and verisimilitude in your novel.
This week’s coupon is for the audiobook of GHOST IN THE SEAL as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE SEAL for 50% off at my Payhip store with this coupon code:
SPRINGSEAL
The coupon code is valid through March 19th, 2024, so if you find yourself needing an audiobook to leap into spring, we’ve got one ready for you!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 190 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March the 1st 2024 as I'm recording this and today we are talking about how to create the feeling of accuracy in fiction. Before we get to that, we will do Coupon of the Week and give you an update on my current writing and audiobook projects.
This week's coupon is for the audiobook of Ghost in the Seal as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Seal for 75% off at my Payhip store with this coupon code: SPRINGSEAL and then is SPRINGSEAL and that code will also be in the show notes. This coupon code is valid through March 19th, 2024. So if you find yourself needing an audiobook to leap into spring, we've got one ready for you.
Now for an update on current writing and audiobook projects. I am as of this recording 48,000 words into Ghost in the Veils, which puts me on Chapter 10 of 22, so almost halfway there. I’m hoping to get to 50,000 words by the end of the day, but we will see what happens. I am also 33,000 words into Wizard Thief, the second book in my Half-Elven Thief epic fantasy series and that is hopefully going to come out fairly quickly after Ghost in the Veils is done. I am also 5,000 words into Cloak of Titans, which will be my next major project after Ghost in the Veils and Wizard Thief are done.
In audiobook news, Shield of Storms is now available, as excellently narrated by Brad Wills. You can get that at the moment at Audible, Amazon and Apple and it should be turning up at the other stores fairly soon once it gets through quality assurance. You can in fact get it at my Payhip store at the moment as well. I'm also pleased to report that Half-Elven Thief did well enough to merit an audiobook and recording for that will be going underway through the month of March. So hopefully if all goes well, the book will be available sometime in April.
00:01:56 Main Topic: Accuracy and Fiction
Let's get right into our main topic: the importance of accuracy and fiction. Before that, why do we want our fiction to have some degree of accuracy to it? The reason for that is fiction doesn't have to be realistic. However, it has to feel realistic. It's called verisimilitude, the sensation of something that feels real, regardless of whether it is actually real or not. This is important because it ties into a concept called suspension of disbelief. We all sit down to read a book of fiction, a novel, a fantasy novel, a science fiction novel, mystery novel, whatever. We know that the book isn't real and that nothing in it actually happened. However, what we need to do is suspend our disbelief of what's happening in the book, which is necessary in order for us to enjoy what is happening and it is much easier to keep a sense of disbelief if your book has good verisimilitude, if it feels real.
The example I always used to cite this is that if you live in the United States and probably the UK as well, you know they are constantly having problems with the phone scammers primarily targeting older people. One of the famous ones had a person saying that the person in question was late on back taxes and if they did not pay immediately, the IRS would send the sheriffs to arrest them for back taxes. This is implausible for several reasons. One, the IRS, if you owe back taxes, does not start the process by a phone call. It starts by a letter. Two in the United States, sheriff is an elected position, and so if anyone was going to be doing arresting, would that probably not be the sheriff, that would be the sheriff's deputies. And three, even though the sheriff's deputies do have arrest powers, generally, they do not make arrests for back taxes. So right away we see that this scam phone call is implausible for a number of reasons and can be immediately disbelieved by anyone with basic knowledge of either U.S. law enforcement or the way the US tax system works.
Now imagine someone did this in a thriller novel or a mystery novel. There's a scene where the IRS sent sheriffs to arrest someone for nonpayment of back taxes. That doesn't feel real if you have any knowledge of the topics, which breaks the verisimilitude, which destroys the suspension of disbelief. The reader will either give up on the novel or hate-read it to the end and leave a bad review. For fiction, you don't have to do as much research as you would for nonfiction, but it is a good idea to do enough research that you can create verisimilitude, the feeling of reality, that won't jar the reader of the book and destroy suspension of disbelief.
So why research? Research is not just for historical fiction. Any part of fiction, even a contemporary romance that touches on real life, has details that can benefit from check fact checking and areas are jarring to readers and can take them out of the story and make them give up on the story entirely in some cases, which comes from not having enough verisimilitude to maintain the suspension of disbelief. Additionally, certain genres have extremely high standards for factual accuracy, such as military fiction, historical fiction, or medical mysteries, etcetera.
The example I always use for this is Jack Carr’s The Terminal List, which, as a thriller has a lot of military oriented people using a lot of military oriented equipment. I believe Mr. Carr has said in several interviews and podcasts how he spends a lot of time researching all this because his audience tends to be people with expert knowledge of various military weapon systems or law enforcement procedures and they will immediately spot any factual errors and email him many times about this until the end of time. If you're writing in one of those genres, it really does behoove you to do a lot of research. Other genres tend to be a bit more forgiving, such as fantasy and romance, as long as the world has a strong internal consistency. Additionally this is where we get into realism versus verisimilitude.
Readers will allow a certain amount of blurring facts if it moves along the story. For example, how long a lab work can take in a police thriller. It's a common plot device where in real life, police and forensic labs typically are backed up for months but in fiction, you can have your detective or your detective’s boss pull some strings and move things along.
It's also important to note that plausibility is more important than accuracy. For example, to the best of my knowledge, there is not a Starbucks kiosk at the Milwaukee County Zoo in Milwaukee, WI. But doesn't it feel completely plausible that there would be one since many American zoos do have coffee kiosks? So if you happen to mention in passing that there's a Starbucks kiosk at the Milwaukee County Zoo, that kind of plausible, if inaccurate detail most likely would not jar your reader out of the story.
Factual error is often much worse if the plot depends on it. For example, a wrong fact in jury selection in a comment made in passing is less jarring than if it’s the main plot point or if, for example, you're a legal thriller and your protagonist wins using evidence or tactics that in real life would get them thrown out of court or cause a mistrial, or even disbarred. Televised legal dramas are occasionally quite bad at this, where the lawyers win cases using tactics and legal techniques that would get them in enormous quantities of trouble. But if you're writing a legal thriller, the audience tends to be more knowledgeable than average about that kind of thing. So it is a good idea to do research.
Some small facts that may seem insignificant can matter a lot to a reader, because they can stand out even to a non-expert. For example, in the United States, most of the states in the country are subdivided into administrative units called counties, which is why we talk about the county sheriff and how counties elect sheriffs and commissioners and so forth. However, in the state of Louisiana, they don't have counties, they have parishes. So if you're writing a book set in Louisiana, and you refer to a county in Louisiana that can jar the reader of the book if they have any knowledge of Louisiana.
Another example would be you describe the final section of the baseball game as a quarter instead of an inning. Baseball doesn't have quarters like American football or American basketball does. Baseball has innings, so it's little technical details like that can be something to watch out for because you can trip up on them pretty easily.
However, the flip side of this is you can use this as a technique where a factual error becomes an important plot point if you do it deliberately. For example, you can have in a police thriller evidence was stored outside of normal procedure in a way that would break the law in real life because it turns out someone actually was being bribed and the law actually was being broken. A more benign example, someone makes up a call number for the library book and it turns out to be gibberish because the person made it up on the spot, so you don't need the accurate number for the library book.
Deliberately working in factual errors like this, so long as you include them in a way that you know what you're doing and it is important for the plot, can be a really neat technique where the reader will feel validated if they spot this error and then it turns out to be important later on, like someone came claims to be from Louisiana and talks about growing up in New Orleans County, only for someone to realize that New Orleans and Louisiana do not have counties.
So here are some specific examples of things you may want to research in your fiction to avoid common errors. Number one: location. Distance is a major source of factual error. Movies famously ignore how long it takes to drive across Los Angeles, especially in traffic. You have movies where someone you get from one end to LA to another in like 20 minutes, which if you do it at 2:00 AM, that might be possible, but any other time during the day it's going to be traffic gridlock, and you're going to spend a lot of time in traffic. It takes much longer than 20 minutes to get from one end of LA to another.
Another thing to watch out for is languages. A prominent example is Brazil. The dominant language in most of Central America and most of South America is Spanish, so people tend to assume that the dominant language in Brazil is Spanish. It's not; it's actually Portuguese. Many people in Brazil do speak Spanish because all their neighbors speak Spanish, but the main language in Brazil is not Spanish, it is Portuguese, so it's very jarring when shows have police or military officials in Brazil speaking Spanish when they should really be speaking in Portuguese. So that is the kind of detail to watch out for.
Location details can also be jarring to people familiar with the location, but not necessarily the general audience. For example, in 2023, Cardinal Stritch University in Milwaukee closed. I'm pretty sure it's 2023. If you have a book set in Milwaukee in 2024, a person cannot be a student at Cardinal Stritch University because it no longer exists. And in fact, the date of that is probably something I should have researched (Transcriptionist’s note: it closed at the end of their spring semester in 2023).
Another famous example was a couple years ago, there was a Christmas holiday movie on the Roku Channel that depicted someone driving to Wisconsin from The Twin Cities and in the drive, the main character drove past a mountain range. I don't know if you've ever been to Minnesota or Wisconsin, but both of them are famously fairly flat and have no mountain ranges anywhere within the state. So that is something a little bit of research or effort would have avoided.
Another good thing to research is specific procedures for the military and law enforcement, legal and scientific procedures if you're writing that kind of book. These are often highly specific and detailed and therefore you may have to do more research as a result if you're, for example, writing a legal thriller that revolves around the specific procedures and arcana of the American legal system. People will accept a certain amount of glossing over the more technical details for dramatic tension and avoiding lulls in the plot.
Where it feels wrong, and unearned, is if procedures are ignored entirely or warped beyond recognition. Here are some examples from fiction of processes warped beyond recognition. The English department of a major university are awarding tenure based on a competition with other professors. That is not how that works. There's not a tournament of tenure that you can participate in to win tenure.
Another example would be a soldier getting out of court martial because he had a heartfelt conversation about bravery with his or her commanding officer at the bar the night before. That is not how any of that works. At that point in the process, the court martial will be well out of the commanding officer’s hands and the soldier in question’s fate would be decided by the court martial.
Another example from fiction would be a surgeon receives an award and promotion after convincing her husband to let her perform a risky new procedure on him. That, again, is not how any of that works. Surgeons are not allowed usually (save in cases of, you know, extreme emergency) to operate on family members because they can't be objective. Additionally the surgeon in question would be in all kinds of questions with the Ethical Review Board and if things go really badly, they would end up losing their license and may even face criminal liability. So obviously these are things you want to research.
A third and final thing that is sort of broader category is that you want to focus on specific details for things you are researching based on the kind of novel you're writing, like you're writing a legal thriller, you will want to spend more time researching the specific legal details of the story you're writing. If you're writing like, for example, a historical novel about the British peerage, for example in Downton Abbey, the Earl of Grantham is named Robert Crawley, but he is always referred to as Lord Grantham, not Lord Crawley, because he's the Earl of Grantham. Very commonly, historical romance novels are known for not getting this correct, and it often irritates more knowledgeable readers. If you're writing historical fiction, another thing you might want to research is hairstyles, because hairstyles vary widely across historical periods.
The final thing to keep in mind is the need to balance your research with the story. We've all read books where it was very clear that the author did a lot of research and was going to share it with us, whether we like it or not, because we'll have info dumps that go on for pages and pages.
Too many details and facts are boring to the reader and rarely makes sense in the context of the story. An example would be a character explains 6 or 7 paragraphs explaining local politics to someone who's lived in the town for 20 years. You want to avoid the cliche of “as you know, Bob” information dump.
Having someone familiar with the particular profession review your work might be helpful, but unless they're a true expert, they're not going to catch everything.
Remember that readers pick up a fiction book to be entertained and not taught. Facts when done correctly, add verisimilitude to the story, help with the suspension of disbelief, and make stories more interesting. And finally I'd say that you want to make a good faith effort of being as accurate as possible, but don't stress too much over it because I find as I'm writing my 150th novel at this point (I speak with a little bit of experience here), that no matter how much research you do, no matter how careful you are, it's just not going to work for everyone and someone is either going to point out something you got wrong or something that doesn't work for them, which is a matter of interpretation.
I'd say focus on writing the best story you can and focus on being as accurate as you can, but if you have to pick between the two, focus on writing the best story you can. Though, bear in mind that if you have to make your legal thriller revolve around something that could not possibly happen in real life, then you are not writing the best story that you can.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful and a quick word of thanks to my transcriptionist who once again helped me pull together the research for this episode. A reminder that you that you can listen to all the back episodes of the podcast, often with transcripts at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I discuss why I decided to return to the character of Caina after twenty-nine novels.
This week’s coupon is for the audiobook of GHOST IN THE INFERNO as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE INFERNO for 75% off at my Payhip store with this coupon code:
WINTERINFERNO
The coupon code is valid through March 14th, 2024.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 189 of the Pulp Writer Show. My name is Jonathan Moeller. Today is February the 23rd, 2024 and today we are talking about the return of Caina Kardamnos. Before we get to our main topics, we will have Coupon of the Week and then an update on my current writing projects. First up, let's do Coupon of the Week. This week's coupon is for the audiobook of Ghost in the Inferno, as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Inferno for 75% off at my Payhip store with this coupon code: WINTERINFERNO and that is WINTERINFERNO. The coupon code is valid through March the 14th, 2024. So if you find yourself needing an audiobook to break up the winter doldrums and weather, we've got one ready for you.
So now for a progress update on my current writing projects. I'm pleased to report that Sevenfold Sword Online: Leveling is out at Amazon and Kindle Unlimited, since I have found that LitRPG books tend to do the best while they're in Kindle Unlimited. It is going a little better than expected, which is nice, and if you want to check out the book, you can read it at Amazon. My main writing project now is Ghost in the Veils, hence The Return of Caina Kardamnos title for this episode and I am 25,000 words into it, which puts me on Chapter 6 of 21.
I am also 31,000 words into Wizard Thief, the second book in the Half-Elven Thief series and that should come out after Ghost in the Veils. I'm also 3,000 words into Cloak of Titans, the next Nadia book. So the order these will all come out in is Ghost in the Veils needs to come out first because it has recording slot scheduled for the middle of April. So it needs to be done and out by then. I will finish Wizard Thief after that and then Cloak of Titans.
In an audiobook news, the recording and proofing for Shield of Storms’ audiobook is done, and it's currently working its way through quality assurance on the various platforms, so hopefully it should be available on your audio platform of choice before much longer.
00:02:07 Reader Comments and Questions
Now, before we get to our main topic, let's have a few questions and comments from listeners and readers. Reader NK asks: Hi, I would like to know what LitRPG is. Haven't come across it before and also do we need to complete reading the Sevenfold Sword series before Sevenfold Sword Online to better enjoy this story? In answer your question NK, LitRPG is generally defined as a story that uses the conventions and structures of online role-playing games like MMORPGs. They can be either fantasy or science fiction or blend a bit of both. Typically in these stories, either the protagonist is magically zapped into a game world or is playing the game while trying to balance some sort of crisis in both the game and real life, which is the approach I took for Sevenfold Sword Online.
In answer to the second half of your question, Sevenfold Sword Online isn't actually connected to Sevenfold Sword. The premise is that it's 700 years in the future and that an evil corporation has built a hit virtual reality MMORPG using the books of a long dead author (i.e. me) as source material for the setting. In hindsight, I wish I had made the setting completely unconnected to anything else I had written, because it seems to confuse some readers, but too late now I suppose so, hopefully that will answer your question.
Now we have a question from reader Justin. For context for that question, I recently had to get a new desktop computer after my old one died and this is in fact the first podcast episode I am recording using the new computer. So if it sounds really weird, I blame the computer, or more accurately, I probably should blame Windows 11. But anyway, with that in mind, here is our question from Justin: Good luck to you with your new computer. I switched to laptops for my computing needs. The lower power draw and portability are handy when you're going off grid. I'm used to you working on three series at once. You put that up a notch. Is this to reduce burnout and possibly writer’s block? In answer to that question, the reason I got a desktop was because I do a lot of cover design and graphic design, which is not always the greatest on laptops because that needs a lot of processing power, a lot of RAM, and perhaps most importantly, a lot of storage.
In answer to the writing question, the only thing that's changed is I'm not doing a Ridmark and Andomhaim book every other month. I am going to keep writing Ridmark and books set in Andomhaim but I’ve been writing a Ridmark/Andomhaim book every other month pretty much since summer 2013, so I'd like to change it up a little bit and do more of other things. So while I am going to continue the Shield Wars series and I am going to write Shield of Darkness soon, I'm not going to start writing it until after Cloak of Titans is done, if you remember my order of projects from earlier in the show. I don't feel at risk of burnout or getting exasperated with writing. I just have been writing Ridmark and Andomhaim setting for so long that while I would like to continue writing that I would like to write more of other things as I go along.
00:05:08 Main Topic: The Return of Caina Kardamnos
Now to our main topic: the return of Caina Kardamnos. As I mentioned earlier on the show, I'm now 25,000 words into Ghost in the Veils, which puts me also at chapter six in the second book of the Ghost Armor Series, the immediate sequel to Ghost in the Serpent from late 2023. I have to admit that when I finished Ghost in the Sun in the Ghost Night series in 2021 (I believe that was), I thought I was done with Caina. The reason for that was I just didn't have any idea of what to where to go or what to do with the character after Ghost Night. Part of that, I admit, was that Caina had become powerful and influential and I am cynically suspicious of people like that and wasn't sure I could write someone like that as a protagonist. Though that was less a concern as I went on since writing Ridmark and Tyrcamber, and Dragontiarna and then Dragonskull and the Shield War gave me a good bit of practice.
So I finally had a good enough idea to return to Caina as a protagonist, and I think it was a confluence of four different ideas. The first idea was perhaps the most obvious one: what if Caina found out she had stepchildren? There are lots of potential story dynamics with stepchildren, but I thought the most interesting setup would be if Kylon had children he didn't know about and the mother Kalliope Agramemnos had kept them secret from him, except Kylon loves Caina and Kalliope is in awe of Caina. So Caina, out of necessity, becomes the linchpin holding this family together, since neither Kylon nor Kalliope can stand each other. There are a lot of potential character arcs and conflicts that can be generated in the inherent tension of that situation.
The second core idea came from medieval nobles. If you've read any histories of medieval Europe, one of the main themes of the Middle Ages is that men primarily wielded the political and military power. But some women, by sheer force of will, charisma, tenacity, and cunning came to wield great power themselves. There are in fact quite a few examples. Probably the most famous one nowadays would be Queen Eleanor of Aquitaine, who was married to two different kings and the mother to two more or three (depending on how you count and if you include Henry II’s eldest son, Young Henry, as the actual king or not). She kept her son Richard on the throne of England during his captivity after the Third Crusade and she was one of the chief architects of his release. Had Eleanor lived longer, and her son John listened to more of her advice, probably King John's reign would have been more successful and he would not be remembered primarily in the United States as the cowardly Prince John from that one animated Disney movie with the anthropomorphic animals.
Perhaps the most successful example is Margaret Beaufort, who basically engineered her son Henry VII’s ascension to the English throne at the end of the Wars of the Roses, and then served as one of his primary advisors for the entirety of his reign. In fact, she even outlived Henry VII by a year and then lived long enough to advise her grandson Henry VIII for the first year after he became king.
A less successful example and contemporary with Margaret Beaufort, would be Margaret of Anjou, wife of King Henry VI and mother of his heir. Margaret of Anjou was one of the driving forces behind the Wars of the Roses but lost everything when her husband and son were killed and she died in poverty in France while her enemy Edward IV ruled in England. Blanche of Castile was her son Louis IX’s regent when he went on crusade. Countess Matilda of Tuscany helped force the settlement in the Investiture Controversy and the Holy Roman Emperor, the southern dukes of the Holy Roman Empire, and the Pope all wanted Matilda as their ally.
Perhaps the most striking example would be Sichelgaita of Lombardy, wife of the rapacious Norman adventurer Robert Guiscard. Guiscard started out as a penniless, landless knight and ended up conquering Sicily and a lot of Italy. He was known as greedy, cunning, and ruthless. His eventual tomb had the epitaph “Here lies Guiscard, the terror of the world.” It seems that Sichelgaita was in every way suited to be the wife of a freebooting warlord like her husband. Guiscard fought a lot of wars and Sichelgaita usually donned armor to battle alongside him. At the Battle of Durham in 1081 Guiscard’s troops started to break and run while fighting the soldiers of the Byzantine Empire. Sichelgaita rode after the fleeing troops, berating them for their cowardice, and evidently the prospect of her displeasure was so fearsome that Guiscard’s troops turned around and won the battle. It should also be known at this point in her life, Sichelgaita was in her forties and had borne Giscard eight children, so clearly a very resilient lady.
So now that Caina is powerful and influential maybe historical events like these can provide inspirations for plot lines. Caina would still occasionally put on a shadow cloak and go out and break into places because this is, after all, a fantasy novel.
The third idea was that someone must be in charge. I mentioned earlier that I had misgivings about writing protagonists with power and influence, but I've come to realize that is an incomplete view. The thing about power and influence is that someone is going to be in charge. It's just human nature. No matter how something is organized, someone must be in charge and bear the burden of leadership, and hopefully it will be someone with an eye on the greater good.
I've thought about this concept a lot in 2023. I know several people in 2023 who, after much agonizing, left some of the traditional helping professions like medicine and education not because of dislike of the admittedly stressful work, but because the leadership was so stupid and so malicious as to create an unsustainable work environment. Like a leader can be stupid and well-intentioned, and a leader can be malicious and clever and an organization can still function, but stupidity and malice together are unsustainable. Alas, the contemporary United States and United Kingdom have no shortage of malicious and stupid leadership, but that's beyond the scope of the podcast about writing.
So in the end, someone is going to be in charge, someone is going to have to wield power and influence. Hopefully it is someone who will act in the name of the greater good (I already did some of that with Caina in Ghost in the Council towards the second half of the Ghost Night series). That can make, in my opinion, for in a compelling protagonist.
Fourth and finally, fantasy creatures. Way back in the 2000s when I was originally trying to sell the first Caina novels, all the agents and publishers fulminated on how they didn't want to see any novels with traditional fantasy creatures like elves and orcs and dwarves and serpent men and so forth. So when I wrote the kind of books I wrote them without any of that, which continued when I moved into self-publishing, though I was always a little sore about that, even years later. Now I think I have a firm enough grasp on the setting that I can introduce some traditional fantasy creatures into the Caina books, hopefully in a way that makes sense within the context of Caina 's very well-established world.
So those four ideas came together for Ghost in the Serpent, and we shall hopefully see more of them in Ghost in the Veils.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. Our reminder that you can listen to all the back episodes on https://thepulpwritershow.com and many of them now have transcripts (note: Episodes 144-189 currently have transcripts). If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at different models of ereader devices and try to determine which is the best one. I also reflect on the experience of watching the Super Bowl for the first time in several years.
This week’s coupon is for the audiobook of GHOST IN THE RAZOR as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE RAZOR for 75% off at my Payhip store with this coupon code:
WINTERRAZOR
The coupon code is valid through March 1st, 2024, so if you find yourself needing an audiobook to break up the winter doldrums, we’ve got one ready for you!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 188 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 16th 2024 as I record this, and today we are looking at the best ereader devices. I also talk a little bit about what it was like to watch the Super Bowl for the first time in like 20 years. Just a little word of warning, there is some fairly substantial construction noise going on the street outside that may intrude in the background. Additionally, yesterday the computer I use for recording for received a Windows Update that messed it up rather severely, and the processor is constantly maxing out, which means it makes a loud fan noise. So if you hear hissing noise in the background, that is what is happening. I just haven't had time to fix it yet, so between the construction noise and that hissing noise, we are going to have an adventuresome podcast today.
Before we get to our main topics, let us do Coupon of the Week. This week's coupon is going to be for the audiobook of Ghost in the Razor, as excellently narrated by narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Razor for 75% off at my Payhip store with this coupon code: WINTERRAZOR. That is WINTERRAZOR and that will be included in the show notes. That coupon code will be valid until March 1st, 2024. So if you find yourself needing an audiobook to break up the winter doldrums, we've got one ready for you.
Now let's have some updates on my current writing projects. I'm pleased to report that Sevenfold Sword Online: Leveling, the second book in my LitRPG series, is now out and you can get it at Amazon and Kindle Unlimited. After a year’s worth of sales data from the first book, I have concluded that LitRPG really does seem to perform best in Kindle Unlimited and audio so that is where it's going to go. It's currently in Kindle Unlimited and hopefully we should have audio in a few months, but we'll see how that works out and remind you that it’s at Amazon and Kindle Unlimited. I'm not sure how long the series is going to be. I am leaning towards making it a trilogy and wrapping it up with the next book, but we will see how Leveling performs for the first 30 days it's out in the marketplace and maybe it would merit becoming a longer series, but if it sells at the level I expected it to, I think it will probably be trilogy.
My next big project will be Ghost in the Veils, the second book in the Ghost Armor series with Caina, and I am 8,000 words into that, putting me on Chapter 2 and hopefully that will come out towards the end of March. It does need to come out before April because that's when I have a recording slot scheduled for it, so it does need to come out by then, so it's going to come out by then.
I'm also about 26,000 words into Wizard Thief, the second book in the Half-Elven Thief series, and hopefully that will come out fairly quickly after Ghost in the Veils comes out. I am also writing the outline for Cloak of Titans, which would be the eleventh Cloak Mage book, and that will be my main project after Ghost in the Veils and Wizard Thief are out. In audiobook news, recording is underway for Shield of Storms, and hopefully that should be out in March sometime, but we will see how things go.
00:03:17 Reader Comment
Before we get to our main topics, let's have a comment from a reader. James says: having just finished the Dragonskull series while waiting for Cloak of Titans, I thought how great it would be if there’s a short story about Gareth’s return home with Niara would be. His mother's reaction would be precious. Just starting on the Sevenfold Sword series. I love all your books and you have totally taken over my Kindle.
Thanks, James. I am glad you have enjoyed all those books. In answer to your question, that is a fairly major part of the plot in Shield of Storms, where Gareth and companions return home. Just the difference is in the Shield War series, Gareth and his friends aren't the main characters. They're supporting characters and Ridmark is one of the main characters.
00:03:57 Thoughts on the 2024 Super Bowl
Now let's talk about something a bit uncharacteristic: The Super Bowl. I did something I haven't done since the early 2000s, and I watched the entirety of The Super Bowl last week. The reason I did that was that some family members wanted to watch it, and I had no objection. So I watched The Super Bowl. Though to be fair, when I say watched, what I really mean is I had it on in the background while playing Icewind Dale on my iPad for the most part, along with some Skyrim on my Switch. I admit that when I was younger and more insufferable, I would make a point of refusing to watch The Super Bowl. Then I realized such an approach was self-defeating. Professional football is no better or worse than any other form of recreation. Additionally, connecting with people socially is not among my strengths, and very often sports discussions are the low hanging fruit of easy social engagement. That said, I don't exactly pay close attention to professional sports, so here is what I found interesting about The Super Bowl as an outsider, so to speak.
I think an observer completely unfamiliar with American culture and professional sports, upon watching The Super Bowl, would conclude it was a 3 1/2 hour block of commercials infrequently broken up by two-minute clips of football. That said, the Christopher Walken commercial was the funniest one and also the one with Dunkin' Donuts. The NFL may not be a cartel in the strict legal definition of the term, but we all know it's totally a cartel, which is a pretty sweet position to be in because you have massive corporations like Apple and Verizon shelling out big bucks. So it's the Apple Music Halftime Show or the Verizon Pregame Show or whatever.
I do think from an objective viewpoint that it is rather surprising that football became the predominant sporting event in America. And I think the reason has to do with the football commissioners rather foresightedly seeing the potential of broadcast television in the 1950s and the 1960s. American football, if you look at it from the outside, is this really weird mutant form of rugby with a lot of arcane terminology and non-intuitive rules, and compared to soccer or basketball, it's just a very slow and plodding game. There's 15 seconds of action and then everyone stands around for two or three minutes. It's time for a commercial break, brought to you by Verizon. Soccer and basketball are much faster paced If American football is the imperial system, then European football/soccer is the metric system that everybody else in the world uses.
I suspect to really appreciate American football, you have to get into it as a child and grow up with it so all the weird rules become second nature, which is probably why the NFL embraced Taylor Swift so much this year, which did annoy some long-term NFL fans who are not fans of Swift's music. I don't really have an opinion on Taylor Swift one way or another, since I mostly listen to computer game soundtracks, that is my preferred musical genre. But like I said above, I think to really appreciate American football you have to grow up with it. Football doesn't quite have the cultural hegemony it had in the ‘80s and the ‘90s. It's still massively popular, but more and more parents are keeping their kids away from playing it because of the danger of long-term head injuries or because of all the many sketchy things the NFL has done over the years. Though, to be fair, it's not like FIFA is a paragon of business ethics either, so you have more young people who don't grow up with it and therefore can't be bothered to pay attention.
But Swift is popular with the young people, and the NFL desperately wants more of the young people watching the games. I don't think the Super Bowl or the NFL season is scripted in advance, but I can definitely see how people come to that conclusion, partly because the NFL's broadcasts are so slick and media savvy that they feel like they should be scripted. I think it's mostly because the human brain has this tendency to see systems and order where there is in fact, nothing more than chaos. Though this year's Super Bowl game was so dramatic, with the Chiefs squeaking out a win in overtime, that it feels like it should have been written in advance.
Finally, are football and professional sports the modern “bread and circuses” like they had in the Roman Empire? Maybe. But if they are, is that necessarily even a bad thing? If you look at history, every large civilization has had games and public spectacles as part of the maintenance of social and public order. Some aspect of human psychology really seems to require it. There's lots to criticize about the NFL, but it's certainly better than a lot of the stuff the Romans got up to or early medieval tournaments, which were mock battles that sometimes escalated into actual battles that turned into actual local wars. Perhaps modern professional sports or a more efficient and usually more bloodless method of public spectacle.
So I don't really have any grand conclusions here, just observations from an outsider’s perspective made while watching the Super Bowl and mostly playing Icewind Dale on my iPad, though I am pleased to report that in Icewind Dale during The Super Bowl I defeated an ogre with a bunch of Level 1 characters and my thief and my cleric both leveled up during the game. When I talked about this on my Facebook page, my readers had some good comments, so I thought I'd read a few of the few of few of them here.
00:09:11 Reader Comments on the 2024 Super Bowl
Our first comments from William, who writing from the perspective of someone in the UK, says: I've seen the Super Bowl described as one of the great shared cultural experiences of the US and one of those times you can enjoy American football even if you're not really into the sport otherwise. It's one of those times you get together with family acquaintances you have few, if any common interests with. I think that's true and that's some good insight there.
An opposing comment comes from reader named Mary, who says: I grew up breathing NFL. My sons played football through high school. As an adult, I watched consistently until I moved to an area without many services. Went four years without TV. Ordered a new streaming device and service. I hoped to bring some of those great memories forward. My goodness, what a disappointment. The commercials are heavily pharma-based or bad food. Gambling is another frequent advertisement. You're correct, the advertising is the point. I spend most of my free time reading, a much more immersive experience. Cancelled my service today with relief. So we can also see that the emphasis on ads during The Super Bowl and I think during regular football games as well, really does turn off some viewers. I definitely approve of reading as someone's main form of recreation, though I admit that might be a bit of self-interest on my part.
00:10:24 Main Topic: Best ereaders for 2024 in the US
Now let's continue on to our main topic: the best ereaders available for 2024 in the US market. A couple of notes before we start. This is not sponsored. There are no affiliate links here. I'm not getting paid for anything I say here and these are just my opinions and research we are talking about on the show today. Because technology changes so quickly, I want to emphasize that this is current information or current information to the best of my ability as of February 2024, and since I'm based in the US, this mostly applies to the US market. It's definitely a good idea to do your own research when you're buying an electronic device, especially regarding specs, and especially if you have very specialized needs. The information was pulled together with a lot of help from my podcast transcriptionist by combing through user reviews and looking at testing from popular magazines such as Consumer Reports, Wired, PC Magazine, Good Housekeeping, and similar magazines.
So I suppose we should start with the obvious question. Why have a dedicated ereader when you can easily read ebooks on your phone or tablet? An ereader does have several advantages that you don't get with a phone or a tablet. For one thing, it's lighter. It's easier to use with one hand, which, depending on the size of your tablet or phone, may be impossible. It also helps with eye strain if you're using a dedicated grayscale ereader. It doesn't have a backlight or it has a much weaker backlight than a tablet or phone will have, and therefore it is generally easier on the eyes, though that can vary from person to person. And it can also help you to focus on reading and minimize distractions, because if you're reading on a tablet or a phone, you might get a lot of notifications coming in from text messages or emails or social media and all that, all of which can pull you out of the book you are trying to read. So if you are a serious reader and you don't mind reading ebooks, it can be definitely worth your while to have a dedicated ereader.
So let's look at the most popular model of ereader, which of course in the US and several other countries is the Amazon Kindle. In general, Kindles are superbly integrated with the Amazon ecosystem, but they generally don't work well with non-Amazon or non-Kindle products. I've run into that a few times myself on my Payhip store (which hopefully you will visit soon to get your discounted copy of the audiobook of Ghost in the Razor). I often have to include several different kinds of file formats to work with whatever generation of Kindle people might be using. Additionally, if you use your local library’s ebook service and they use Libby, not all Libby books are available for Kindles. A couple of times I've run into that, where I want to check out an ebook from Libby and it turns out that it's not available for Kindle, which is kind of disappointing because then you have to read it on your phone, which defeats the purpose of this episode.
For specific Kindle models, the Kindle Oasis seems to be the high end one, and because it has the strongest backlight, it is considered generally best for reading at night. The Kindle Paperwhite seems to be overall the best reviewed and most popular model. It is lightweight. It weighs less than half a pound and it is waterproof. It has strong reviews from many review publications like Wired and Good Housekeeping and has a major fan following. Finally, the perhaps most esoteric Kindle ereader would be the Kindle Scribe. It's the biggest one, designed for note taking. So that's something that interests you that might be worth investigating, though it would be harder to hold the Kindle Scribe with one hand.
After the Kindles, probably the most popular model of ereader in the US is the Kobo family. I'm a big fan of Kobo. Most of my books are available on Kobo, and most of them are also in Kobo Plus, their subscription program. In general, Kobos are best for people who do a lot of side loading, which involves taking ebook files and loading them manually onto your device and people who want a lot of customization. The one weakness of Kobo is that we're not entirely sure how well it will work with the various library services. The OverDrive app is being retired in favor of Libby and Kobo relies heavily on OverDrive because Kobo's parent company, Rakuten, used to own OverDrive for a while until they sold it off. So with OverDrive going away in favor of Libby, it's sort of an open question how well Kobos will integrate with library services in the future.
Additionally, it's important to note that audiobooks and magazines from Libby are not presently available for Kobo devices. Hopefully that will change in the future, but that is the case right now. For specific models of the Kobo, Eclipsa is considered the best for people who like to take notes and annotate the actual pages, and it has the feature where you can convert handwriting to type text and then export those notes to Dropbox. The Kobo Clara model is the budget option that still has waterproofing, which is different from the Kindle base model, which doesn't. The Paperwhite does. I don't think the Oasis has waterproofing, but the Kindle Paperwhite does. If you are one of those people who likes to read in the bath and you drop your ereader, hopefully it will survive the immersion till you get it out of the water. Clara does have that waterproofing feature.
The most popular model seems to be the Kobo Libra and it's best for those who are not locked into the Amazon ecosystem or another specific vendor. It has a very loyal cult following. It has physical page turn buttons, for those who prefer that feature, and it is highly regarded for its screen clarity. It also has very good battery life, which again is one of those strengths of ereaders over phones and tablets, which tend to be charging every other day, especially because the Libra settings allow you to easily shut off the Wi-Fi, dial back the lighting, and so forth to extend the battery life.
So Kindle and Kobo are the big ones, but there's a couple others we should address. One of them is the Nook Glowlight, which is the current ereader available from Barnes and Noble. The tricky part with Barnes and Noble is that while they do have ebooks, it is not really a priority for the the company's current management, which has chosen to focus primarily on physical bookselling and which has apparently kept Barnes and Noble from going bankrupt. So good thing. But they're not hugely as interested in ebooks as they used to be. The Glowlight is best for those who have a lot of Barnes and Noble gift cards to use, since that's a popular present or who already have a lot of ebooks from Barnes and Noble. Unfortunately, it does not integrate very well with public library software like Libby. It can be done, but it is a lot of work and not nearly as easy as it is with the Kindle or the Kobos. And there are complaints of system problems like it's difficult to set up or prone to freezing.
Another popular but niche ebook reader is the Onyx Boox Tab, which is a tablet with a color E ink display and the picture quality resembles color newspapers (for those of you who are old enough to remember when newspapers had color pictures). It has a loyal cult following, especially with comics and manga readers, and it has good note taking features. However, the big weakness is it is expensive and costs around $600.00 USD.
Now, while we've mostly focused on dedicated ereaders, the truth is that tablets can in fact be very good ereaders if you know what you want and you know what you want to use them for. The advantages tablets have over ereaders is that they are more versatile than ereaders. And if, like nearly all of us, you are on a budget and limited what you can spend, which, let's be honest, is true of everybody, it may make more sense to buy a device that can do many things instead of an ereader which can do just one thing. Tablets are also good for those who aren't committed to a single source for their ebooks. You can easily download apps for all of the main ebook stores on an iPad. You can have the Kindle app, the Barnes and Noble app, the Kobo app, and a bunch of library services such as Libby and Hoopla, and you can enjoy them all on one device.
Tablets are also good for those who enjoy reading manga or magazines often because if you have a color display, you can see the illustrations that come in a magazine or an ebook that has a lot of color illustrations, like a technical manual or a history book that has a lot of color plates, and the larger screens minimize the need for constantly zooming text. This is something I have done myself. I have a Kindle Fire HD-10 and I also have a bunch of various PDFs I bought from the Pathfinder company from a Humble Bundle and it's a lot easier to read PDFs in color on a Kindle Fire than it is on a dedicated ereader because you can move around the page easily. The screen is big enough you can see most of the text. You can see all the illustrations in color. It's really nice.
So let's take a look at the specific families of tablets and nowadays, for all practical purposes, there are three major tablet families. The first and the most successful one is the iPad. Everyone knows what the iPad is. It's the best device for those who want to use it for web browsing, media use, and ebook reading. The iPad Pro models are rather overpowered for normal reading and web browsing and media use. They're also quite a bit more expensive. The base model iPad is the cheapest it's ever been. I think as of right now, as of this recording you get a base model iPad for about $329, which while a lot of money, is still significantly cheaper than has been in the past. And it also is a very capable device that can do everything we've listed above.
The second major family is the Samsung Galaxy Tab, which is generally well regarded and is the iPad's chief competitor, and it gets high reports for reliability and performance from all the reviews. You get access to the full Google Play Store so you can install a bunch of apps and you can get all the different ereader apps and all the different library apps on Samsung Galaxy Tab.
The third major tablet family is Amazon Fire tablet line. I have one and I'm quite happy with it. It's better for those who play games or watch videos heavily, since it's very strongly tied into Amazon's media ecosystem. So it does make a pretty good portable video player if you are tied into Amazon's Prime Video ecosystem. It's not as convenient for sideloaders, and the biggest weakness of the Amazon Fire is that you only have access to Amazon's curated App Store. You don't have access to the full Google Play ecosystem, which is a lot bigger and more vibrant than Amazon's App Store. Very often you will find popular Android and iOS apps that are available for regular Android tablets like the Samsung Galaxy or for the iPad are just not available on the Amazon Fire. So I'd say overall that's it’s biggest weakness. It is possible to install the Google Play Store on the Amazon Fire, though, it does take a bit of finagling, and given the rumors that that Amazon is planning to develop its own operating system for its Fire tablets, that option may go away in the future. So that is something to bear in mind.
And I thought it would be interesting to wrap up the show by sharing what I personally use for ereading and what my podcast transcriptionist personally uses for ereading, since she did most of the research for this episode and helped me pull it all together. The transcriptionist’s favorites that she likes are the Kindle Paperwhite for outdoor reading. It's easier than eyes on the eyes than the tablet screen. She prefers the iPad for magazines and books with lots of color photographs, like cookbooks.
For myself, I do most of my reading on a Kindle Oasis that I bought before COVID broke out in 2020, which, given the amount of reading I did during COVID, turned out to be a really good investment. After four and a half years, it's still going pretty strong and I'm hoping to keep on using it for several years to come. For a tablet, I have an iPad that I use pretty regularly. I do some reading on it when I have some with a lot of photographs, though for most color reading I have a Kindle Fire 10 that I got for editing because in my final stage of editing my books, I use it to read the book aloud to catch anything weird and hopefully fix any lingering problems, but it's also really great for viewing full color PDF files because you can load the PDFs on the Kindle Fire and then they show up in your library. It's very easy and convenient and smooth to read them on the Kindle Fire HD-10. So that is what I personally use for ereading.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes of the show with frequent transcripts on https://thepulpwritershow.com. Speaking of transcripts, I'd like to once again thank my transcriptionist for helping me to do the research for this episode. So if you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at tips & tricks for avoiding procrastination while writing.
This week's coupon is for the ebook of DRAGONTIARNA OMNIBUS ONE, which you can get for 50% off at my Payhip store with this coupon code:
WINTERDRAGON
The coupon code is valid through March 2nd, 2024. So if you're looking for a very long fantasy book to read, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 187 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 8th, 2024 and today we are looking at tips and tricks to stop procrastinating so you can get your writing done. We'll also have Coupon of the Week, updates on my current writing projects, and a few questions and comments from readers. First off, let's have Coupon of the Week. This week's coupon is for the ebook of Dragontiarna Omnibus One, which you can get for 50% off at my Payhip store with this coupon code: WINTERDRAGON. That is WINTERDRAGON and that will also be in the show notes for this episode, along with the links. The coupon code is valid through March the 2nd, 2024. So if you're looking for a very long fantasy book to read, we have got you covered.
Now for updates on my current writing projects. The rough draft of Sevenfold Sword Online: Leveling is done and I have made good progress on the editing. I am very confident (well, mostly confident) that I will be able to get the book out before the end of February. So watch my websites and listen to this podcast for future updates. I've also written a short story called Damage Per Second that is an accompaniment to the book and newsletter subscribers will get a free ebook copy of the short story when Sevenfold Sword Online: Leveling comes out later this month.
I am also on Chapter 2 of Ghost in the Veils, which I think puts me at 5,500 words or thereabouts and that will be my main project as soon as Sevenfold Sword Online: Leveling is done. I am also 25,000 words into Wizard Thief, which will be the sequel to Half-Elven Thief and that hopefully will come out before too much longer after Ghost in the Veils is done. In audiobook news, recording for Shield of Storms is underway. We've listened to some chapters of it and it's looking good, and hopefully that will be out in March sometime.
Now a couple of comments and questions from readers. Our first comment is from Cyril, who asks: Have just read all the books in the Silent Order series. Could not put them down. The storylines followed from on from book to book and did not jump about all over the place, backwards and forwards like some of the writers do these days. Any more thoughts on sci-fi books in the future? Will try some of your other works but my main interest is sci-fi. Keep writing.
Thanks, Cyril. I'm glad you like the books. In answer to your question, I am not presently planning any new science fiction books, but neither am I saying no to the possibility after I wrap up some of my current ongoing series. Maybe the next series will be a science fiction one. We will see when I get there.
Our next question is from Alice who asks: Hi. I love your books but have dyslexia and so listen via audio. So I was wondering what of your books are in audio and what of them you have planned to have done an audio. I just hate starting the series to find out half of it is not in audio. Thanks, Alice. In answer to your question, the completed series that I have an audio would be Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, Malison, The Ghosts, and Ghost Exile. All those series are complete. Some other ones are ongoing, but they are not complete yet and won't be complete yet for a while. So if you want to listen to completed audiobook series, the ones I just listed off are the best place to start.
00:03:32 Main Topic: Avoiding Procrastination
Now let's go on to our main topic this week, which is something I've noticed many writers struggle with, not with just writing, but in many areas of life: procrastination. Why do people procrastinate when they should be writing? And what can we do about it? What can we do to address that? It's a very common, writerly trope that at last I will have two free hours available to write, so it's time to start vacuuming the carpet or to clean the kitchen or to do laundry or do anything except get the words down on paper or the word processor. So let's take a look at why writers procrastinate and what we can do to address those problems.
So first off, we need to understand the root causes of procrastinating. Procrastination is generally a short term reward that doesn't feel like a reward. It should feel like you're giving yourself a break, but you're not actually removing the cause of the stress, so you're not actually solving the problem. What will actually make you feel better is the achievement of doing something, even if it's an incremental gain or a small improvement. So what causes people to seek out this short term break in the form of procrastination?
One of them is our good old friend perfectionism, also known as the Nirvana Fallacy, where if something cannot be made perfect, there's no point in attempting it, which overlooks the fact (since it's a logical fallacy) that forty percent of a good thing is better than 0 percent of a good thing. Another way people tend to lean on the Nirvana Fallacy that way is if I can't write X number of words per day, there's no point in even doing it, whether that number is, you know 1,000 or 5,000 or whatever. But that overlooks the fact that you know 500 words or 3,000 words or even just 1,000 words or 100 words is still better than 0.
Another root cause of procrastination is fear of failure, where people think they won't be able to finish a book or write a good book, so they should wait until they could or they can't market a book or make a billion dollars from one, so they shouldn't bother writing one (which again, is the Nirvana Fallacy right there) or the belief that everything you write is trash, so you just re-edit what you've written over and over again rather than writing new words. This is just something that has to be overcome emotionally. Every writer at any point of any project they've ever written will at some times feel that what they're writing is complete nonsense and they should stop. You just have to learn to ignore this feeling and keep moving.
Another root cause of procrastination is the siren call of side quests or busywork, where you can get caught up in planning or outlining or creating series bibles or doing research for your book, or buying software or supplies without a clear plan to actually use them, or reading about writing, watching Tik Toks about writing. All these things give you the illusion of writing, but they don't actually get you anywhere. Some of those activities may be necessary and you may have to do them, but they are not helping you get words down on the page.
For example, in a couple of weeks I'm going to have to take an entire day to get my tax paperwork organized and sent into the accountants for tax season. That's going to be a very busy day. That's going to be some work, but it doesn't count as writing and it is very easy to fall through the trap of seeing all these various side projects or support projects for writing as writing, but they're not actually getting any writing done. For this kind of thing to avoid it, it's best to set a clear time limit for these types of activities and do not count them as part of your writing time or writing progress.
Now let's look at a couple of different strategies to address these root causes and to defeat them or at least circumvent them. One common tactic is to break down a large and complicated task into smaller pieces. Start with a very small word count that can be done quickly and feels easy like 50 or 100 words, not something larger. There's this book called Atomic Habits by a guy named James Clear that explains the process of breaking down goals into very small pieces and I've seen that strategy work very well for some people. So if you want further details on it, that book would probably be a good place to start.
Another useful technique is to change your expectations, or just do it. For example, no editing as you write, no going back and trying to fix what you just wrote. Just get it all down on the page as fast as you can and when the rough draft is done, that's when you go back and edit. Some find the exercises of morning pages from the book The Artist's Way by Julia Cameron helpful, where you do three pages of stream of consciousness writing every day with no editing, no filtering, no self-criticism. Just get it on the page and then move on. It's also a very good idea to avoid writing adjacent activities during writing time, such as outlining or research or answering emails or social media. All those other various things that can be necessary but sometimes turn into a time sink.
Another useful technique is to build a focused environment for your writing. Now, what does that mean? You may want to pick a spot with no physical distractions, such as a spot with no TV, definitely no video games, maybe a place where a lot of people don't walk by (like the spare bedroom in your house), or if you're writing at a university or in public, maybe like a library carrel or a quiet floor of the library away from the main floor. You also want a spot possibly that's away from clutter where you're not seeing other chores you have to do, like bills to pay or laundry to do or that kind of thing.
For some people, being around ambient noise or being around other people does actually help them work. This is really not the case for me. I have written large quantities of all my books in coffee shops or doctor’s waiting rooms or other waiting rooms, as I wait to pick people up or to meet people. But it's not something I seek out and I only do it when circumstances compel me to do it. I would rather be writing quietly at my desk with no one around. However, not everyone works that way, and some people actually do derive energy from being around other people who are working. So you could go to a busier area of the library, like a chair or table on the main floor or a coffee shop and write there along with many other people who derive enjoyment from doing that.
One key part of building a focused environment is managing tech distractions. While writing, you may want to turn off the Wi-Fi because that reduces the temptation to just, you know, casually check something on Wikipedia and then get caught in a Wikipedia spiral for the next half hour. You may want to create a phone setting that allows calls or messages only from certain contacts to come through. Sometimes when people write they want to turn their phone off, but they don't because they're worried an emergency call from, you know, a friend or family member might come in. So there are options where you can configure your phone to only let messages from your contacts through while blocking you from getting on, you know, Twitter or Facebook or Instagram or TikTok or any of the other social media time sinks. There are a variety of different phone and browser modes that can be set to limit certain apps or sites or notifications and so forth, because phone addiction is definitely something people struggle with when procrastinating and writers are no different.
Another method of battling procrastination is with routine and planned times for writing. It can be helpful to pick a specific time every day and stick to it. If you're going to do this, it's best if you pick a realistic time. Just don't decide right, I'm going to get up at 4:30 in the morning every day and write, because you're probably not going to if you're not already getting up at 4:30 in the morning anyway. If you try that, you'll probably get up at 4:30 once or twice, get too tired to continue, and that will be that. It's probably better to pick a different time in the day. Mornings and lunch breaks tend to work well for a lot of people, since people generally have less willpower as the day goes on and many people have very tiring jobs where they just want to get home, eat some dinner, and then watch some Netflix and go to bed. For myself, I used to write quite a bit on lunch breaks back in the day and that can be a very useful tool for getting some writing done.
Time blocking or the Pomodoro Method can be very helpful. I use Pomodoro a lot when writing my books lately, pretty much since oh, like 2019 or so. The Pomodoro Method is where you set a timer and then you spend 25 minutes working on your task to the exclusion of everything else. You take a 5 minute break, then you do another 25 minutes of working on your task to the exclusion of all else with, you know, Wi-Fi off and everything, and then you take a 10 minute break and repeat until you are done or you run out of time and have to do something else. I have found Pomodoro to be very helpful, to the point where on my desk I have a dedicated tomato shaped timer because Pomodoro is Italian for tomato. If your brain works like mine, Pomodoro might be very helpful.
Another useful way to avoid procrastination is accountability. You can find an accountability partner in a writers group or find a friend to text your daily word count to. Generally family members, spouses, and romantic partners tend not to work out terribly well as accountability partners for a variety of reasons, so you may be better off using a friend or someone from a dedicated writers group. Writing groups can be helpful. It depends very strongly on the nature of the group. Some of them are very helpful. Some of them have the typical toxic dynamics you often find in a dysfunctional small group, so if you feel a writing group is not right for you, there is no reason to stick around. But there's a variety of different ways you can find writing groups. Many of them meet online or on Facebook.
And the final way to avoid procrastination is, if possible, make the task pleasant. Find an environment you enjoy writing in: comfortable, good lighting, comfortable chair, or a chair to enforce a good posture (if you prefer). Some people even set up a separate writing desktop in Windows 11 with its own special background and settings to make them more focused for writing and to remove the habit of, you know, just checking Facebook or Wikipedia or the news for a few minutes. It's often a good idea to pair writing with a task you enjoy, such as drinking coffee. If you have a walking desk or treadmill, you can very often walk slowly and write at the same time. Many people enjoy that and also it's good for physical health as well. If you do enjoy walking and you're willing to dictate, Kevin J. Anderson has an excellent book called On Being a Dictator where he describes his method of using dictation to get his writing done, where he'll take long walks near his house, dictate into a digital recorder, and later pay a transcriptionist is to transcribe it into a Word document so he can edit it.
Finally, perhaps one of the most effective techniques for avoiding procrastination is bribery. We all know bribery makes the world go round, whether we admit it or not. Build in a reward, like for 10,000 words, you get a break. Or if you have a streak for X number of days, you can get a treat like new pens or a new notebook or a game or something like that. So it's often a good idea to build in rewards for tasks you might otherwise put off. So those are all our tips and tricks for avoiding procrastination, and I hope you will find them helpful.
So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful and a quick thanks to my transcriptionist, who helped me gather all the data for this episode. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at five book marketing tactics that readers hate, along with five ones they usually enjoy. I also take a look at my advertising results for January 2024.
For this Coupon of the Week we're doing one of my older books, specifically the entire TOWER OF ENDLESS WORLDS series. If you use this coupon at my Payhip store, you can get 50% all the ebooks on the entire series:
WINTERTOWER
The coupon code is valid until February 22nd, 2024. So if you're looking for something to read, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 186 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 2nd, 2024. Today we're going to talk about five marketing tactics that readers hate. We'll also discuss my ad results for January 2024 and have an update on my current writing projects and have it a reader question or two in the mix.
As a side note, this is the first time ever I am recording this podcast on Windows 11. I finally upgraded my desktop computer to Windows 11 in an effort to solve a driver problem that I've been having. It was something with my video driver where it had stopped receiving or the manufacturer had stopped putting out updates for Windows 10 but Windows 11 drivers were available. I've been putting that off for like two years, but I finally thought, well, nothing else has worked. Let's try and upgrade this desktop to Windows 11 and I'm pleased to report that it seems to have in fact fixed my video driver problem, so I am pleased with that. Hopefully it won't totally screw up the recording of this podcast, but I can see the file increasing in size as I record this, so I assume that it is in fact being successfully recorded.
First up, let's do Coupon of the Week and this time we're doing Coupon of the Week for one of my older series, specifically the entire Tower of Endless World Series now that we finally have those up on Payhip. The problem was I had created those ebooks way back in 2012 when the software wasn't quite as nice, so I wasn't happy with the formatting, so it was a side project over a week or two to rip apart the formatting and get them all uploaded and you know looking nice, but that's done. If you use this coupon at my Payhip store you can get 50% off the ebooks in the entire series and that is WINTERTOWER and that will be WINTERTOWER, again, that's WINTERTOWER and you can find that in the show notes, along with links to the ebooks on the store. This coupon code will be valid until February 22nd, 2024. So if you're looking for something to read, we have got you covered.
Now here is where we are at with my current writing projects. I am almost done with the Sevenfold Sword Online: Leveling, the second book in My Sevenfold Sword Online Lit RPG series. I just have a couple more scenes to write in the last chapter and then I need to write the epilogue and then the rough draft will be done. It will be about 90,000 words or so. I haven't decided if it's going to be a long series yet or not, because as I've mentioned before on this show, the first book did not do as well as I'd hoped, and with a year's worth of sales data, now I think it's pretty conclusive the market for LitRPGs is pretty much entirely in Kindle Unlimited and audiobook.
So I'm hoping to have a audiobook for this soon after it comes out and I'm going to see how the book does and after the first 30 days I will decide whether it will be a trilogy with everything wrapping up with the third book, or if it's going to be a longer series, if it's viable to continue writing it, or if I should just wrap it up with the trilogy and move on. So that will be determined within 30 days after the book is out.
After Sevenfold Sword Online: Leveling is published, my next main project will be Ghost in the Veils and I'm actually 2,000 words into that. That will be the second book in my Ghost Armor series and that will hopefully be out before April because April is when the recording slot for that to become an audiobook is scheduled and I really, really need to have it done by that. I'm also about 22,000 words into Wizard Thief, which is the sequel to Half-Elven Thief back in December and that will come out sometime after Ghost in the Veils, probably not that long after Ghost in the Veils, because I'm pretty far into that book.
Since I mentioned before December 2023 was my best month ever for self-published audio, I should probably mention where I'm at with audiobooks. Right now, recording for Shield of Storms is underway and hopefully that should be out sometime in March, if all goes well. So that's where I'm at with my current writing projects.
00:04:10 Reader Question
Now we have a reader question this week from Nico, who asks: Hi, Jonathan. I have read several of your books on Audible (I suppose means he's listened to several books on Audible). Now I'm starting the Frostborn saga. Some time ago I committed a mistake and read the Dragontiarna saga without reading the previous sagas, now I'm starting Frostborn, but it is constantly mentioning Ridmark’s, previous adventures and I cannot find any books of this and I really don't want to make the same mistake as Dragontiarna.
Well, first thing, thanks for listening, Nico. I'm glad you're enjoying all those audiobooks. I think what Nico is asking is what is the proper order to listen or read the Ridmark and Andomhaim stories because it seems like he started with Dragontiarna and then went back to the older series. I have to admit, when I wrote these I had in mind that they would each be stand alone and readers could read the series or whatever order they like, but I found in practice after almost 11 years of doing this, that that is not the case and people prefer to read everything in order.
The proper order of the series is first the Frostborn series, second the Sevenfold Sword series, third the Dragontiarna series, fourth the Dragonskull series, and now fifth the Shield War series, of which Shield of Storms is the first book. Anything that Ridmark mentions about his previous adventures early in the Frostborn series is not something I've actually written. It's all like a back story to his character at that point that I haven't actually written, whereas if you're reading from Ridmark's perspective in Shield of Storms, and he mentions his previous adventures at that point, there's a good chance that this is referencing events that happen like Frostborn or Dragontiarna or Sevenfold Sword. As I mentioned, I did intend for each of these series to be entirely stand alone, but in practice it actually hasn't worked out that way. Though I am grateful that people keep reading them.
00:06:08 January 2024 Ad Results
Now, since it's the start of February and we're a couple days past the end of January, let's see how my ads did for January 2024 because, like it or not, if you're selling something online, digital advertising is an inescapable part of your business model for most people. As usual, I advertised on Facebook, Bookbub, and Amazon. We'll go through that list in that order.
First up, my Facebook ads. For Cloak Games and Cloak Mage, I got back $4.22 for every dollar I spent and 8.5% of the profit came from the audiobooks, which was a big improvement from past months. For the Ghost series, I got back $4.36 for every dollar I spent and 15% of the profit came from the audiobooks, probably because there's a lot more of them.
Next up is the Bookbub ads. I've only been advertising Frostborn there, though I might expand that to include the Silent Order series in February and March. For Frostborn, I got back $6.14 for every dollar I spent, with a whopping 49.9% of the profit from the audio. So I very nearly made more from the Frostborn audiobooks than I did from the ebooks in January 2024.
Now on to Amazon ads. I tend to target Amazon ads for individual books rather than series. In this case, Dragonskull: Sword of the Squire got back $2.05 for every dollar spent, with 44% of the profit coming from the audiobook. Sevenfold Sword: Creation, which I've been advertising in preparation for Sevenfold Sword Online: Leveling, got back $2.46 for every dollar spent, with 46% of the profit coming from the audiobook. Half-Elven thief, which currently has no audiobook, got back $3.27 for every dollar spent and finally, Silent Order Omnibus One back $15.60 for every dollar spent. I strongly suspect this was an anomaly due to Silent Order: Iron Hand having a big spike in free downloads for the month of January.
So once again, we see that having audiobooks makes it a lot easier to generate a profit on ads, especially if you have a completed audiobook series. Of course, as we all know, the effort and money to get to a completed audiobook series is immense. I suspect that's why AI audio is so alluring to people. Of course, in my opinion, it's a false allure, since I suspect the vast majority of listeners have gone from passively to actively hating AI audio and will actively avoid it, save for circumstances like it's the night before your econ or biology final and you have to drive 12 hours, so you might as well have your phone read the PDF file of your textbook aloud to you, that kind of thing. People do seem to be a bit more forgiving of AI audio in certain nonfiction scenarios like that. But overall, it seems like the listener base for audiobooks still strongly prefers human narrated audiobooks. If you are thinking about doing AI narrated audiobooks, probably should proceed with caution there. So as always, thanks to everyone who bought or listened to my books in the month of January 2024. Since we were just talking about ads, that seems like a good way to segue to our main topic this week: 5 marketing tactics that readers don't like.
00:09:29 Main Topic: 5 Marketing Tactics Readers Don’t Like
As I mentioned earlier in the show, online marketing is an inescapable fact of selling things online. If you are selling anything online, be it books or cosmetics or machine parts or nails or anything else, at some point, you're probably going to have to do some online advertising. However, the point of advertising is not to annoy people. The point of advertising is to introduce your product or service to people who would benefit from using your product, your service, people whose lives would be better for having you as your product or service. As authors, we want to introduce our books to people who will read them and enjoy them and have you know, perhaps the troubles of their lives momentarily lightened as they are able to read a book and enjoy an adventure story and take their mind off their troubles for a little while. That is the purpose of online advertising: to get your books in front of the audience that will appreciate them. Now where this goes wrong is if you are using marketing tactics that are annoying.
We can all think of examples of very annoying marketing tactics. In the Internet age, the pop up ad is one. If you go on the radio, the ads where the guy talks really fast about used cars and then he has a long disclaimer at the end. On TV or Internet videos, those ads for a pharmaceutical product that sounds like the villain from a Doctor Who episode in the ‘70s like Vondacraz, and how the end of the commercial if you take Vondacraz, there's a list of like 40 seconds of side effects, ranging from horrible tortures to death. Those commercials are also annoying. For books specifically, there are different things you can do in marketing that turns out to annoy your readers, which again is defeating the purpose of advertising. The purpose of advertising is to get your book in front of the audience that will benefit from or enjoy from reading the book. It's not to annoy the reader. Annoying the reader is a failure of advertising. So with that in mind, we would, we're going to take a look at five marketing tactics that readers don't like and then five ones that they do like.
So let's start with the five marketing tactics readers don't like, number one among them is when every Tweet/post/newsletter from an author is an ad or promoting the next book. You can all think of examples like that, where you go on an author’s Twitter feed or Instagram feed or Facebook feed and it's nothing but a wall of links advertising in their book. There's no interesting content there, nothing amusing, not even, you know, funny memes. It's just an endless wall of text of links leading to the book and that is both boring and annoying. If you follow an author on social media and then their feed is nothing but “buy my book, buy my book, buy my book” it’s very quickly going to be annoying and you're going to unfollow that author pretty quickly. A subset of this problem is where the author doesn't actually engage with readers on any of these platforms. I get a lot of Facebook comments on my Facebook page and I try to at least like all of them and you know respond to them when appropriate. And so I try to keep up with that. I'm not perfect but you know, I make good faith effort doing it. But if you never engage with anyone on your social media platforms, then what's the point of having a social media platform?
Frequency and aggressiveness of promo is also a huge turn off for readers. Aggressive, in your face sales tactics might work in a very limited number of fields, though I can't think of any of them, and they definitely don't work in books and selling books. If you get too aggressive, that is a huge turn-off for readers and they will go elsewhere. So that is also something to avoid.
Our second marketing tactic that readers don't like our book marketing/ blurbs that don't work. What do we mean by that? One thing is book marketing or a blurb that gives away too much of the plot. Like if you're advertising a murder mystery and the ad gives away the ending, there's really no point in reading the book now, is there? So you will want to avoid that.
Another thing is low energy copy where the book description or the text in the ad is just boring and drags and this is clear evidence that copywriting is a distinct skill from writing interesting fictional prose. So this is why doing a little bit of copywriting and practicing it and maybe taking like a, you know, short course online course on it isn't necessarily the worst idea for an author. Too many cliches strung together as a substitute for book copy, like for example “a sparkly friends to lovers, cozy fall young adult romance for fans of the Gilmore Girls, Happily Ever After guaranteed.” That is just a string of cliches joined together, and that is also boring ad copy. Finally lazy ad copy that doesn't actually reflect the desired audience but just tries to grab the latest buzzwords like “Game of Thrones meets Harry Potter meets The Hunger Games.” What does that even mean? Game of Thrones and Harry Potter and Hunger Games are all very distinct books that are very different from one another. The only remotely tenuous connection between Game of Thrones and Harry Potter is that both had magic, though the magic of Game of Thrones is way different than the magic in Harry Potter and Hunger Games isn't fantasy at all. It's basically dystopian science fiction. So you can see how joining together those different books into “Game of Thrones meets Harry Potter meets Hunger Games” is a very ineffective marketing tactic.
The third ineffective marketing tactic is poorly targeted ads/poor category choices, like a nonfiction book with ads targeted for genre fiction. This used to be a fairly serious problem on Amazon where someone would have the bright idea of putting their, for example, their romance novel in a very specific nonfiction category like custom woodworking. Amazon has a lot of little niche nonfiction categories like that, where there are a lot of specialist nonfiction that tends not to sell very much and only a few people who are interested in their specialist nonfiction. So what happened is like this romance author would put his or her book into specialist woodworking and then, you know, sell 2 copies there and you’re number one in the category. Then this author could go around boasting and saying, “hey, my book is number one in its category in Amazon,” even though it's in totally the wrong category and it's in a category of again specialist nonfiction where you only need to sell like you know two or three copies in a week to get to #1. Amazon eventually cracked down hard on that. So if you are publishing your book now, you'll definitely want to make sure it is in categories that at least correspond somewhat with reality.
This is also important in advertising because very often new authors, when they try to advertise, will be like, well, I want to advertise my book to everyone who's interested in books, and that is way, way too broad. The number one rule of thumb in digital advertising is that the more narrowed down you can get on your audience, the better your results are going to be. I write epic fantasy for the most part, and when I ever has my epic fantasy books on Facebook, I try to narrow the interest down as much as possible to like you know, people who have read George R.R. Martin, Robert Jordan, Brandon Sanderson, J.R.R Tolkien books in the United States and then I will use a very specific audience like that. Where this can really go wrong is if you are advertising your book to totally in the wrong audience, like for example you have written a really dark and gritty horror thriller and you're advertising it to an audience that enjoys reading happily ever after clean romance. The disconnect will be immense and you will, at best you'll just waste your money and at worst, you'll waste a bunch of money and get a lot of negative reviews. So that's why it's important to dial down your audience in your digital marketing as much as possible, as specifically as possible, because you're much, much more likely to get a better result.
The fourth ineffective tactic we'll discuss today is relying on things that used to work but are now obsolete or way less effective than other things a writer could do instead. Add most of these tactics are the expectation that the reader will be the one making the effort, which is a bad idea. You want the process of buying your book to be as smooth and frictionless as possible, to use another common ecommerce term. One example of something that might have worked once but doesn't anymore is book signings as a beginning/niche author. I've never done an official book signing in the (how long has it been now?) in the 13 years I've been an indie author and the 11 years I've been working on Ridmark books, I have never once done an official book signing and I do not think the lack of that has hurt me in any way because it's such an ineffective way to sell books. It's an enormous amount of energy to travel around, haul your books around with you, set the table, network with bookstores and so forth, and at best, you might sell one or two copies. Now, this is different for, you know, really big name writers like, you know Stephen King or Nora Roberts or Brandon Sanderson. They can do a book signing and expect to have a reasonable number of people. But even still it's still a lot of work because, you know, both Stephen King and Nora Roberts are both over seventy I believe, and not that interested in doing a lot of travel anymore. And even Brandon Sanderson, who isn't even yet 50, even after COVID did a lot less traveling, and now just has his yearly convention in Utah. I think it's called the Dragonsteel Convention, where his fans can come and, you know, do the book signing experience and the convention experience. and he doesn't have to travel around the country, because that is definitely something exhausting to do. I'd say book signings, except for very specific and very limited circumstances, are generally a waste of time.
Another thing that used to be effective, but is not anymore in the year of our Lord 2024, would be blog tours, where you go around to different people's blogs and give interviews and such like. Blogs are still out there. People still read blogs. I have a blog on my website I post on pretty regularly with writing updates. But as for marketing and selling books, it is really just a waste of time. You might sell one or two if you're lucky, but that would be too much work.
Another one that used to work but probably doesn't anymore is giveaways with complicated rules and multiple steps. Amazon has been in a lot of lawsuits involving its software patent on one click shopping. The reason Amazon is Amazon/has grown to such size and success is because it's made e-commerce experience as seamless as it can be, which is a lot harder to do than it looks. You can buy a ton of stuff on Amazon and all you really need to do is just click that on the Buy Now button and so long as your credit card on file is current, Amazon will ship you a bunch of stuff or send you Kindle ebooks or music or whatever to your digital account and then you're good to go. In fact, that's one of the rules for people who are setting up their e-commerce sites. You need to make the experience as smooth and seamless as possible because the more steps there are between the person deciding to want to buy the book and actually making the payment, the more likely they're going to say “this is too much hassle” and drop out.
The one exception I'd say to this is when you're setting up your newsletter, you do need to send a confirmation e-mail and this is automated with most mail providers. You do need to send that confirmation e-mail for what's called double opt in, because the European Union says we have to with the General Data Protection Regulation that they did a couple of years ago, so that would be a necessary step of extra complication that basically boils down to “the government says you have to.” But other than that, you should try and make any sales or any giveaways you do as seamless as possible.
Another thing that may have worked once upon a time but does not is Kindle lockscreen ads. If you have a Kindle e-reader or Kindle Fire tablet, you'll know that when you power it up, you usually have an ad on the lockscreen for a book or something and you can tap on it and go to the book. I have never heard of anyone having good success with those. And I strongly suspect the reason is because they're annoying. I mean, when you pull out your Kindle, you want to go read whatever book you're currently reading. You don’t want to get distracted with whatever else it is, and you just want to swipe the Kindle lockscreen ad either way, as fast as possible so you can get to your book. So Kindle lockscreen ads are also something I would review avoid.
The fifth and final ineffective tactic I would say is too many advanced reader reviews. They can come across as inauthentic or sponsored. For a while, some authors were doing with their advanced readers something saying “Hey, here's your advanced copy of the book. Be sure to leave your review, and here's some sample text for you can copy and paste for your reviews.” Doing too much of that comes off as inauthentic and it seems like you might just be as well hiring bots to leave reviews for your books, so it's probably best to avoid that.
00:23:31 Five Marketing Tactics Readers Tend to Like
No, we don't want to be all negative here, so let's flip the coin around and come to five marketing tactics that readers tend to like. Number one: behind the scenes about the process of writing (typical day) or steps to put out a book. I do this pretty frequently on my Facebook and website where I'll say you know, this week I wrote X number of words of Sevenfold Sword Online or today I worked on making the cover for this book or listened to the audiobook proof or did this or that related to writing. That usually is a good engagement because the main reason most people ( if you are an indie writer), the main reason most people come to your website and social media is to find out when the next book is coming. And so if you talk about how you're working on the next book, that is pretty good social media content right there.
Number two: humor and genuine engagement with the audience. Humor is subjective, so a low hanging fruit content for humor would be memes. I do enjoy a good Star Trek or Star Wars meme and you know, post them every so often, not every day obviously, because that would get excessive. But occasionally when I can't think of anything else to say, I fall back to a good old Star Wars meme. I do try to reply to comments. It's a good idea to do that. I don't get every comment because there's a lot of them. But if you make a good faith effort to reply to them, and you know at least engage with people, that is good. One thing I definitely do is when I have a new release day and post a link to the book, I do try to reply to everyone and thank everyone who says they bought the book that day. It does take a bit of time to do that, but since someone is spending actual hard currency on your book, it seems only proper to thank them for doing so.
Number three would be bonus content like cut scenes or bonus chapters or scenes from alternate character perspectives, or extra information about the books that way. The way I implemented that is the short stories I've written where a lot of the short stories, in fact most of the short stories are not vital to the main plot of the books, but are sort of like DVD extra scenes and then I give them away to my newsletter subscribers, which is very good for newsletter engagement and people do very much enjoy the free short stories because people always like free stuff.
Number four would be eye-catching covers and ads that fit the genre well. That is something that either comes with practice if you do your own covers or you need to pick a good cover designer and explain exactly what you want. Your book cover (when you have a book cover) has three missions and has to convey them all in under a second. And it has to..in under a second, a reader should be able to look at your book cover and see what the title is, what the author is, and what the genre is. If your cover meets all those missions and it looks decent, it is a good cover and it's meeting the mission of a book cover. If it doesn't do any of those things, it's time for a rethink.
And finally, the fifth and perhaps best marketing tactic of all is word of mouth, where people hear about your book within communities they already engage in regularly and are intrigued enough to go take a look at it. This is something you can't force. People have tried. It usually doesn't work, or if they get away with it for a little while it, tends to backfire. But word of mouth is a huge thing, and it's something that can only happen organically and over time, where people recommend your book to their friends or their other members of their online community on Facebook groups or Reddit or whatever.
So there you have it: five marketing tactics that readers hate, and five marketing tactics that readers tend to like. So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful and a quick word of thanks to my transcriptionist, who, in addition to transcribing in this episode, also help me pull together the research for it. I'll remind you that you can listen to all the back episodes on the show on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
December 2023 was my best month ever for my audiobooks, so I thought I would take a look at the best places to (legally) get free and low-cost audiobooks.
This week’s coupon is for the audiobook of GHOST IN THE HUNT as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE HUNT for 75% off at my Payhip store with this coupon code:
WINTERHUNT
The coupon code is valid through February 13th, 2024, so if you find yourself needing an audiobook to break up the winter doldrums, we’ve got one ready for you!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 185 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 27th, 2024, and today we're going to talk about how to find low-cost audiobooks. Before we get to our main topic, let's have Coupon of the Week. This week's coupon is for the audiobook of Ghost in the Hunt, as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Hunt for 75% off at my Payhip store with this coupon code: WINTERHUNT and that is WINTERHUNT and that will obviously be in the show notes. This coupon code is valid through February 13th, 2024. So, if you find yourself needing an audiobook to break up the winter doldrums, we've got one ready for you. So that is Coupon of the Week.
Now let's have a current update on my present writing projects. I am pleased to report that Shield of Storms, the first book in the new Shield War saga set in my fantasy realm of Andomhaim, is complete and it is out and published. You can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. Initial sales and reviews are positive, so thank you all for reading. A few people have asked when the audiobook is coming and recording should start for that on January 29th (Monday). So realistically, probably around March for the audiobook to be available.
Now that Shield of Storms is out, let's have a look at my next couple of projects. The next book I publish will be Sevenfold Sword Online: Leveling, and I am about 2/3 of the way through it. In fact, I think I might be closer to 70% of the way through it and so I am hoping to have that done before too much longer. I've had a year’s worth of sales data with the previous book and I think I've pretty definitively established that the LitRPG market is pretty much Kindle Unlimited and audio so Sevenfold Sword Online: Leveling will be in Kindle Unlimited and hopefully in audiobook before too much longer, if all goes well. We will see how that goes.
After that is done then I will write Ghost in the Veils, the sequel to Ghost in the Serpent and the second book in the New Ghost Armor series. I think that will probably be out towards the end of March or the beginning of April. It's scheduled to be recorded as an audiobook in April. So, I definitely want to have it out before that happens. I am also about 19,000 words into Wizard Thief, the sequel to Half-Elven Thief in December, and that…lately I've been adopting a model for writing where I have a main project that takes up 80% of my time and then do like 10% projects that I work on in the morning when I have my coffee. By the time I get done with Ghost in the Veils, I will probably be like halfway through or maybe even 2/3 of the way through Wizard Thief. So hopefully it should be out before too much longer after Ghost in the Veils is published. So that is where I'm at with all my current writing projects.
00:03:08 Main Topic: Legal and Cheap Ways to Get Low-Cost Audiobooks
So let's move on to our main topic this week: legal and cheap ways to get low-cost or free audiobooks. So why talk about that this month or this episode? Well, looking over figures, it looks like December may have been my best month ever for my self-published audiobooks, which I'm very happy about and now very grateful to all of you for. But as we all know, the economy is not good and it is not likely to improve anytime soon. So, budgets are tight for many, many people and so I thought it would be a good way to take a look at the free and legal ways to get free and low-cost audiobooks because obviously it's fairly simple to pirate audio books. I don't endorse that, and there's also always a measure of risk with that, because very often pirates will use fake pirated material to distribute, like, you know, malware and cryptocurrency scams and that kind of thing.
I remember a long time ago, back when I was doing tech support, I had a university student come to me very concerned that her computer had gotten a virus, and so I asked, how did do you think this happened? She said, well, I had to watch this movie for class, so I didn't want to pay for it. So I Googled where to watch a pirated copy of this movie online and I clicked on the first link I got and my computer is now filled with viruses. I don't know how this happened. This was not, needless to say, the most mysterious case I ever had to deal with when I was doing tech support back in the old days. So piracy, aside from the moral and ethical implications, can also carry a measure of risk. By contrast, the methods that we're going to talk about today are legal and should have no risk of infecting either your phone or your computer with various forms of malware or cryptocurrency scams.
So let's look at the best way to get free audiobook titles and the best way is the one of the most old fashioned ways: your local library system. I should note what I'm about to say applies strongly to the US, since that's obviously where I live, and that I'm most familiar with how things work here, so obviously things will probably work differently in different countries if that is where you live. In the US, there's usually two ways you can get audiobooks from the library. The library will either use a service called Libby, which is sort of a friendly user interface on top of a service called OverDrive, or the library will use something called Hoopla. Not all libraries will have Libby or Hoopla, though many of them will have some sort of service like Libby or Hoopla that provides ebooks or audiobooks. Be sure to check your local library's website to see if your library subscribes to these resources and to learn more about them.
One thing, if your library uses Libby/OverDrive is that there will probably be a wait list for newer titles or titles that suddenly get popular (like the the biography of Oppenheimer that inspired the Oppenheimer movie in the summer of 2023). It's not uncommon for a big release or very popular book or audiobook to have a wait list of a couple hundred people, though obviously if you're looking at older or less popular titles, the wait list will sometimes be shorter or no wait at all. Selection will also vary wildly by library.
The trouble with a lot of these ebook subscription platforms for libraries is that they're very expensive because the library’s essentially a captive market for the vendors. Libraries have to subscribe to the Libby platform and then buy additional titles for their patrons. And if you're familiar with the way the publishing industry works at all, you know that library editions are usually much more expensive than regular consumer editions. For example, a book that might cost a library like $9 in print can cost like $85 on Libby for a copy that expires after 26 checkouts or a similar level of set checkouts. That's often why libraries will only have one or two copies of a very popular title, just because it's so expensive. If they just bought copies for everyone who asks, it would rapidly deplete their budget.
The checkout and limits are set by the libraries and not Hoopla or OverDrive, so they vary from library to library. Like one library might have four checkouts per patron per month or another library system might allow ten simultaneous checkouts and ten items you can join the wait list for at the same time. It can vary quite a bit from library to library. So as the saying goes, your mileage may vary, but if you are looking for a low-cost way to listen to audiobooks and read ebooks, then the best place to start is probably your local library system.
Now let's move on from free to subscription products. Something new that's come up recently is that Spotify is offering audiobooks. They bought Findaway Voices a couple of years ago and basically imported Findaway Voices’ audiobook catalog into their platform, which includes quite a few of my audiobooks. And for a Spotify premium subscription, you get access to a library of audiobook titles included in the cost of an existing Spotify Premium subscription. It comes out to 15 hours a month per individual Premium account or per family account, and depending on your audiobook listening needs, one fifteen hour audiobook might tide you over for the entire month worth of commuting.
It is important to note that this does not include all audiobooks available on Spotify. Not all of them are available for this fifteen hour a month subscription and that Spotify does also offer what are called a la carte audiobook sales, where you just buy the audiobook on top of the subscription cost that you're already paying. So, if you're already paying for Spotify for your music listening, as apparently quite a few people do, this could be a fairly cheap way to listen to audiobooks on top of your Spotify subscriptions, as you're paying for that already anyway.
Another subscription option is Kobo Plus Listen where you pay about $8 US a month to access a collection of about 100,000 audiobook titles, and for an initial $2.00 a month you can throw in the entire Kobo Plus collection of ebooks. Kobo’s audiobook platform is relatively new, so it tends to have fewer frontlist and bestseller titles. Quite a few of my audiobooks are on there and I think the vast majority of my ebooks are in Kobo Plus as well. So, if you're looking for a low-cost way to listen to audiobooks, that could be a good way to do it.
Another option is a platform called Everand, which you may also know as Scribd, because that's what it used to be called until a couple months ago. For some reason, they decided to change their name from Scribd to Everand. Whenever companies do this, it's often very confusing and you always suspect that they paid too much money to an MBA consultant for some bad advice, but that is a tangent and let's not dwell on that. Everand has a slightly lower cost than Audible. It's $12.00 a month versus $15 for the lowest tier of the Audible subscription plan and that also includes ebook access.
However, it's not a truly unlimited subscription. There seems to be a limit that isn't advertised based on reports, and it's apparently frequently very frustrating to power users. In fact, back when Everand was still Scribd a couple of years ago, there was a bit of a minor kerfuffle where they started limiting romance power users because romance readers are famous for reading so many romance books and listening to so many romance audiobooks. And so they deliberately dialed that back and throttled it and it was a bit of a problem.
Audible also has what's called the Audible Plus lowest tier for their Audible subscription. For $8 a month, you can subscribe to Audible Plus and then you can listen to anything that's in the Audible Plus catalog, which does rotate fairly frequently, and things tend to move in and out of it. For a while, the first Dragontiarna Publisher Pack, which would be Dragontiarna Books One and Two, was in Audible Plus, and that did do a good job of driving sales to the rest of the series, but only the first audiobook was in Audible Plus, so it's kind of a loss leader for Podium to do that.
Now onto some low-cost a la carte options, where you’re just paying for the audiobook rather than subscribing. I have to admit my favorite low-cost option is Chirp. If you're familiar with Bookbub at all, Chirp works basically like Bookbub. Every day you get an email listing the low-cost and discounted audiobooks in genres that you indicated you like when you signed up for Chirp. There's no monthly costs, no recurring fees, anything like that. You just get email every day with a list of audiobooks that are currently on sale for a low cost, ranging from like $0.99 to $4.99 (depending on the title), which is usually a pretty good deal. So, if you're looking to stack up on some low-cost audiobooks, Chirp is a good way to go about it.
And if you don't mind a bit of a plug, another good way to get low-cost audiobooks is to listen to this podcast. If you will remember from the start of the show, I have Coupon of the Week for Ghost in the Hunt for 75% off, which comes to about…ah, the audiobook will cost you about $3.00. So listen to this podcast and watching for the coupon code is also a good way to get discount audiobooks, since I do use audiobooks for Coupon of the Week pretty frequently.
Finally, if you want to listen to some free public domain audiobooks (this is where the book has been in the public domain, and therefore anyone can make an audiobook of it for any reason), check out a website called LibriVox. That is https://librivox.org and it has a large collection of public domain titles which are all read by volunteers, but the quality may vary depending upon the equipment and technical competence of that particular volunteer, but they are free. If you can't find something you want to listen to at the library for free, this might be a good substitution.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I'd like to once again thank my transcriptionist for pulling together the research for this episode. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at why readers quit on a book, and what writers can do to avoid that.
This week’s coupon is for the audiobook of GHOST IN THE MAZE as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE MAZE for 75% off at my Payhip store with this coupon code:
WINTERMAZE
The coupon code is valid through February 3rd, 2024, so if you find yourself needing an audiobook to break up the winter chill, we’ve got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello everyone. Welcome to Episode 184 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 19th, 2024 and today we're going to talk about why readers might give up on a book. Before we get into that, let's have our Coupon of the Week. This week's coupon is for the audiobook of Ghost in the Maze as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Maze for 75% off at my Payhip store with this coupon code: WINTERMAZE and that is WINTERMAZE. That will be in the show notes along with the link to my Payhip store and the audiobook. This coupon code is valid through February 3rd, 2024, so if you find yourself needing an audiobook to break up the winter chill (and it is very cold today), we've got you covered.
Before we get to our main topics this week, let's have some updates on my current writing projects. The rough draft of Shield of Storms is done. It was 103,000 words and I am currently editing it. If all goes well, I am very much hoping to have it out either the last week of January or the first week of February (though as I look at my calendar app here, it turns out that it happens to be the same week), so hopefully it will be out sometime around that. I am also 2/3 of the way through Sevenfold Sword Online: Leveling, the second book in my Sevenfold Sword Online LitRPG series. That puts me at about 62,000 words of a planned 90,000. So if all goes well, that should be coming out very shortly after Shield of Storms. I am also about 14,000 words into Wizard Thief, the second book in the Half-Elven Thief series, and that will come out later this spring because I will need to write Ghost in the Veils first before I finish Wizard Thief. So after Sevenfold Sword Online: Leveling is done, Ghost in the Veils will be my next major project and we do have recording slots scheduled for both Shield of Storms and Ghost in the Veils, so hopefully those will, when they are done, be in audiobook form before too much longer.
00:02:07 Main Topic: Why Readers Don’t Finish a Book
Without any further ado, let's get to our main topic. I thought this week it might be interesting to discuss why readers don't finish a book or why they give up on a book and don't finish it. For me, that is a professional interest obviously, because I want people to read my books and enjoy them and you know, get to the end and then buy the sequel. So I thought it would be interesting to dig into why readers might not want to finish books. As I mentioned before, I have a transcriptionist working on my podcast now, and I'm very grateful for her help. She also did some research among various reader groups to find out why readers might give up on a book.
So the first interesting thing to look at is an old Goodreads survey back from 2013 discussing why a reader might not finish a book and it was interesting to break down the numbers. 15.8% will give up after fewer than 50 pages if they don't enjoy the book. 27.9% will give up between 50 to 100 pages. 7.6% will try to make it to 100 pages before they give up on the book. 100 plus pages, people will try to get through is 10.6% and 38.1% of people will finish a book they start, no matter what. Though as an indie author, our interest is in making sure that people like the book enough to buy the sequel, which is not likely to happen if they are getting through the book as a grim slog because they always finish the book, no matter what.
So what are some reasons that people will give up on a book or if they grimly grind through to the end because they started the book, what would be reasons they didn't enjoy the book, even though they are committed to finishing it? It turns out the number one reason people give up on a book probably will not shock you: it is that the book is boring. There's not enough action, not enough things are happening to draw the reader in. This is far and away the most common reason that people will give up on a book. Of course what constitutes boredom will vary from person to person obviously, but here are some common themes that we found: the book has too slow of a start or the book has too much info dumping or description at the beginning, the writing is just too confusing/dense, and the pacing is too slow or not enough is happening or action is not flowing.
Observant listeners might notice might have noticed that all these things kind of play into each other and they're in fact a bit interconnected. Too slow a start can occur if there is too much info dumping or there is too much description, or the pacing is too slow, or not enough is happening. There is a reason that many writer’s workshops and advice to writers recommend that new writers begin in media res, because it is much easier to hook the reader and hold their interest and then bring them in. That's another reason why writers often spend a lot of time analyzing and obsessing over their story’s opening sentence because they want to make it as interesting and compelling as possible to bring the reader in. So, as an experienced writer (I feel safe in saying that since Shield of Storms will be my 148th novel), what do I do to try and get the reader’s interest?
First of all, never ever start with the weather. There's a reason “it was a dark and stormy night” is a cliche. The weather is boring unless it directly impacts the plot in some way. Like just off the top of my head, let's say you're writing a thriller novel where the police are about to stop a drug bust with the Coast Guard on a ship, except the hurricane is coming up and it's raining. That is one of the few times the weather would be relevant to the beginning., but it's a good idea to avoid the weather.
Too much info dumping or description at the beginning is also something to avoid and you want to avoid this by parceling out just enough information to pull the reader's interest. It's always good to leave, you know, a few more cards in your hand, so to speak, in terms of plot reveals and to pull in the reader’s interest. It's good to start with action or if not action, since not every genre of fiction lends itself to, you know, shootouts and sword fights and battling wizards and so forth, is also good to start with something that would be emotionally significant to the character, like the main character gets laid off or a long lost family member shows up or something that would be or like the main character’s, you know, son or daughter gets expelled from high school, something emotionally significant that will draw the reader in. And if you can end the first chapter with not so much a cliffhanger, but a bit of a plot hook to continue pulling in the reader, that would be good to do. So, those tips and tricks will hopefully help you avoid a boring beginning to your book, and hopefully a boring book altogether.
The next most common reason people gave up on a book was that they simply were not enjoying it. This can be incredibly subjective for many reasons, and so you know, one man's enjoyment is another man's unendurable tedium. However, there are common things that you can avoid to keep people from not enjoying your book. One thing to avoid is not meeting genre expectations, where the more specific of a genre you are writing in, the more people have certain expectations. If you're writing a clean romance, for example, people will become very annoyed if you have explicit sex scenes throughout the book or for some reason you decide to put explicit violence inside a clean romance book, or if you are writing a urban fantasy novel and there is no one using magic and no fantastic creatures, that will very quickly turn the readers off. There are other common plot devices that people dislike, such as contrived misunderstandings or people who behave stupidly to service the plot. The common example of this is the hero suddenly doing something very dumb in the second act to advance the plot or the villain, who has previously been shown as very intelligent, suddenly doing very stupid things to allow the heroes to overcome him.
Another thing that people really tend not to like is explicitly graphic violence, especially against women, children, or pets. However, this is once again an area of subjective taste. The audience of people who find those things off-putting and disturbing is perhaps thankfully, quite larger than the sort of audience that prefers to read that kind of thing. So if you do write graphic violence like that, you are automatically cutting yourself out of a significant portion of your potential audience.
People also strongly dislike characters who are either blandly good robots or completely unlikable. This is tricky and comes with experience because you don't want to make your characters perfect with no flaws whatsoever. Only God is perfect and that does not apply to human beings, who all have a varied collection of flaws, so it can be tricky to have a character or protagonist who is compelling to the reader, but also has flaws in a believable way and the flaws aren't convenient to the plot, so to speak, which ties into an earlier point.
A significant portion of people do not like love triangles, which is funny because there's also a significant portion of people who do like love triangles, though I have to admit I did have a love triangle in the earlier books of the Frostborn series. It goes back to about 2014 now, and so ten years later, I still occasionally get angry emails about this love triangle I wrote to the Frostborn series ten years ago at this point. So that would depend on the kind of genre you're writing in and you would want to make sure that if you want to read love triangle, it might be in a genre that expects that sort of thing, like certain genres of romance.
Some readers also find false accusation plots incredibly stressful or anxiety provoking to read. I think this might be a case of being sure that is something that would work in the genre you're writing in, like in police procedurals, private detective fiction, and sometimes thrillers, false accusation plots are a standard trope. Like, you know, the private investigator gets hired by someone who believes they or they or a relative have been falsely accused of a crime and so the private investigator has to solve that. So that is again something to be aware of in the genre you're writing.
A subset of the audience doesn't like depressing or overly dark fiction, especially if they are not expecting that tone based on the book’s cover and or jacket copy. That is again would tie into last week's episode, which I think was Episode 183 (Transcriptionist’s Note: Yes, it’s Episode 183) where we talked about how when the important things of cover design is that the cover needs to match the genre and tone of your book in general. So if you're writing a book that's very depressing or tense, it's good to have a cover that will accurately reflect that, but that's another discussion.
And one thing that many readers dislike is sex scenes and profanity, though this is a very much a “your mileage may vary” topic. Some reader readers will stop reading the minute any of those things come up, so no matter what you choose to do, you're going to annoy someone. I occasionally get annoyed emails from Cloak Mage readers who dislike how much Nadia swears in those books when she gets upset, but the thing is, in my head I actually dial it down quite a bit because I feel like If I was writing in a more realistic way, Nadia is the sort of person who swear just a lot, especially if she gets annoyed or is angry about something. I actually dial it down from the way she sounds into my head to the way it turns out on the page so truly, your mileage may vary with this topic, and you may as well write what you think will work best for your genre because no matter what you write, it's going to annoy somebody.
Another thing that will get a reader to give up on a book is weak writing. And again we've entered the realm of subjective taste about what weak writing may or may not be, but there are some common themes. One thing that annoys people is bad world building and this can be if you're writing a fantasy novel, it can be the world doesn't make sense, if aspects of it are contradictory, or it seems too modern or too pointlessly anachronistic. World building also applies to contemporary fiction, especially crime and thriller fiction, where if you have obvious errors of fact in like how police agencies work or how firearms work or the process of investigating a crime. Anyone who knows anything about those things will spot those errors and probably get turned off.
Another thing many readers dislike is overly abstract or conceptual language or a book that is unnecessarily difficult for the sake of appearing clever or important. Aspiring literary fiction writers can fall into this trap quite frequently. People really dislike spelling and grammar mistakes or bad editing, though, to be fair, mileage can vary on this quite widely. Some readers, they have no interest whatsoever in typos. Some will absolutely lose their temper if they find a single typo in a book. So it behooves us as writers to try to have the best editing possible of our books. The thing with this though, is sometimes you will get emails from readers pointing out spelling errors or grammatical errors and it turns out according to the actual rules of grammar they're actually wrong. I've had this several times where someone would e-mail me complaining about a sentence or a spelling and I check it out and it turns out no, I actually was correct, they were wrong, and it turns out they were, you know, taught that way, you know, 50 years ago in 3rd grade and they learned it wrong back then because their teacher didn't know the proper rule and just has stuck in their head ever since. So this is an aspect of being a writer where you'll have to answer with diplomatic tact or not at all if someone emails you complaining about your book’s grammar.
Another thing readers dislike is characters who haven't been developed enough to understand their motivations or their actions don't match up with what has been established previously. This will tie back in further to a reason people don't enjoy the book, where characters will act against their previously established nature to advance the plot or the villains suddenly becomes stupid. Another thing people really dislike is clunky political or social commentary of current issues, especially random monologues from characters to express their opinions on a matter. This is something best avoided regardless of your opinion on any contemporary social or political topics. For one thing, it will alienate a significant portion of your audience. Another thing, it's very difficult to do well, and for a third point, it will age your book quite drastically and take readers out of the book.
I actually know a very good example of this I can use is the sitcom 30 Rock from the late 2000s and the early 2010s. I think the show's final season or second to last season was running during the 2012 election between President Obama and then former governor and now currently Senator Romney. And so one of the characters on the show was supporting Obama and another was supporting Romney and they tried to have some comedy based off their interactions and their opposing support for these presidential candidates. And the trouble is, it was kind of funny at the time but it's been 12 years since that. It is now very dated. And, you know, the world has moved on to new controversies and new elections several times. Former President Obama is now a former president who occasionally makes former presidential announcements. Mitt Romney is a senator from Utah. And so these jokes from 12 years ago about the election are very dated and just kind of clunky and not funny anymore. So it's good to keep that in mind if you want to comment about contemporary messages in your fiction, it can have many, many drawbacks and can easily backfire and alienate a significant portion of your audience. There's a great quote associated with the movie business that no one really knows who it was really attributed to, but I think it applies to writers as well: If you want to send a message, call Western Union and keep it out of your fiction.
A couple of random things as well. since we've covered the big things. Sometimes the print is too hard to read or the reader dislikes the font. This obviously is more of a problem for print books than for ebooks, where if you're reading an ebook you can usually change the font and the size of the font. So if you are making your own paperbacks, as most indie authors do, it's a good idea to pick one of the standard fonts, you know, one of the basic boring fonts that aren't going to annoy the reader who is reading your book. Another thing that can really annoy people is if your ebook is poorly formatted and doesn't render properly on a device, and this generally happens when someone is formatting an ebook and doesn't know how to do it, or they try to get clever with really fancy formatting and forget that it doesn't work universally across all devices, which is why it's usually a good idea to try and keep your ebook formatting as simple as possible, because that reduces the chances that something go wrong on the way a book renders on a particular device.
So that is a good roundup of things that may stop a reader from finishing a book. However, if someone dislikes your book for any of the above reasons, remember that all taste is subjective and that no matter how good of a book it is and no matter how well written your book is, there's going to be someone who dislikes it because you can't please everybody.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful and enjoyable. Quick note of thanks to my transcriptionist who did all the research. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at how to make a bad book cover, and things that you should avoid on your book's cover. I also take a look back at my top 10 bestselling books of 2023.
This week’s coupon is for the audiobook of CHILD OF THE GHOSTS as excellently narrated by Hollis McCarthy. You can get the audiobook of CHILD OF THE GHOSTS for 75% off at my Payhip store with this coupon code:
JANGHOSTS
The coupon code is valid through January 31st, 2024, so if you find yourself needing an audiobook to break up the winter doldrums, we’ve got you covered!
Reference links to books mentioned in the show.
The Fellowship of the Ring:
https://www.tolkienguide.com/modules/wiwimod/index.php?page=BREM+US+PB+FOTR
My Brilliant Friend:
https://www.amazon.com/My-Brilliant-Friend-Neapolitan-Novels/dp/1609450787
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 183 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January the 12th, 2024, and today we're going to talk about how to make a bad book cover. We'll also take a look back at my top 10 best selling books of 2023. Before we do that, let's have this week's Coupon of the Week. This week's coupon is for the audiobook of Child of the Ghosts, as excellently narrated by Hollis McCarthy. You can get the audiobook of Child of the Ghosts for 75% off at my Payhip store with this coupon code: JANGHOSTS. That's JANGHOSTS and that will be included in the show notes with a link. The coupon code is valid through January 31st, 2024. So if you find yourself needing an audiobook to break up the winter doldrums, we've got you covered.
Let's also have an update on my current writing projects. As of right now, I am 97,000 words into Shield of Storms, which puts me on Chapter 18 of 21, though the final draft will probably have a slightly different number of chapters as I move things around. I am hoping to get to 100,000 words before the end of the day when I finish recording this. We'll see how the rest of the day goes. Once Shield of Storms is out, my next book will be Sevenfold Sword Online: Leveling and I am 59,000 words into that and I will finish that up and have it come out relatively quickly after Shields of Storms is released. I'm also 12,000 words into Half-Elven Thief, but that will be a ways off yet because once Sevenfold Sword Online: Leveling is finished, I want to write Ghost in the Veils first so I can make its recording slot in April.
In audio news, as I mentioned last week, the audiobook of Sevenfold Sword Online: Creation is out, as excellently narrated by CJ McAllister and you can get that at all audiobook stores.
00:01:51 Top 10 Ebooks, Audiobooks, and Print Book Sales for 2023
As I mentioned before, I wanted to take a look back at my top ten books and audiobooks of 2023, and I did that because it's time to start figuring out taxes for 2023, which means checking paperwork, making sure your books are balanced, making sure all your receipts are properly organized, filing for 1099s, and all the other various little chores that go into preparing to file your taxes, at least in the United States. It also means finding out the top 10 bestselling books of 2023.
So to start with, here are my Top 10 bestselling ebooks of 2023. Unsurprisingly, it turns out that 2023 was the year of the Dragonskull series:
#1: Dragonskull: Talons of the Sorcerer
#2: Dragonskull: Wrath of the Warlock
#3: Dragonskull: Doom of the Sorceress
#4: Dragonskull: Crown of the Gods
#5: Cloak of Dragonfire
#6: Dragonskull: Fury of the Barbarians
#7 Dragonskull: Sword of the Squire
#8 Dragonskull: Shield of the Knight
#9 Dragonskull: Blade of the Elves
#10 Dragonskull: Curse of the Orcs
So basically my best selling ebooks of 2023 were the Dragonskull series plus Cloak of Dragonfire. This bodes well for both Shield of Storms, which is a direct follow up to Dragonskull, and Cloak of Titans later this year. Audio, of course, has become an increasingly important format, so here are my Top 10 bestselling audiobooks across all platforms for 2023:
#1: The Ghosts: Omnibus One
#2: Frostborn: The Shadow Prison
#3: Frostborn: The World Gate
#4: Frostborn: The High Lords
#5: Frostborn: The Dwarven Prince
#6: Frostborn: The Dragon Knight
#7: Frostborn: Excalibur
#8: Frostborn: The Gorgon Spirit
#9: Frostborn: The False King
#10: Frostborn: The Dark Warden
So for audio, 2023 was nearly almost entirely the year of Frostborn, but people still really like the big omnibus audiobooks like The Ghosts: Omnibus One. Paperbacks for me are a much smaller sales channel than either ebooks or audiobooks. I sell more in both ebook and audio than I do in paperback, but as it turns out, it's really easy to run the report of bestselling paperbacks. So with that in mind, here are my Top 10 bestselling paperbacks of 2023:
#1: The Windows Command Line Beginner’s Guide
#2: The Linux Command Line Beginner’s Guide
#3: The Ubuntu Beginner’s Guide
#4: Frostborn: The Gray Knight
#5: Frostborn: The Eightfold Knife
#6: Sevenfold Sword: Champion
#7: Dragonskull: Shield of the Knight
#8: Dragonskull: Doom of the Sorceress
#9: Malison: The Complete Series
#10: Dragonskull: Curse of the Orcs
So those were my top 10 bestselling paperback books of 2023. I don't really write about technology very much anymore, and I stopped shortly before I started recording this podcast in 2019. I enjoyed writing about technology quite a bit, but there are only so many hours in the day and the money is just a lot better for epic fantasy fiction, and there's less research involved, too. That said, I'm glad that people are still finding my tech books helpful enough to buy. My all-time favorite review of the Windows Command Line Beginner’s Guide came from a math professor who said he hated the book, but he couldn't find a better introduction to the Windows Command Line environment, and so he still recommended it to his students.
So thanks for reading those books, everyone, and as I said before, I'm still working on Shield of Storms, so hopefully we'll have a new book very soon.
00:05:34 Main Topic of the Week: What Makes a Bad Book Cover?
So let's move on to our main topic this week: how to make a bad book cover (from which we hopefully will learn how to make a good book cover). Since I started doing my own covers and spending a lot more time with Photoshop in 2020, obviously this is something I have given a great deal of thought to over the last four years and throughout the entire time I've been self-publishing. So I thought it would make an interesting topic for a show.
Let's start off with some specific examples of a bad book cover. One of the most famous ones is The Fellowship of the Ring cover by Barbara Remington, which Tolkien famously did not care for (I’ll include a link to it in the show notes, so you can follow if you're curious). It just looks very ‘60s, very psychedelic, and just not at all related to anything connected to what the Lord of the Rings is actually about.
Another fairly well-known example of a bad cover is the original cover of My Brilliant Friend by Elena Ferrante, which is a 1950s story about a woman coming of age in the poor outskirts of Naples. But if you look at the cover (especially the cover linked in the show notes), it looks like kind of a romance novel or a story about a wedding. It doesn't at all reflect what the book is actually about. So as we strive to make good covers, one that will draw readers into books, what should we keep in mind?
I think there are to start with three key points to keep in mind when preparing a book cover or consulting with your cover designer about what you would like your book cover to do. First, taste is highly subjective and that leads directly to the second point, which is you're not going to be able to make a book cover that everybody likes, just as you are not going to be able to write a book that everyone likes. The point is to write a book that your audience that you have in mind will enjoy and the cover by extension will be a sort of a guide that can help your audience find the book and let them know that this is the kind of book they would like, that the cover will telegraph in essence, that this is the kind of book that particular reader would like.
Three, the main thing is to provide key information about the book, namely the author and the title, easily and quickly with a quick preview of the book through the design of the cover. You want, when you look at a book cover, to immediately in a fraction of a second to be able to grasp the three important points: the name of the book, the author of the book, and the genre of the book. Those should all be immediately apparent when you look at the book cover and anything that gets in the way of that is not a good design element for a book cover.
So with that in mind, what shouldn't a book cover do and what design elements do you massively want to avoid on your book cover? First of all, you should avoid bad fonts or fonts that are hard to read. It's important to remember that in a book cover, two of the three things that it needs to convey at a glance are the author name and the title of the book. And if you have bad typography on your book cover, that will sink you. In fact, you can almost get away with having a bad looking image for your book cover, so long as the typography for the author name and the title is suitable.
So what constitutes an unsuitable font for a book cover? Colors that are hard to read and shall we say overly artistic or overly stylized fonts that are difficult to read. You know something like wingdings or some really overly complicated font with too many flourishes. You want the font to be able to be easy to read. You want the font to be a color that is easy to read and is visible against the rest of the cover. You don't want the font to be too small either, because then that will make it difficult to read. That ideal is even once in a thumbnail on the Amazon website that you can still pretty easily get the author name and the title.
You also will want to avoid design elements that clash. We can all think of examples of badly Photoshopped covers where there's like a Photoshop picture of a horse or cowboy or a Scottish Lord or something that is very badly Photoshopped in and doesn't look at all good. Part of that is avoiding images that are poor resolution. If any element of your cover looks pixelated, it's time to have a rethink and choose different elements. This can be a problem if you're getting stock photos from free stock photo sites, which is not the best idea because just because the site says the stock photos are free and licensed for commercial use doesn't mean that they actually are, because there's not really much of a safeguarding process. You're better off using a reputable stock photo site where you pay for credits and then keep a record of what you use. And that way, if there's any legal challenges or troubles you can say, well, the stock photo I got off iStock Photo in 2019. Here's the record of it and then you would be good to go.
Even if you have good images, it's important to make sure that the image matches with the genre of the book. If you have an image that does not match the appropriate historical time period of the book or the fantasy aesthetics, that won’t work. For example, you have a Regency romance book set in 19th century England and the woman on the cover is wearing a leather jacket and jeans, that would immediately be a bad cover design element. To return to the topic of The Lord of the Rings, you have a cover of the Lord of the Rings where Aragorn is dressed like a Wall Street broker and Frodo is wearing shorts, a t-shirt, and a backward baseball cap, that would also be a poor choice for cover design.
You'll also want to avoid major inaccuracies on the cover. This is not hugely important but it can significantly annoy a subset of readers. Like for example, a cover of Anne of Green Gables where the Anne on the cover is blonde when in the book Anne quite famously has red hair (and in fact it's a plot point, if I remember right).
You probably don't want to include ad copy on the cover because that is a waste of valuable real estate. Now granted, if you get, like an endorsement from like a major celebrity or some sort of significant author in your field, it's probably a good idea to put the blurb on your cover then. Like, if you are writing a mystery and say you get, like blurbs from like John Sanford or Harlan Coben or Karin Slaughter or other, you know, major mystery writers, you know, that's probably good idea to put that on the cover. However, if you're picking quotes off Goodreads or Amazon or something to put on your book cover, that's probably not a good idea. And you may not, in fact, actually have the right to do that based on U.S. law, because technically I believe the copyright for the review belongs to the person who wrote it. So that is something to avoid, you know, taking quotes from reviews from Amazon or Goodreads or TikTok or something, though you can probably make an exception if you like, get a major figure in your genre to endorse your book.
Finally, you would also probably want to avoid the default templates provided by Canva or Amazon. If you self-publish a book on Amazon and you don't have a cover, you can use one of the premade ones that Amazon provides. But to be honest, these are not very good and they don't look very good, so it's probably best to avoid those if at all possible. You'll also want to avoid book cover design elements that can actively irritate people. One of those is photographs of people, especially if it’s just a stock image. Generally, if you want a stock image to look good as a book cover, it needs to go through Photoshop quite a bit. It needs to, you know, make sure it matches the colors of the background. You might need some color adjustment. You might need some shading. You might need to apply a couple of masks to it to make it look properly good. This is actually one of the reasons why I started using DAZ 3D modeling because it's very hard to find a long string of stock photos with the same character you can use for book covers, whereas with DAZ, as you can generate a character who looks like how you want the character look and then use that over and over again in different poses and so forth and different shadings and different enhancements in Photoshop to keep consistent look across all the covers, which is what I've done for the Caina Ghost series and the Nadia Cloak Mage series, which would be a lot harder to do with stock images.
Something else that really tends to annoy people is shirtless men or women in overly revealing outfits. From a purely a publisher’s perspective, this can get you in trouble. If you have a book cover that's showing a little too much skin, the various retailers might reject it or you will be able to run ads on the book, or the system will automatically sort it as erotica, which would limit its visibility on the store and therefore its sales potential. One trend from the 2000s and 2010s that used to be popular but now no longer is, is stock photos where the character’s head is chopped off and you sort of just see them from the neck down on the cover. That was very popular for a while in the 2010s. It is not popular now and people might complain about your cover if you have that on there.
You may also want to avoid images are too abstract or too bland. I'm thinking about, like a lot of modern literary fiction covers have just random color swirls on the cover (it doesn't look good) or the rereleased versions of Robert Jordan’s covers for the Wheel of Time. They used to have this really beautiful fantasy artwork on them. Now it's just a vaguely faded symbol from the book. It just doesn't look good compared to the older ones, and I think there was a mistake on the publisher’s part.
You will also, in my opinion, very much want to avoid AI art. There's a couple of good reasons for this. One is that a very significant subset of the population absolutely hates AI art, refuses to have anything to do with it, and will not buy anything that uses it. Every time a major company like Wizards of the Coast or Microsoft or somebody uses AI art in some sort of advertisement, there is an immediate backlash on social media and you will want to avoid that. More practically, the copyright status of AI art is still a massively open question. As of this recording, which is January 12th, 2024, there are many lawsuits underway to determine whether or not AI generated art and text is in fact a form of copyright infringement, and as of right now, the question is unsettled.
A couple of months ago, Amazon started adding a check box to the KDP Publishing forum where you need to disclose if your book uses AI elements, and I strongly suspect part of the reason they did that was in case there's like a Supreme Court ruling in the US or a major piece of legislation that drastically changes the legality of AI generated art and text. Then they have an easy out to immediately wipe all that stuff off the store and say, well, we do our due diligence about this. You can't sue us. So for all those reasons, I do think it is a very, very good idea to avoid any AI images in any book covers or audiobook covers or anything you sell for right now.
00:17:39 What Should a Book Cover Do?
So let's move on from the negative to the positive. What should a book cover do? As we mentioned earlier in the show, the book cover has three missions. At a single glance, it should convey the author name, the book title, and the genre of the book. It is in fact fairly simple to convey a genre in a book. It's just the hard part is making it look good. Like for example, if you have a book with a dragon on the cover, obviously that's going to be fantasy. If you have a book with like a spaceship flying near a planet, that is going to be a science fiction book. In fact, I redid all the covers in my Silent Order series to be a spaceship flying near a planet after I read a joke about that in a Penny Arcade comic where one of the characters of comics says they only buy books with spaceships and planets on them, and I realized that would probably be the best way to convey what the Silent Order series was about. And in fact, sales did go up after I changed all those covers.
Other examples would be if you see a man and a woman looking longingly at one another, that's going to be a romance novel. If the character is wearing a long coat and has his or her back to the camera walking down a dark street, odds are you've got a mystery. If it's a highly edited photo of like the US Capitol or the White House or something, and the title is something like, you know, Patriot Fury, you're probably looking at a thriller novel. So there's lots of conventions to convey what genre book is and the best way to learn them is, you know, to read a lot and to look at a lot of different book covers, which is in the modern age, very easy to do as you scroll through Amazon or Apple or whatever. The text should also be as easy to read as possible, especially in thumbnail or smaller images, so you may have to make the text what feels like slightly ridiculously large, but so long as it's reasonably easy to read, then you'll have achieved the mission of the text.
And if possible, you want to hint at the plot without telling the story. A good example of that would be like an urban fantasy book where the cover shows a woman wearing a leather jacket and you know, magic glowing things glowing around her hand. So that hints at what the plot is going to be about or like a thriller novel where you see a woman in like a tank top and combat pants holding a combat knife and a pistol that hints that is going to be a thriller novel and she'll be, you know, fighting for her life.
Finally, the last point is fairly subjective and hard to do, but, if possible, you want to balance uniqueness with being familiar enough where people understand the genre at a glance. You don't want to copy someone else's design for many good reasons, but you want to have one that both expresses the genre of the book yet somehow is a little bit unique and that is something you try to strive for, if possible, with the book cover.
So that's it for this week. I hope those tips were helpful. I would just like a minute to thank my transcriptionist. As you might have noticed on The Pulp Writer Show website, we now have transcriptions of the newer episodes and she helped me pull together the research for this episode, so thank you for doing that. Thanks for listening to The Pulp Writer Show. I hope you found this show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe, stay healthy, and we'll see you all next week.
In this week's episode, I take a look back at my ten favorite scenes to write in 2023. I also discuss how my advertising efforts fared in December 2023.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 182 of the Pulp Writer Show. My name is Jonathan Moeller. Today is January the 5th, 2024, and today we're going to talk about the favorite scenes I wrote in 2023. We also have an update on how my ads did for my books in December 2023. This is the first episode I'm actually recording in 2024, so Happy New Year to everyone. If you are listening now, however 2023 treated you, I hope 2024 treats you even better.
Before we get to our main topics, let's have an update on my current writing projects. My main project right now is Shield of Storms and I am 71,000 words into it. I'm hoping I can get that out in January. It might slip to February. We will see how the rest of the month goes. My side projects right now: I am also working on Sevenfold Sword Online: Leveling and I am 55,000 words into that. That will come out after Shield of Storms, so February or March depending on how long Shield of Storms takes to write. And I am 8,500 words into Wizard Thief, which is going to be the sequel to Half-Elven Thief from December. Not sure when that one's going to come out. I have to write Ghost in the Veils first because I have a recording slot scheduled for that in April that I really need to meet, but so it will probably be late spring, if all goes well.
In audio news, the audiobook for Sevenfold Sword Online: Creation is now available at all the usual audiobook stores except Apple, and it should be showing up there later. It's narrated by CJ McAllister, comes to just under 10 hours long, and it's a very good audiobook and worth the listen. So if you have spare credit to or some audiobook money to use, I recommend giving that a chance, and that is where I'm at with my current writing projects.
Before we get to the main topic, let's see how ads did in December 2023. Advertising in December is always tricky, both for authors and regardless of what business you're in because every consumer facing business in the world is dumping a ton of money into ads for Christmas and so the cost gets all screwy. But I'm pleased to report some good results for December.
First, let's see how the Facebook ads did. For the Ghost series, I got back $4.82 for a dollar I spent, with 16.7% of the profit coming from the audiobooks. For Cloak Games and Cloak Mage, I got back $6.42 for every dollar I spent, with 6% of the profit coming from the audiobooks. For Malison and Dragontiarna, I got back $1.82 for every dollar spent. For Silent Order, I got back $1.98 for every dollar spent. I think for January, I will shut off the Facebook ads for Malison and Dragontiarna and Silent Order and let them rest until the next time and get a Bookbub for one of them.
Next up, let's see how my Bookbub ads did. As before, I advertised Frostborn on Bookbub and for Frostborn I got back $6.52 for every dollar spent, with 37% of the profit coming from the audiobooks. Complete series of audiobooks seems to do really well on Bookbub. I need to expand my targeting data for the platform so I can advertise Ghosts there as well, and maybe urban fantasy and perhaps science fiction at some point.
Finally, let's look at my Amazon ads. This month, I advertised Dragonskull: Sword of the Squire, Cloak Games: Omnibus One, and Sevenfold Sword Online: Creation on Amazon ads. I'm not entirely sure how Sevenfold Sword Online: Creation did, because the audiobook came out and I'm not entirely sure what the per sale rate for that is going to be, but I think that ad doubled its money, but I'm not entirely sure. For the ones I am sure about, here's how they did. Dragonskull: Sword of the Squire got back $3.06 for every dollar spent, with 18% of the profit coming from audiobook. Cloak Games: Omnibus One got back $3.63 for every dollar spent, with 22% of the profit coming from the audiobook. So, overall I think it is safe to say that my December campaigns went pretty well. So thanks for reading the books, everyone and hopefully we'll have more books to come very soon.
00:04:15 Favorite Scenes of 2023 (SPOILER WARNING FOR REST OF PODCAST)
Now our main topic of the week: my ten favorite scenes that I wrote in 2023. First, I should note very strongly that this podcast episode will have spoilers for every single thing I published in 2023, so stop listening right now if you're not caught up and you want to avoid spoilers. That said, I thought it would be interesting to look back at 2023 and talk about some of the favorite scenes to write from the past year. As an added bonus, when I prepared this list, it turned out to be 10 scenes, which is convenient since all the news sites from their top ten articles in December and January anyway. Reminder: spoilers, and there are spoilers after this point. And here are my favorite scenes of 2023, in no particular order.
Number One: when Nadia bursts through the roof with Delaxsicoria in Cloak of Dragonfire. That was a fun one to write. I used to joke that I originally intended Nadia's character arc to be a bad person, reluctantly and against her will slowly turned into a good one. But what her plot arc actually turned out to be was Catwoman slowing turning into Gandalf. Exploding through the roof of an athletic complex to save the day while riding a dragon was definitely one of the more Gandalf-esque things that Nadia has done. The scene immediately after that where Nadia, Delaxsicoria, Varzalshinpol, and Tarthrunivor all chase Ferrunivar through the skies of southern California was pretty great as well.
Number Two: Caina deduces who Kalliope Agramemnos is in Ghost in the Serpent. I have to admit, for a while I knew it was likely that Caina would have stepchildren she didn't know about since she's married to Kylon, who used to strive to be a model Kyracian noble and Kyracian nobles in general tend to regard abstinence as something to be avoided at best, and a disgraceful vice at worst. Not their most admirable character trait. But for a while I didn't know how to write that situation in a way that would be interesting.
If the mother died and Caina was left to raise the stepchildren, that would be lazy writing. It would also be lazy writing if everyone got along. There is an apocryphal story that for a while in the 2000s, all these newly remarried middle-aged screenwriters kept pitching sitcoms where a screenwriter, his new younger wife, and his ex-wife all lived in harmony together. The studio executives, who as a class are not always known for their firm grasp upon reality, always rejected these ideas because they knew a majority of the female half of the audience would absolutely hate it. So a scenario where Caina, Kylon, and Kalliope all got along seemed likely equally lazy writing.
But what if Kylon and Kalliope couldn’t stand each other? And Kylon had further grievances against Kalliope because she had never told him about the children? But Kalliope ends up being in awe of and a little frightened of Caina? So the dynamic is that Kylon and Kalliope can’t stand each other, but Caina keeps the peace between them? I thought that might turn out to be pretty interesting to write and Ghost in the Serpents sold enough that I think people agree with me. It's also interesting to write because this is happening while Caina is one of the few people who know how dangerous the Cult of Rhadamathar really is. But more about that to come in future Ghost books.
Number Three: Delaxsicoria tells Nadia not to be so hard on herself in Cloak of Dragonfire. The unlikely friendship between Della and Nadia has been fun to write throughout the Cloak Mage series and side stories. From Della’s perspective of course they would be friends – Nadia caught the murderer of her uncle, and Nadia is wound up tighter than a spring and doesn’t relax very much. Nadia, of course, is a little baffled by this, especially since she doesn’t really have any interest in music, which is Della’s great passion. So they have a great dynamic, and we’ll see more of that in future books.
Number Four: Sir Telemachus and Niara kill Mharoslav in Dragonskull: Wrath of the Warlock. This was fun to write because Mharoslav always got away from or at least got the best of the heroes in their previous encounters, including nearly killing Telemachus in the process. Telemachus decided that he would sacrifice himself in seeking vengeance against Mharoslav and save his friends in the process. Then he met Niara. Niara comes from the General Patton school of warfare – dying for your country is a fine thing, but it’s way better to make the other jerk die for his country. Her utter loathing for all wielders of dark magic played into that as well, allowing her to show the way for Telemachus to defeat Mharoslav at last.
Number Five: Myotharia versus Xothalaxiar in Dragonskull: Doom of the Sorceress. I have to admit Myotharia was originally going to die in the final battle of Dragonskull: Fury of the Barbarians, but she was such a great character that I felt I could get more narrative mileage out of the poor woman. I always knew from the beginning of the series that Niara was going to have to fight Xothalaxiar for the final time, and Myotharia lost everything to the urdmordar. So I realized that having Myotharia join the fight against Xothalaxiar would give her a sort of emotional catharsis, and help set Niara onto a path other than seeking her own death in battle.
Number Six: Thunderbolt. I lucked out with Thunderbolt’s character in the Silent Order series. I charted out the rest of the Silent Order series way back in 2021, which is when Thunderbolt was first mentioned in Silent Order: Royal Hand. I originally envisioned her as the sort of classic Star Trek Evil Sentient Computer, the sort of computer Captain Kirk would have to talk into a logic loop every other week.
But then in 2022 and 2023 ChatGPT and Bing Chat came along, and they were terrible! For a while, the various insane ramblings of ChatGPT and Bing Chat regularly made the news. So when it was time to write Silent Order: Thunder Hand, I based Thunderbolt’s personality off some of ChatGPT’s more hilarious public meltdowns, though I left it ambiguous just how insane Thunderbolt actually was and how much of her behavior was just screwing with people to put them off their balance. By the end, Jack March definitely suspected the latter.
Number Seven: The Battle of Calaskar. The entire Battle of Calaskar sequence in Silent Order: Pulse Hand was fun to write because I’ve been thinking about it for ages, since I’ve had a clear endpoint for the Silent Order series in my head for a while. I liked how it was able to bring back Admiral Stormreel, the Navigators, the Calaskaran Navy, and a bunch of other elements from the series for the Grand Finale.
Number Eight: Gareth Figures out the Dragonskull. I also liked the final confrontation with Azalmora in Dragonskull: Crown of the Gods. Azalmora was such a self-controlled and intellectual villain that I wanted her demise to be intellectual, a sort of a moment of revelation that kills her. When Gareth figures out the nature of the Dragonskull itself and the way the xortami twisted it with their dark magic, he’s able to use that against Azalmora, and in her final moment she understands the true nature of the Dragonskull, albeit briefly.
Number Nine: Riordan MacCormac vs Michael Durst. This was a fun scene to write in Cloak of Embers. Durst had been an arc villain over the last few books. He proudly considered himself a monster, but then he had the bad luck to start working for Maestro, who was just as evil as he was but without any of his self-destructive indulgences. So it was little wonder that Durst found himself dragged into Maestro’s orbit, even if he didn’t realize what was happening. (The scene where Durst goes to kill Maestro and instead she talks him into doing exactly what she wants was also pretty great to write.)
Even if Durst didn’t want to kill Nadia, Riordan would still have fought him to the death, because Durst represents a rejection of self-control and responsibility, something Riordan finds utterly abhorrent. And unlike Durst, Riordan knew that a moment of reckoning was coming, which was why he practiced and trained so much with Sir Trandor, while Durst simply went begging to the Dark Ones for power, so the final showdown between Riordan and Durst was quite fun to write.
And finally, Number Ten: Rivah and the Magister’s Tower. When I plotted out Rivah’s heist of Ramarion’s tower in Half-Elven Thief, I didn’t get too detailed in my outline as to what the inside of the tower would look like. I just knew I wanted it to be as weird and freaky and unsettling as possible, with a lot of Evil Wizard Stuff cluttering up the place. Several people have told me Rivah’s venture into the tower was their favorite part of the book, so I think I succeeded.
So those were my ten favorite scenes that I wrote in 2023. Thanks for reading, everyone. So that's it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoy the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at the movies and TV shows I watched and enjoyed in winter 2023.
TRANSCRIPT
00:00:00 Introduction and Brief Writing Updates
Hello, everyone. Welcome to Episode 181 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December, the 22nd, 2023 and today we're going to talk about the movies I saw in Winter 2023. Careful listeners might notice that I am recording this on December 22nd, which is actually only a day after I recorded Episode 180, which I recorded yesterday. The reason for that is it is the last Friday before Christmas and New Year's today, and I think I'm going to take most of the days between now and New Year's off and spend time with family and hopefully do other fun things. So this episode I was just recording a couple episodes in advance and I believe this episode is going to go out on January 1st, 2024. So if you're listening to this, I hope you have a Happy New Year and however things went for you in 2023, whether good or bad, I hope they are better in 2024.
Just a quick update on my current writing projects, since I am recording this episode the day after I recorded Episode 180, not much has changed. I am 40,000 words into Shield of Storms and I hope to have that out in January, which would be later this month (if you are listening to this in January). I am 51,000 words into Sevenfold Sword Online: Leveling and I'm hoping to have that in February. I am 4,000 words into Half-Elven Thief and I'm not sure when that's going to come out. One additional bit of news since yesterday, it looks very likely we will have an audiobook of Sevenfold Sword Online: Creation sometime in January, if everything goes well. So watch and listen for additional news on that. Since I don't really have any other news since I recorded last week's episode yesterday, let's get into our main topic, which is the movies and TV shows I watched in Winter 2023.
00:01:54 Main Topic: Winter 2023 Movie and TV Reviews
As always, I will discuss them in the order that I like them from least liked to most liked and as always remember my opinions about this are subjective. I am not a filmmaker. My opinions are often very, very idiosyncratic and just what I happen to think of a particular piece of work. First up is The Crown Season 6, which came out in 2023. The performances were superb, the actors were excellent, the set design and cinematography was excellent. Everyone involved in the show was at the top of their field and did an amazing job. And I still just didn't like this because it felt a bit ghoulish. For one thing, as The Crown has gone on, it's become less historical and more of a messy soap opera with an increasingly casual relationship with what really happened in the events it describes. For another thing, as I mentioned, I found the show's fixation on Princess Diana’s death to be rather ghoulish. I am old enough to remember her death in 1997, and even then when I was much younger and stupider, I thought the American media's obsession with her death was weird and disturbing, especially since the media fixation on her was the direct contributing cause to her death. If the media hadn't been willing to pay vast sums for photographs of her, the paparazzi wouldn't have chased her and history would be different. A while back I knew a history professor who said that history only starts between 20 to 30 years ago and anything that happened within the last 20 to 30 years wasn't history yet, it was still journalism. I think that is part of what bothers me about Season Six of The Crown. Most of the people involved in the story are still alive. Writing historical fiction about people who have died, who have died is one thing, especially if they've been dead for centuries or even millennia. Only God may judge of the dead, so what those of us among the living think about them is quite irrelevant. But making up fiction about people who are still alive, even if they are major public figures who have unquestionably made some bad decisions, somehow seems libelous, especially since there have been so many articles in both the UK and the US press detailing all the things that Season Six of The Crown got wrong with the historical record. So to sum up, the show is extremely well done, but I cannot help but feel that it's like excellent work done in a bad cause. Overall Grade: D.
Next up is Shazam: Fury of the Gods, which came out in 2023. The first Shazam movie was actually pretty good, definitely in B or B Plus territory. The sequel, alas, was quite a bit weaker. It reminded me of watching a really cheesy sword and sorcery movie from the 1980s: fun to watch mostly, but quite dumb. Following up from the first movie, Billy Batson and his foster siblings are now part of the Shazam superhero family and are handling their powers about as well as you would expect inexperienced teenagers to handle phenomenal cosmic powers, except it turns out that the wizard who gave Billy and his family their powers actually stole those powers from the Greek Titan Atlas and Atlas's daughters are ticked off about this and want those powers back. Since this is a superhero movie, let's just say they're not going to settle this dispute in probate court.
The product placement for the Skittles candy in this movie was just over the top. In fact, an entire major plot point hinges on a teenage girl’s love of Skittles. One hopes that Mars Incorporated, owner of the Skittles brand, really coughed up for that. Helen Mirren chews a lot of scenery as the chief daughter of Atlas, though she does have a very funny bit with a dictated letter. This isn't her first time in an over-the-top fantasy movie. She played Morgana in Excalibur back in the 80s, though her costume this time covers quite a bit more than Morgana’s various outfits did. The movie also leans way too heavily into the rest of the DC movie universe. I'd say it's enjoyable to shut off your brain and watch all the sparkly fireworks and the scenery chewing, but it’s not very good. Overall Grade: D+.
Next up is Clue, which came out in 1985. Big swing and a miss, but definitely a miss nonetheless. I tried to watch this about ten years ago, but the version I watched then didn't have any captions and all the characters talked too fast for me to understand. But I have a much better TV than I did ten years ago and the caption situation has improved, so I gave it another go. This is a dark comedy version of the popular board game Clue. All the classic Clue characters, Colonel Mustard, Professor Plum, and so forth are summoned to Mr. Boddy’s mansion during a dark and stormy night. Mr. Boddy gloats says he has been blackmailing all of them, distributes the classic Clue weapons of the pipe, the knife, the wrench and so forth, and then promptly turns off the lights. When the lights come back on. Mr. Boddy has been murdered. Mr. Boddy, to be blunt about it, doesn't seem to have been all that bright a bulb. Anyway, madcap hijinks ensue as the guests try to figure out who the killer was.
Three alternate endings are included with the movie, which have a different killer in each one. There were some very funny bits in the movie, but overall it really didn't work and it had some oddly heavy-handed commentary about the Red Scare. Tim Curry was pretty great in it though. Fun fact: he did an excellent turn as Darth Sidious in what was then the final episodes of The Clone Wars animated series, and he also played Arl Howe, one of the chief villains in Dragon Age: Origins, which was one of the last video games I had time to play through all the way before I spent the next fourteen years writing like 147 novels. A remake of Clue has been in production hell for like the last ten years. You just know that Hasbro wants to include Clue in their cinematic universe where Colonel Mustard and Miss Scarlett team up with Optimus Prime and GI Joe to fight Megatron and the Monopoly guy or something. Overall grade: C Minus.
Next up is Murder Mystery, which came out in 2019. This was unquestionably a dumb movie, but it was a fun, dumb movie. Like it's a C Minus student, but it's a sort of C Minus student who everyone likes, throws great parties, and goes on to have a very successful career as a regional sales manager. Adam Sandler and Jennifer Aniston play Nick Spitz and Audrey Spitz, a New York City cop and a hairdresser. Nick has failed the detective exam multiple times and has gotten stuck in a rut, and Audrey really wants to go to Europe so Nick takes her to Europe and they promptly blunder into a ‘40s screwball style comedy about the murder of a wealthy European oligarch and his squabbling heirs. A lot of the comedy comes from the good-natured, but boorish Spitzes contrasted with the sophisticated, wealthy Europeans who promptly decided that Nick and Audrey would make the perfect scapegoats to take the fall for the oligarch’s murder. Wacky hijinks follow. I do have to respect how Adam Sandler uses his movie productions as an excuse to travel to exotic locations with his friends. Overall grade: C Minus.
Next up is the sequel to Murder Mystery, the aptly named Murder Mystery 2, which came out in 2023. It's the sequel to the first Murder Mystery and pretty much everything I said about the first one still applies-dumb, but fun. Overall grade: C Minus.
Next up is Indiana Jones and The Dial of Destiny from 2023 and ah, I was very ambivalent about this movie. To be fair, it was better than Kingdom of the Crystal Skull. It had some stuff that was really good and some stuff that just annoyed me. The opening sequence with the train during World War II was great- classic Indiana Jones stuff. The Nazis try to time travel to change World War II is a well-established trope of science fiction, but the twist this time is the villain thinks he understands how the time travel device works, but it turns out that he actually doesn't was pretty good. The car chases were excellent as well, both in New York and Tangiers. That said, the legacy protagonist now is an old loser getting lectured by a more competent younger woman story trope was in full force, and it's a really annoying story trope. Disney seems to just adore the story trope: the Star Wars sequels, Secret Invasion, and now Dial of Destiny, and I suspect a majority of audiences agree with me and don't like it, which is probably one of the significant reasons the Disney Corporation lost a metric gigaton of money this year. Top Gun Maverick was a much better example of bringing back a legacy protagonist.
Indy also has this oddly out of character speech where he says he doesn't believe in magic, which is rich considering he has literally seen The Ark of the Covenant melt Nazis, the power of The Holy Grail turn another Nazi to dust, and space aliens. So I would say that Indiana Jones and The Dial of Destiny was half a good movie and half a weak one. Overall grade: B Minus.
Next up is the Barbie movie, which came out in 2023. I saw Oppenheimer in the theater in August after I finished working on Dragonskull: Crown of the Gods and a couple months ago I did finally get around to seeing Barbie. Greta Gerwig is clearly a genius because she figured out how to take the existential anxiety of the modern American woman and convert it into $1.44 billion at the box office. If we could work out how to apply the same principles to generating electricity, we would have limitless clean energy, flying cars, and World Peace. Though I suppose the phrase modern American woman really is a facile generalization. Anyway, I really wasn't in the target demographic for this movie. That said, it is quite funny. It's a fantasy comedy that's a bit surrealistic in places. The set design is superb and done with very little computer effects. Apparently so much pink paint was used that it actually caused a nationwide shortage. As many reviews said, Ryan Gosling almost stole the movie as Ken, which was amusing on a meta level because he's played so many grim action heroes. In the third act, the movie really does beat the viewer over the head with the message. But what else can you expect from a Barbie movie in 2023? The funniest line was “How can she call me a fascist? I don't control the railways or the flow of commerce.” The joke about Proust Barbie not selling was pretty funny as well. Maybe if the Barbienheimer meme continues, in the sequel, Proust Barbie can fall in love with Oppenheimer Ken, and they have grim conversations about existentialism and science. Overall grade: B Plus.
Next up is Muppet Treasure Island, which came out in 1996. This is a loose-ish adaptation of the classic novel Treasure Island by Robert Louis Stevenson, with many Muppets filling the roles of the characters from the book and Tim Curry playing Long John Silver. Like in the book, young Jim Hawkins acquires a treasure map leading to the buried treasure of a ruthless pirate captain and sets out on an adventure to find it. However, many of the dead captain’s former associates likewise want the treasure, so Hawkins and his allies must outwit their foes. This wasn't quite as good as Muppet Christmas Carol, but still quite enjoyable and funny. Overall Grade: A Minus.
Now for the runner up of the best thing I saw in winter 2023 and that will be Loki Seasons One and Two, which came out in 2021 and 2023. I liked the first season of Loki, which came out back in 2021, but it was very obviously the first half of the story so I didn't write anything about it. However, I've seen the second season and the completed Loki show is very good. As I've written before, I don't really like multiverse or time travel stories because the stakes are either too vast or utterly meaningless. Time travel stories are a lot like homemade lasagna: if it's not excellent and not prepared by someone who knows exactly what they're doing, you're going to regret eating it. However, Loki leads hard enough into the concept, and the stakes that the show actually works. Like, I think the key question that every time travel story needs to answer at some point is why the time traveler doesn't just go back in time over and over again until she he or she fixes the problem, like remoting a saved game until you finally figure out how to beat the final boss. If you can time loop indefinitely, why not do it infinitely until you get the perfect outcome? Loki actually comes up with good answer to that question that isn't “because the plot requires it.”
Anyway, the show starts with the version of Loki who escaped with Tesseract from Avengers Endgame getting captured by the Time Variance Authority. The TVA is basically the time cops. They guard the flow of The Sacred Timeline and prevent any alternative timelines and realities branching off from the main one. The events that make it out of The Sacred Timeline are determined by the Timekeepers, three mysterious figures who rule the TVA from the shadows. Loki manages to ingratiate himself to his captors, soon realizes that the TVA isn't all what it appears or claims to be, and discovers that big trouble is coming. The show had some good character development for Loki and managed to wrestle with what is in fact some profound philosophical questions. Is there a choice between determinism and free will? Must we choose between either brutal tyrannical order or destructive chaos, or is there another way? On a more prosaic level, some reviews said that the finale of Loki bound Marvel to using Kang The Conqueror as their next major villain, which would be a potential problem due to the actor’s ongoing self-inflicted legal troubles. That said, I don't think that assessment is correct. In my opinion, the ending resolves the story while leaving things wide open for whatever Marvel wants to do (or can afford to do, given Disney's financial woes) next. Overall, Loki was the best non-Spiderman thing Marvel has done since Endgame. It also achieved one of the rarest feats of all in superhero movies: an emotionally satisfying ending to both the story and a long character arc. Overall Grade: A.
Finally, the best thing I saw in Winter 2023 was The Shop Around the Corner, which came out in 1940. It is a romantic comedy starring Jimmy Stewart as Mr. Kravlik and Margaret Sullivan as Miss Novak. Mr. Kravlik is the top salesman at Matusek’s, a store owned by the somewhat erratic Mr. Matusek, who kind of reminded me of a marginally brighter Michael Scott. One day Miss Novak comes into the shop and fast talks her way into a job as a sales clerk. Both she and Mr. Kravlik immediately take a dislike to each other, which is ironic because Mr. Kravlik and Miss Novak have been unwittingly corresponding with each other anonymously and falling in love over the last few months, which was something people used to do in the pre-Internet age before Tinder and Match.com. However, big trouble is on the horizon because one of the sales clerks is having an affair with Mr. Matusek's wife and Mr. Matuszek mistakenly blames Mr. Kravlik, who is in fact the most loyal of his employees and the only one brave enough to disagree with him.
The movie was both very funny and had a real degree of tension with dramatic stakes. It's a cross between You've Got Mail (which was partially inspired by this movie) and the UK version of The Office. It's a very tight movie, not a single line of dialogue or shot was wasted and the layout of the shots was nearly perfect. In the modern mind, we tend to think of black and white movies as being sanitized and saccharine, but that overlooks that the 1950s and the 1940s were in fact very different periods in American history. Movies from the ‘40s really do have this hard, sometimes cynical, edge to them, without indulging in pointless nudity, graphic violence, or nihilism the way that modern movies often do. Like at one point in the movie, Mr. Matusek tries to shoot himself in despair, only for a teenage boy to stop him. That's dark stuff for romantic comedy. Of course the teenage boy is hardly traumatized by the experience. He definitely leverages the event to get himself promoted from delivery boy to sales clerk. I enjoyed this movie thoroughly. I do recommend you watch it with captions if possible, since sound technology has come a long way since 1940. Overall Grade: A+.
So those were the movies that I saw and enjoyed in Winter 2023 and later this year, I will do a roundup of stuff I saw in Winter 2024. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. And once more, have a Happy New Year! Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look back at my 2023 writing goals and see how many of them I met, while looking ahead to my writing goals for the coming year of 2024.
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 180 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the 21st, 2023 and today we're going to talk about how many of my writing goals I met in 2023 and what my writing goals are for 2024. Before we get into all that, let's have an update on my current writing projects. I am 37,000 words into Shield of Storms, the first book in my new The Shield War epic fantasy that I'm hoping to have out in January. We will see if that it turns out to be feasible or not, but I am hoping to have it out in January if possible. I am also 51,000 words into Sevenfold Sword Online: Leveling, which will be the sequel, the second book in the Sevenfold Sword Online series, and I'm hoping to have that out in February. I'm also 4,000 words into Half-Wizard Thief, which is the sequel to Half-Elven Thief. I am not sure when that's going to come out, but sometime in 2024 would be my guess.
For free short stories, if you want to go to my website jonathanmoeller.com/writer, you will find that I’m giving away 12 free short stories from my Payhip store for the 12 Days of Christmas and all twelve of them are free right now and they will be free through December the 31st, 2023. So if you're looking for a bunch of short things to read during your holiday travels, now would be the time to get them.
00:01:26 Main Topic: 2023 and 2024 Writing Goals
So, let's get right to our main topic. Did I meet 2023 writing goals and what are 2024’s writing goals? 2023 without doubt was a year that brought many challenges and changes. So did I end up meeting most of my writing goals?
First off, I would like to thank everyone who bought or read or listened to a book of mine this year. Thanks for coming along on the adventures of Gareth, Nadia, Caina, Jack March, and Rivah Half-Elven. That said, I have to admit from February to about mid-July this year was rather a challenging patch. Everyone's got their own difficulties, so I won't ramble on about mine, but I did get COVID pretty strongly in May and that messed up things for a while. Before May I was doing three and a half mile runs on the treadmill three times a week. After COVID I could barely do two minutes before the wheezing got too bad. And most of May and June are kind of a vague haze in my memory.
One amusing anecdote to illustrate that time: about halfway through June, I spent most of a day watching a very energetic three-year-old child. We walked to the park in the morning, but it eventually got too hot and he wanted to go back inside. When we went back, he discovered the house's laundry chute and once I stopped him from hurling various small and expensive items down that chute, we compromised on letting him drop one of his stuffed animals down it. This delighted him to no end, and it seemed like good, harmless fun that would keep him out of trouble, though obviously I followed along as he did this to make sure he didn't accidentally lock himself in the dryer or fling his parents’ iPads down the chute or something.
So he dropped his stuffed animal down the laundry chute on the 2nd floor, hastened down to the basement to retrieve it, and then ran back upstairs to do it again. Over and over and over and over and over and over. And as I followed him up the stairs for, like, the tenth time, I had the profound realization, deep in my bones that I had gotten in very, very out of shape. For a while I wondered if I was going to fall over and if the three-year old in question would empty out my pockets and drop my keys and wallet down the laundry chute (which in fairness to him, would make a very cool noise), but fortunately I kept my feet. Eventually, the three-year old got bored with the laundry chute and decided he wanted to watch YouTube instead. Fun fact: I did not know before that day, but apparently there are people who make YouTube videos featuring action figures fighting each other and to judge from the millions of views, apparently toddlers love that stuff.
Anyway, the next morning when I got out of bed and stood up, every single muscle was very eager to inform me that I had really overdone it the day before. Once the muscle aches had subsided and I had driven home, I set about trying to fix things systematically. The first week in July, I made myself run one mile on the treadmill at the gym every day and the week after that I raised it to 1.1. The week after that I pushed it up to 1.2. I am pleased to report that this week, the second to the last week in December, I ran 3.2 miles on the treadmill every day and I did lose nearly all the weight I gained when I had COVID. Many other problems in real life settled down around mid-July as well, which was a pleasant change. Things improved enough that I did 12 ten thousand word writing days after July. Compare that to 2022, when I did only one. I might have missed some of my writing goals for 2023, I still reached some and even exceeded others. Let's see how I did, then we'll take a look at what I would like to do writing-wise in 2024.
2023’s Writing Goals
Number One: Write as many words as possible, but try to publish 1,000,000 new words. I didn't quite make this one. The last time I wrote over 1,000,000 words in a single year was 2020, when I hit 1.27 million words. In 2022, I only did 814,000, but this year, in 2023, I did 929,000 words. So that was a significant improvement and probably was helped a good deal by the 10, no by excuse me, the 12 thousand word days I was able to accomplish in 2023.
Number Two: Continue Dragonskull. Not only did I continue with the Dragonskull series, I actually finished it with the Dragonskull: Crown of the Gods this summer. Additionally, thanks to the hard work of narrator Brad Wills, the entire series is also available in audiobook, which is the fastest I've ever gotten a complete series of audiobooks out. Dragonskull was overall the strongest selling series of 2023, so I'm glad I was able to bring it to a satisfying conclusion.
Number Three: Continue Cloak Mage. I did get two new Cloak Mage books out, Cloak of Dragonfire and Cloak of Embers. Three would have been nice, but I didn't quite get there.
Number Four: Continue Silent Order. I did that as well. Not only did I continue the Silent Order series, I decided to push onward and finish it completely for a total of 14 books, which officially made summer 2023 my Summer of Finishing Things since I finished Dragonskull and Silent Order back-to-back.
Number Five: Write in a new genre of fantasy. I did that as well with Sevenfold Sword Online: Creation, which was LitRPG. It didn't do as well as I hoped but I’m about halfway through the sequel (as I mentioned earlier in the show, which I hope to put out in February 2024). So we'll see how that does. I also wrote Half-Elven Thief, which while not in a new genre of fantasy, did quite well out of the gate, better than Creation did, in fact.
So I did meet most of my 2023 writing goals and even exceeded the continuing goals for Dragonskull and Silent Order by finishing the series.
Let's see what my writing goals will be for 2024, bearing in mind, of course, these wise words that were written some time ago:
“Now listen, you who say, “Today or tomorrow we will go to this or that city, spend a year there, carry on business and make money.” Why, you do not even know what will happen tomorrow. What is your life? You are a mist that appears for a little while and then vanishes. Instead, you ought to say, ‘If it is the Lord’s will, we will live and do this or that.’ “
With that in mind, if it is the Lord's will, here is what I would like to do next year, 2024’s writing goals.
Number One: Write as many words as possible while trying to hit 1,000,000 new words. I have not published 1,000,000 new words in a year since 2020, but it would be nice if I get over 1,000,000 words. Again, we'll see what happens this year.
Number Two: Start The Shield War. I want to start my new epic fantasy series, The Shield War, which will be set back in Andomhaim. Currently, I’m over 30,000 words into it, 37,000 words, I believe, as of this recording on December 21st. So hopefully the book will be on track to come out by the end of January 2024. Hopefully I can get one or two more out in the series before 2024 ends.
Number Three: Continue Cloak Mage. I also want to continue the Cloak Mage series. Next up in the series will be Cloak of Titans, which will be the 11th book and I think I will be starting writing that in late spring. I'm not entirely sure how many books Cloak Mage will end up having, but I think it will be 15 or 16 in total.
Number Four: Continue Ghost Armor. Next up in this series will be Ghost in the Veils. I am really hoping to start writing this towards the end of February because I have a recording slot scheduled for it in the second half of April, but more on audiobooks in a little bit further on in the show.
Number Five: Continue Half-Elven Thief. Half-Elven Thief, I basically started writing on impulse in April or so. For a while I’ve wanted to start writing shorter series that come out more quickly and I gave some thought to writing the entirety of Half-Elven Thief after Dragonskull was done, but then I got sick with COVID in May, as I mentioned earlier and I didn't have the energy to do anything but the bare minimum for a while. So I set Half-Elven Thief aside and didn't think about it again till November when I decided to come back to it and have it be the last book I would publish in 2023. I'm glad that I did. It had a strong response and sold much better than the last two times I tried something really new. I'm about 4,000 words into the sequel and we'll work on it as a side project for a while until I get to a good spot where will become the main project and then I will publish it.
Number Six: Continue Sevenfold Sword Online. I almost walked away from this series this summer, but I was persuaded to continue it. I'm about halfway through the second book and I'm hoping that will come out in February 2024 if everything goes well, but we will find out shortly.
And finally, Number Seven: new audiobooks for new books. I think at this point in my self-publishing adventure, I'm only going to do audiobooks for some of my new books as they come out. Like, I've done as many of my old books in audio as I think I want or is feasible to do. Frostborn is completely in audio from Tantor and through my ACX productions with Brad Wills, Sevenfold Sword and Dragontiarna are from Podium publishing as narrated by Steven Brand, The Ghosts and Ghost Exile are done and I did them through ACX with Hollis McCarthy. I could try to get Silent Order, Ghost Night, Demonsouled, or the rest of Cloak Mage in audio, but it would be a massive amount of work that would take years to turn a profit.
Doing the Dragonskull audiobooks so close to the publication date of the ebooks worked pretty well, so I think I'm going to do that or as close to that as possible in the future. I have Shield of Storms and Ghosts in the Veils scheduled for recording next year and hopefully I should have good news about Sevenfold Sword Online audiobooks soon. If Half-Elven Thief reaches a certain sales threshold in the first thirty days, I will consider doing audiobooks for that series as well. So that is what I hope to do for writing in the coming year of 2024.
As always, thanks for coming along and reading and listening to those books and as always, thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder, you can listen to all the back episodes on https://thepulpwritershow.com and don't forget to visit jonathanmoeller.com/writer and get your 12 Days of Christmas free short stories, which will be free until December 31st. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I examine my reasoning for putting HALF-ELVEN THIEF in Kindle Unlimited. I also discuss THE SHIELD WAR, my upcoming epic fantasy series.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello everyone. Welcome to Episode 179 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December 15th, 2023, and today we're going to talk about why my new book, Half-Elven Thief, went into Kindle Unlimited. Before we get into that, let's have an update on my current writing projects.
First up, as you might have guessed from the opening of the show, my new book, Half-Elven Thief, is out. The last book I will publish in 2023 is now available at Amazon and Kindle Unlimited, so if you're a Kindle Unlimited subscriber, you can read that for free as part of your Kindle Unlimited subscription. Now that that book is out, my next big project will be Shield of Storms, the new Andomhaim book, which I will be talking about more later in the show. Hopefully that will come out in January. I'm also almost 50,000 words into Sevenfold Sword Online: Leveling, and I think that will probably be out in February, if everything goes well. I've also written about 1,500 words of the sequel to Half-Elven Thief, but I haven't decided when that's going to come out yet. It depends on what happens over the next few months and what the coming year brings us.
In audiobook news, Dragon Skull: Crown of the Gods just went live as of the time of recording. It is currently on Audible and Amazon. It should be showing up on Apple in another few days and then hopefully it should be showing up on Chirp, Google Play, Kobo, and the various library services in a couple of days after that. So that is where I'm at with my current writing projects.
00:01:39 Shield of Storms News/ 12 Days of Short Stories Christmas
Let's talk a little bit about more about one of those, Shield of Storms. I am now (as of recording) about 11,000 words into it and it will be the first book of my new The Shield War epic fantasy series. If all goes well, it will be the first book I published in 2024 on Kindle, Barnes and Noble, Kobo, Apple Books, Google Play, Smashwords, and Payhip. I think the series is going to be about six books long. It might get up to seven, but I'm going to try to keep it at six and will be set in Andomhaim immediately after the events of Dragonskull. So what will this book be about? Well, we will have four protagonists and three chief villains. The protagonists: the first protagonist will be Ridmark Arban, who is returning again. He knows that while the Heptarchy might have been repulsed, someday the Armies of the Seven Temples will attack Andomhaim again and that they will use their stronghold on the Isle of Kordain as a base for a new invasion. Will Andomhaim be ready? Ridmark doesn't know, but if you can find a way to wrest the Isle of Kordain from the Heptarchy's grasp, that might go a long way to deciding the coming war. The problem is that the Heptarchy has more warships than Andomhaim and attacking the Isle of Kordain from the sea might bring disastrous defeat unless he can find another way.
The second protagonist will be Lika, the leader of the thieves of Teramis, the chief city of the Isle of Kordain, currently ruled with an iron fist by the Exarch of the Heptarchy. Once Tyrannus was the city of the Corsairs, free men who bowed to no king, and certainly not to the High King of Andomhaim. Then ten years ago Warlord Agravhask, exterminated the Corsair Lords, and the Heptarchy has ruled the Isle of Kordain ever since. Lika needs to protect her people until her father is returned, for her father went to the abandoned halls of the Mountain House to seek a weapon to defeat the Heptarchy. She knows that he will return, even though he left eight years ago.
Our third protagonist is Niara Arban, who has returned to Andomhaim far different than the one she left, far different and far weaker. The modern Magistri are weak and feeble and no match for the first Magistri who drove back the ancient urdmordar (at least in her opinion), but the realm still has enemies and Niara will show them what war is really like.
And our final protagonist will be Nikomedes. He was once an assassin of the Heptarchy, and now he serves the Master of the Mountain House. He still isn't entirely sure about the difference between right and wrong, but he's trying really hard to find out. All he knows is that the Master will make a better world in the end, and if Nicomedes has to kill a lot of people to make that happen, it will all be for the greater good.
Now on to our three main antagonists. The first antagonist will be Seziravorna, the Exarch, the High priestess of the Temple of the Crimson and the head Tarkey governor of the Isle of Kordain. It is her task to make the isle a stronghold of the Heptarchy to prepare for the return of the Seven Temples in the decades to come. But so many senior priestesses and battlemages perished in Agravhask’s invasion that Seziravorna sees her chance of complete victory. She will lure the armies of Andomhaim into a final catastrophic battle, and then she will be the exarch not just of the Isle of Kordain, but all of Andomhaim.
Our second antagonist will be the Master of the Mountain House. The Mountain House is a dangerous ruin beneath the mountains at the center of the Isle of Kordain, and long the Corsairs have had legend about the mysterious wizard who dwells there and the terrible powers he wields. No one who ever crosses the ruined gate of the Mountain House ever returns, for the master of the Mountain House has been laboring for millennia to prepare a new and better world, even if he has to burn away the old one to make it. Our final antagonist is Urzo and Urzo is…. well….Urzo is hungry.
We will find out more about all these characters soon. Anyway, if all goes well, Shield of Storms will be my first book of 2024, hopefully coming out sometime towards the end of January. Before we get to our main topic, I also want to mention our 12 Days of Short Story Christmas. In the lead up to Christmas, I am giving away twelve of my short stories for free through my Payhip store and then will wrap it up with a coupon for a big discount on any of the paid items on the store. So if you go to my website, Jonathanmoeller.com, and look at the top page, there will be many links to the 12 Days of Short Story Christmas and you can get quite a few free short stories. The short stories will remain free on my Payhip store until December 31st, the last day of 2023. So head on over to jonathanmoeller.com and get yourself some free short stories to read during your holiday travels.
00:06:15 Main Topic: Half Elven Thief and Kindle Unlimited
Now let's come to our main topic of this week's episode: why I put my new book Half-Elven Thief in Kindle Unlimited. First, I want to say it had a very strong launch, especially for something new and unconnected to any of my previous settings. It wasn't a tie in for The Ghosts or Nadia’s world or anything in Frostborn and Andomhaim. It was a completely new setting with completely new characters. The last two completely new things I've tried in the last couple of years were Covering Fire in 2021 and Sevenfold Sword Online: Creation in 2023 and Half-Elven Thief had a stronger first day than both of them and came within two copies of having a stronger first day than both books combined. So thank you for reading, everyone.
That means Rivah Half-Elven will join Caina, Nadia, Victoria Carrow, and Moriah Rhosmor as one of my Angry Thief Girl characters. The series with Rivah will have six books. I'm going to work on them as I do other stuff in 2024. I did, as I mentioned, put Half-Elven Thief in Kindle Unlimited, which means it's only available on Amazon. I do regret that it's only on Amazon, but once the series is complete, I will take it wide. I think I have good reasons for this decision, which I will now enumerate in the Internet’s performed format for discourse: a numbered list.
Number one: I did this before in 2020 and it worked pretty well. We all dealt with the great COVID panic in different ways, some for better, some for much worse. Myself, I spent 2020 learning how to use Photoshop and writing an entire epic fantasy series (specifically, Wraithshard). I ended up writing all five Wraithshard books in 2020, and I originally put them in Kindle Unlimited and then phased them over to all the other stores in 2021 once their Kindle Unlimited term ran out. This had a very good result in terms of sales and I'm hoping to have something of a repeat with Half-Elven Thief.
Reason Number Two: Amazon and its AI problems. Amazon had a bad problem with ChatGPT over the summer of 2023. Scammers were using ChatGPT to churn out content formatted as ebooks uploaded to Kindle Unlimited and then used click farms to harvest page reads. This caused widespread problems, since the best seller lists on Amazon were filled with this AI generated nonsense and the page payment rate for authors plummeted because so many of the page reads were going to these AI generated click farm books. Amazon finally responded by limiting the number of new books an individual author could publish to three a day. Some of the scammers were uploading hundreds or even thousands of new books every day, so this put a serious crimp in their operations. I had avoided Kindle Unlimited entirely for that time, but since it seems to be stable again, I'm willing to give it another try. We'll see how things go.
The third reason why I put the short story The Jeweled Curse wide and not in Kindle Unlimited is because then I can give it away for free on my Payhip store. Everyone gets something.
Reason #4: The bad economy. Don't believe what you see on the news about good job numbers or investments and so forth. The real economy is very bad and has been that way for some time for many complicated reasons, so subscription services are a really important part of people's entertainment because the value for the cost is in fact pretty good. That's why nearly all of my books are in the Kobo Plus subscription program, and most of my ebooks and audiobooks are in Scribd or whatever Scribd is calling itself now (I think it's like Everand or something like that) and many of my audiobooks are on Spotify. Even though the money from those particular channels isn't always super great, it does add up over time, and it's nice to have a lower cost option for people on tight budgets.
Reason #5: Everything else will stay wide. Indie authors sometimes gets stuck in binary thinking about Kindle Unlimited and wide, but why not both? I write enough that I can put books into both on a pretty regular basis. The Shield War series we already discussed, the new Nadia books, and the new Caina books in 2024 will be wide and not exclusive to Amazon, which is similar to what I did in 2020. Wraithshard was in KU, but Dragontiarna and Cloak Mage were wide, and in 2024 the Shield War, Cloak Mage, and Ghost Armor will be wide, but Half-Elven Thief will be in Kindle Unlimited and I think Sevenfold Sword Online will perform better in Kindle Unlimited than it did wide, so those books will be in Kindle Unlimited as well. So that is my reasoning. Hopefully that makes sense. If you are a wide reader, I apologize for the inconvenience, but once the Half-Elven Thief series is finished, it will go wide and the Shield War, Cloak Mage, and Ghost Armor will also all be wide in 2024. Hopefully we will soon see more from Rivah Half-Elven in 2024 as well.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. And don't forget also to go to jonathanmoeller.com and get your free short stories from now until December 31st, 2023. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and see you all next week.
In this week's episode, I explain why I won't write any more crossover series in my 2nd decade as an indie author. We also discuss why too long of a backstory can become a problem.
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 178 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the 10th, 2023 and today we're going to talk about why I won't write any more crossover series. Before we get into our main topic this week, let's have an update on my current writing projects. I'm pleased to report that Half-Elven Thief is now available. This book will be out on Amazon and Kindle Unlimited. Amazon seems to have solved many of the Kindle Unlimited concerns I had earlier in the year, and so what I'm going to do with Half-Elven Thief is repeat what I did with Wraithshard back in 2020, where the books first come out in Kindle Unlimited, and then once the series is done (I am planning for six books), then they will go wide to other platforms. So if you are an Amazon and Kindle Unlimited user, you can get that as the last book I have published in 2023.
Now that Half-Elven Thief is done, I am writing the outline for Shield of Storms, the first book of the Shield War series, which will be set in Andomhaim and follow up on the results of Dragonskull from earlier this year. I'm hoping to start writing that Tuesday or possibly Wednesday of this coming week. Sooner would be better, obviously. I am also about halfway through the rough draft of Sevenfold Sword Online: Leveling, and I'm hoping to have that come out early in 2024, if all goes well.
In audiobook news, I had two audiobooks come out this past week: Dragonskull: Doom of the Sorceress, as excellently narrated by Brad Wills and Ghost in The Serpent, as excellently narrated by Hollis McCarthy. You can get those audiobooks at Audible, Amazon, Kobo, Google Play, Chirp, and all the usual audiobook stores. Audio for Dragonskull: Crown of the Gods is almost finished. If all goes well, it may yet come out before the end of 2023, though, given how the holidays slow down processing for everything, it might not come out till 2024. But in any case, it will be out soon.
If you stop by my website between now and the end of the year, you will see that I'm doing 12 Days of Short Story Christmas, where I'm looking over the most popular short stories I've had over the last two years or so and giving them away for free on my Payhip store until December 31st. I’m doing it on weekdays. As of this recording, I have gone through the first four short stories and tomorrow on Monday the 11th we will be having the fifth of The 12 Days of Short Story Christmas. So if you're looking for free short stories to read, stop by my website and at the end of The 12 Days of Short Story Christmas, I will have a bonus coupon for my entire Payhip store. So I think it would be worth checking that out.
00:02:42 Main Topic: Crossovers
Now on to our main topic this week: why I am not going to write any more crossover series. Occasionally I get an e-mail from a reader suggesting that would be cool if Caina met Ridmark in a book or if Nadia went aboard Jack March’s spaceship or crossover like that between characters from different series. Much more frequently, I get emails from readers confused by the Cloak and Ghost series. How did Caina get Nadia’s world? Is this a version of Caina that lives in Nadia's world? How does this affect the timeline of Nadia's books and Caina’s? Didn't Andromache die in Ghost in the Storm? Why is she running around and Cloak and Ghost: Lost Gate? Or I will get an e-mail from a reader who read and enjoyed Malison: The Complete Series and then continued on to Dragontiarna: Knights, only to be confused and annoyed that Tyrcamber Rigamond doesn't appear in Dragontiarna: Knights until Chapter 15, even though at the end of Malison: The Complete Series said that Tyrcamber’s adventures would continue in the Dragontiarna series. Tyrcamber really does arrive in Chapter 15 of Dragontiarna, I promise!
Now I'm in my second decade of being an indie author and one of the things I've decided for decade two is no more crossovers. My reasons follow: #1: The Cloak and Ghost books. I'm very grateful to everyone who read and enjoyed the Cloak and Ghost books, but boy did I get a lot of confused emails about them, like a lot of confused emails. I still do on occcasion. The idea that when I started writing them way back in 2018 was that it would be a fun little crossover side project. I figured it would just be a side story where Nadia meets the version of Caina who lives on her world and then adventures follow. Comics do parallel versions of characters all the time in comic books, right? Of course that overlooked the fact that one: hardly anyone actually buys comic books anymore, so it's probably best not to use them as an example. And two: when the Marvel movies started doing the Multiverse and parallel versions of characters after 2019, the franchise basically went off a cliff. But that was in the future yet. What actually followed was many confused questions about the continuity I tried to explain in the prologue of the book, but then I remembered the old adage that if you have to explain the joke, it's probably not funny. The same thing applies to concepts in fantasy novels. If you can't explain it adequately within the book itself, then it's time for a rethink.
#2: Malison. Malison actually went pretty well. Thanks for reading it, everyone. The idea for Malison was that it would help set up the Dragontiarna series. When I wrote Dragontiarna, I wanted the story to cut back and forth between two different worlds, Andomhaim and Tyrcamber’s world. Writing Malison also helped me to work out the way the rules would work in Tyrcamber’s world, and then that would lead into the first book of the Dragontiarna series, Dragontiarna: Knights, which also happened to be my 100th novel. Malison did well enough on its own, especially in the box set, that lots of people picked it up in both ebook and audiobook. This did cause an unintentional degree of confusion, since it says at the end of the final Malison book that Tyrcamber Rigamond will return in Dragontiarna: Knights, so numerous people continued onward, and I still get confused emails ever since from people since Dragontiarna: Knights starts with Ridmark's perspective, not Tyrcamber. So now I have a form letter that I copy and paste reassuring people that yes, Tyrcamber does return in Dragontiarna: Knights in Chapter 15 and is one of the chief point of view characters for the rest of that series. So Malison was probably the most successful crossover I ever did, but it still caused confusion.
Reason #3: internal setting logic. Very often my settings have completely different internal logic from each other and so a crossover simply wouldn't work. Malison was probably as successful as it was because I deliberately planned it from the beginning to tie into Dragontiarna, so the internal logic of the settings matched. Like when people suggest that Nadia come aboard Jack March’s spaceship, in Nadia's world, magic is real. In March's world, there's no such thing as magic, and even things that appear are magical like the targeting abilities of Navigator or Lysiana’s superhuman intelligence are the result of natural phenomena that are only partially understood by the characters, but are nonetheless essentially the results of applied science. So for characters from these two different settings to cross over, one or the other would have to submit to a completely different set of logic, which would be difficult to write and confusing to read. Like if Nadia went aboard Jack March’s spaceship, would her magic be a partially understood scientific phenomenon? Would magic suddenly come to the galaxy of the Silent Order series? Or would Nadia’s magic stop working, which would be a bad thing, since sudden character depowerment is frequently a sure sign that the author is beginning to run out of ideas. Elves are another good example. I've written a lot about elves in both the Frostborn world and the Cloak Game/Cloak Mage setting, and now I'm about to add more elves in Half-Elven Thief. The elves in Frostborn and the elves in Cloak Games work under extremely different rules. Like, in Andomhaim so far we've had the High Elves, the Dark Elves, the Gray Elves, the Cloak Elves, the Umbral Elves, and occasionally Half Elves. In Cloak Games, we just have the elves and they're way more concerned about the divide between nobles and commoners than they are about High, Dark, Gray, Cloak, and Umbral elves. For that matter, the way magic works in Andomhaim and the way it works in the Nadia-verse is completely different. So the basic premise of some of my settings are incompatible and trying to force them together would create some weird story structure problems.
#4: Marvel movie lockout syndrome. The entertainment press has spilled much ink over the fact that The Marvels is the worst performing Marvel movie in the last 15 years. A lot of the opinions about it are wholly subjective and based around whatever social or cultural drum a particular writer feels like beating. But I think two undeniable facts worked against the movie, one of which is very relevant to me as an indie writer. First, it just cost too much. The Marvels cost $274 million to make, and it brought in about $200 million. If your movie costs $75 million to make, a $200 million return is a good return. If it costs $274 million, you are up the proverbial foul-smelling creek without a paddle. To put these numbers into perspective, the top three movies of 2023 were Barbie, Super Mario Brothers, and Oppenheimer, and with respective budgets of $145 million, $100 million, and $100 million, they all cost less to make than The Marvels. In fact, the combined budgets of all three movies put together is only like about 25% higher than the budget of The Marvels alone. Granted, while I wouldn't object to someone giving me $100 million budget for something, as an indie writer, this is not a particularly relevant concern to me. Nonetheless, it is a good reminder of the importance of keeping your costs down while running a business.
The second fact that is in fact very relevant to me as an indie writer with 147 novels published, who has written many long series: the movie’s backstory was way too complicated because it was a sequel for too many different things. The backstory to The Marvels…okay, so this is a sequel to Captain Marvel from 2019, but also to Wandavision from 2021, which introduced the adult version of Monica Rambeau and also a sequel to Miss Marvel from 2022 on Disney Plus, which is where Kamala Khan made her introduction, but is also a sequel or possibly a prequel to 2023’s Secret Invasion and in some sense is a continuation of the story is told in the four Avengers movies and the setup for the plot was introduced for the first Guardians of the Galaxy movie back in 2014, with the character of Ronan the Accuser, who also appears in Captain Marvel as the younger version of himself and they're also linked to the X-Men movies and the larger multiverse, and on and on and on. That is a lot of backstory.
And if I've learned anything writing really long series is that people are very often completionists. They want to read everything and read it in the order it was written. The downside of this is that the longer something goes on, the more readers or viewers you lose along the way. You can see how this works against The Marvels. It has, like dozens and dozens of hours of movies and TV shows to watch first as its full backstory. That's a big time commitment and an expensive one. For indie authors, if the series goes on long enough, you tend to lose people from book to book as they get distracted with other things or the budget happens to be tight the month the new book comes out. I think Cloak Mage will be the last series I write that has a double digit amount of titles in the series and everything after that is going to be around five to eight books, depending on the complexity and length of the story I want to tell. The problem with crossovers is that it increases the complexity of the backstory exponentially. I ran into that with Malison and Dragontiarna, even though they were both pretty successful and in a smaller way with Cloak and Ghost, even though that was a crossover with no connection to the main storyline for either Caina or Nadia. So as I plunge into my second decade of being an indie author, I don't think I'm going to do anymore crossovers for the reasons listed above, which is why my new book, Half-Elven Thief is entirely unconnected to anything else I've previously written. But of course, when I start at the Shield War next week, it will be a direct continuation of Dragonskull and the Frostborn series.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe, stay healthy, and we'll see you all next week.
In this week's episode, I discuss how to write characters who can make believable mistakes, and we also take a look at November 2023's ad results. The episode ends with a preview of GHOST IN THE SERPENT as narrated by Hollis McCarthy.
This week’s coupon is for the audiobook of GHOST IN THE COWL as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE COWL for 75% off at my Payhip store with this coupon code:
DECCOWL
The coupon code is valid through December 20th, 2023, so if you find yourself needing an audiobook for Christmas travel, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello everyone. Welcome to Episode 177 of the Pulp Writer Show. My name is Jonathan Moeller. Today is December the 1st 2023 and today we're going to talk about how to write believable mistakes. We'll also talk about ad results for November 2023 and end the show with an audio book preview. First up, let's do Coupon of the Week. This week's coupon is for the audiobook of Ghost in the Cowl, as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Cowl for 75% off at my Payhip store with this coupon: DECCOWL and again, that coupon code is DECCOWL and this coupon code will be valid through December the 20th 2023. So if you find yourself needing an audiobook for Christmas travel, we've got you covered.
So before we get to our main topics, let's have an update on my current writing projects. I am almost done with my next book, which will be called Half Elven Thief. I am in fact hoping to finish it after I record this podcast episode and it's on track to be out before Christmas. My next book after it is published will be Shield of Storms, the first book of the new The Shield War series that will be a follow up to Dragonskull. I'm going to start writing that in December and if all goes well that will be out towards the end of January or perhaps February, depends on how the next couple of months go. I am also 41,000 words into Sevenfold Sword Online: Leveling and I am hoping to have that come out after Shield of Storms, if everything goes well. We'll see, once again we will see how the years goes. In audiobook news, Dragonskull: Doom of the Sorceress and Ghost in the Serpent are finished, paid for, and processing. They are working through quality assurance at ACX and Findaway and should be available before too much longer and we will in fact conclude the show with a preview from Ghosts in the Serpent, as excellently narrated by Hollis McCarthy.
First up, let's have our ad results for November 2023. I had three categories of ads this month: Facebook, Amazon and Bookbub ads. Let's start with Facebook ads. I advertised The Ghosts, Cloak Games, Cloak Mage, Malison/Dragontiarna, and Silent Order. And here is what I got back for every dollar spent. For The Ghosts, I got back $6.10 for every dollar spent, with about 12% of the profit coming from the audiobooks. For Cloak Games and Cloak Mage, I got back $7.68 for every dollar spent, with about 5.8% of the profit coming from the audiobooks. Of course, Cloak of Embers skews that's a bit, but even without Cloak of Embers the total will be $3.05, with 13.9% of the profit coming from the audiobooks. Finally, Cloak Mage: Omnibus One and Cloak Mage: Omnibus Two and audio bundles really help move the needle for the audio. For Malison/Dragontiarna, I got back $2.17 for every dollar spent. And for Silent Order, I got back $2.51 for every dollar spent. So overall a pretty good month for Facebook ads.
Next up is Amazon ads. I tried a couple of different things with Amazon ads this month, so let's see how they did. For Dragonskull: Sword of the Squire, I got back $2.29 for every dollar spent, with 11.2% of the profit coming from the audiobooks. Since I want the sequel to Sevenfold Sword Online: Creation to come out in the first quarter of 2023 like I mentioned earlier in the show, I shifted the first book to Kindle Unlimited and started running ads on it, which one very well. Sevenfold Sword Online: Creation got back $4.20 for every dollar spent. This is a very promising sign for the sequel and honestly makes me wonder if I shouldn't have just put Creation in Kindle Unlimited from the beginning, as much as I did not want to try that. We also tried an experiment with Amazon ads for Cloak Games Omnibus One, even though that is not in Kindle Unlimited. That brought in $2.23 for every dollar spent with 31% of profit coming from the audiobook. It's obviously easier to advertise a Kindle Unlimited book on Amazon ads, but as it turns out a wide book like Sword of the Squire and Cloak Games Omnibus One can also work very well if you have an audiobook, because then you can advertise on the Audible categories on Amazon, which generally cost less per click.
Back finally on to Bookbub ads. I'm concerned about the long term direction of Facebook ads and how they're trying to push more AI targeting type stuff, which is why I'm trying to diversify more to Bookbub and Amazon ads. So for this month I tried Frostborn on Bookbub ads. Let's see how we did. Frostborn: $5.09 for every dollar I spent, with a surprising 35% of the profit coming from the audiobooks. This obviously is a very strong result for Bookbub ads, especially since Frostborn has been finished for like six years at this point. I wasn't expecting the audiobooks to do so robustly well from the Bookbub ads, but obviously I am not complaining. So what conclusions can we draw from this? 1: Amazon ads are a bit complicated to use, but in many ways they're the safest. If you don't know what you're doing, you can easily blow a ton of money on Facebook or Bookbub ads and get jack squat in return. The nice thing about Amazon ads is that if they don't work, they don't spend money. It's much harder to accidentally lose a bunch of money on Amazon ads than it is with Facebook or Bookbub 2: Amazon ads and Bookbub ads offer far more granular targeting options than Facebook. The problem with Facebook ad targeting is that you can only really target big name tradpub authors like George RR Martin or Brandon Sanderson, or broad categories like epic fantasy. Like, there's not a single RPG author in Facebook's audience targeting. By contrast, you get super granular with Amazon and Bookbub targeting. 3: If you have a finished audiobook series, it is bonus profit when you advertise the ebooks. Apparently for Bookbub, it's a lot of bonus profit about which I am not complaining. 4: For Bookbub and Facebook ads, you really need to rotate the ad image a lot to avoid creative fatigue, which is Internet ads-speak for people seeing the same ad image over and over and getting tired of it. So you need to change it out pretty frequently, like once a week, unless you don't. Sometimes you get lucky and get an ad which keeps firing and firing. But that is the exception and most definitely not the rule. And as always, thank you for reading. Given how consistently terrible the economy has been the last several years, I am very grateful for all of you who have bought the ebooks and the audiobooks, and I hope to have new books for you to read and listen to very soon.
00:06:41 Main Topic of the Week: How to Believably Write Serious Mistakes
Now let's transition to our main topic of the week, how to believably write serious mistakes. The inspiration for this week's episode was watching the news, specifically all the news around the corporate drama and shenanigans at Open AI. As I've mentioned before, numerous times, I am not a huge fan of AI technology. So it was perhaps with an inappropriate amount of entertained interest that I watched the meltdown of Open AI at the end of November 2023. To sum up a lengthy and complicated saga, the board of Open AI for unknown reasons fired its CEO, Sam Altman at 3:00 PM on a Friday afternoon, which is the traditional time corporations like to drop bad news. There was an immediate backlash because Mr. Altman is a relatively well respected figure in his field. The backlash intensified because Open AI is essentially a vassal of Microsoft at this point, and Open AI didn't bother to inform their overlords of what was going on, which meant that the great eye of Microsoft suddenly turned upon Open AI's board in wrath, especially since the move might have tanked Microsoft stock before its quarterly report. Meanwhile, many Open AI leaders quit, a majority of the employees signed a letter calling for the board to resign, Microsoft immediately hired Mr. Altman and the other leaders who quit, but then the board panicked and backtracked, and finally the board quit and Mr. Altman returned. Overall, it was definitely a fascinating saga of corporate politics, and since I personally think Open AI is like one of those evil organizations from James Bond movie (I bet they even have an elaborate Spectre style underground base somewhere), it was enjoyable to watch from afar. But this is the blog of a Pulp Fiction Writer or the podcast of a Pulp Fiction Writer, not a technology, business, or AI themed podcast.
Why talk about this? Because there is a lesson for fiction writers in this. The board of Open AI is not stupid or was not stupid. They're all intelligent men and women who are leaders in their fields and yet whatever their goals were in firing Mr. Altman, it’s readily apparent that those goals were not achieved and the results were in fact, the opposite of what they had hoped to accomplish since they quit and Mr. Altman remained as CEO of Open AI. And that provides a good lesson for writers of fiction. How can you have characters make believable mistakes without breaking the suspension of disbelief? Because when a character does something stupid solely to advance the plot, it is annoying, isn't it? Like the intelligent hero who suddenly becomes dumb as a brick, or the cunning villain who suddenly uses loses 50 IQ points at a critical junction in the plot? Probably the most commonly cited example is the heroine who goes into the basement with just a candle to reset the circuit breakers because she knows a serial killer or a vampire, or the Terminator or something is after her or when the hero’s plan only works if the villain suddenly becomes much less clever. That's annoying in fiction because it breaks the verisimilitude. Nevertheless, in real life, intelligent people do dumb things all the time, like constantly. Examples are abundant. No doubt you can think of several dozen off the top of your head without even trying. Just as we would break for verisimilitude and your fiction to have your characters be constantly idiotic, it would be just as strange to have them be infallible, high functioning geniuses. So let's have some tips and tricks on how to have your characters believably make bad decisions.
Number 1: emotional pressure. A key reason for many bad decisions is emotional pressure, because for most people, emotions almost always trump logic. The most obvious example of this is a high-powered professional who has an affair with someone in his or her office, only to end up resigning in disgrace when it comes out. Once again, examples abound, and you can probably think of numerous cases from the last few years, whether national or local, political figures or people you know personally who work in your organization. We can think of more positive examples of emotional pressure. A man could have pity on a homeless man and give him his lunch, even though this means he might perform badly at an important task at work this afternoon. Or a woman might be trying to save money, only for her love to override her better judgment and convince her to buy a gift for her grandchild. In fiction, you could use this in many, many ways. Both love and hatred are powerful motivators, and so are envy and resentment. A character could take dangerous risks to help someone that he or she loves, or a character could be so gripped by envy that he or she tries to sabotage her rival in a way that turns out to be self-defeating. In romance novels, characters make decisions from emotional pressure all the time. It's one of the staple tropes of the genre.
A good example of characters acting from emotional pressure is the scene at the end of the Lord of the Rings when Saruman tries to stab Frodo and then fails. This is objectively a stupid decision. Even if Saruman kills Frodo, it won't improve his position and if he succeeded in killing Frodo, Saruman will be immediately killed by the enraged hobbits. In fact, Frodo at that point is the only hobbit who doesn't want to kill Saruman for his crimes. So killing Frodo would have been quite possibly the worst decision Saruman could make at that exact moment in time, but it makes sense in the context of the story and Saruman’s character, because at this point Saruman has been devoured by hatred and resentment, and cares mostly about screwing with the hobbits, who, as his twisted mind sees it, have robbed him of the chance to become the new Dark Lord of Middle Earth. So long as the character's emotional reality makes sense to the reader, decisions they make in the context of that emotional reality, even objectively bad ones, will not seem like dumb decisions to advance the plot.
Number two: acting on bad information. In computer science, there is a principle called garbage in garbage out. The idea is that if you enter bad information into a computer program, the program is only going to generate bad results. This is also very true of human decision making. To make good decisions, you need to have good information. For fiction writers, this means if you want to have an intelligent character make a bad decision, you can only have them act on bad information. For example, a group of fantasy heroes could be on a quest to find a magical sword that will slay the dragon terrorizing the kingdom. According to the kingdom's wizards, the sword is in a ruined castle in the wilderness, except the sword isn't actually there. The castle is controlled by an evil sorcerer who magically enthralls anyone who enters it. The heroes have made a bad decision by going to the ruined castle since they gained a new enemy in the form of the evil sorcerer, but they thought they were making a good decision. But it turns out they were acting on bad information. You can easily use this technique in non-fantasy genres as well. A detective could be misled by a witness and waste time going down dead ends in his investigation until he realizes the truth. In a further novel, the hero could realize that the informants have been deliberately feeding his agency bad information about potential threats. Acting on bad information is also a common technique in romance novels. Usually romance novels have a plot twist, where the heroine can't get together with the love interest for some reason, and it's often because the heroine and the love interest misinterpret each other's motives. Pride and Prejudice is maybe the one of the oldest examples of this, since Mr. Darcy and Elizabeth Bennett immediately attribute wrong motivations to each other, and it takes most of the book for them to work through it and untangle things.
Number three: unforeseen consequences. This is a big one and one of the major reasons that very smart people make decisions that turn out to be bad, like the example of the Open AI corporate intrigue I mentioned above. The Open AI board members didn't set out to get themselves booted from the company while strengthening Sam Altman's and Microsoft's grip, but that's exactly what happened. My favorite historical example of unintended consequences has to be US Prohibition. The US didn't just randomly decide to wake up and vote to ban alcohol one day in 1920. The Prohibition movement in the US dated back to the early 1870s, which meant that nearly 50 years of work, public relations, persuasion and changing local laws went into what should have been Prohibition’s crowning triumph, the passing of the 18th amendment in 1920. Except it all backfired, didn't it? The Temperance movement wanted to end alcohol consumption in the United States. What they got instead was an explosion of organized crime, increased distract for public authority, the loss of jobs and government tax revenue coming into the Great Depression, and public opinion swiftly turning against Prohibition. The explosion of organized crime was especially ironic, since many Temperance advocates believed, sincerely and firmly, that the majority of all crime was caused by alcohol consumption, and that most of society’s evil could be traced to the consumption of strong liquor. Some local communities actually sold their jails after Prohibition passed, believing that crime would soon drop to near zero. Alas, the causes of societal evil remain multifaceted and cannot solely be hung on alcohol. The 21st amendment passed in 1933, which was the end of national Prohibition in the United States. Prohibition’s legacy continues in the minimum drinking age (another law often ignored), restriction on the time of alcohol sales, and dry counties where you can't legally purchase or consume alcohol, but the concept of national Prohibition in the United States is obsolete.
The Temperance advocates didn't actually foresee the consequences of their triumph, and you can use the same principle in writing fiction. A character could achieve what they set out to do, only to find that unanticipated consequences of their success are more severe than the original problem. In a thriller novel, the heroes could take out the leader of the bad guys, only for the leader’s more confident and dangerous Lieutenant to take over. In a romance novel, the heroine could win a lawsuit or a big business deal only to discover that this damages her love interest’s family business. In a detective novel, the protagonist could finally track down the key witness to the murder, or for the murderer’s lethal attention to be drawn to that witness.
Number four: Victory Disease. In military history, there is a concept called the Victory Disease. It happens when an army or commander has won so many times that they have become overconfident, lazy, and start making avoidable mistakes. Sooner or later they run into a more serious opponent and an army subject to Victory Disease will make errors that a less complacent opponent will not. You sometimes see this in professional athletics as well. A superstar athlete or winning team gets overconfident, stops training as hard or gets complacent, and then gets their clock cleaned by a hungrier opponent.
So Victory Disease is a combination of overconfidence and complacency, and you can definitely make use of this concept to have a character make an understandable bad decision. In fiction, villains tend to be more prone to Victory Disease than protagonists. Nevertheless, having a protagonist with Victory Disease can force them into internal conflicts and character growth. A good example of Victory Disease is in a protagonist is Batman/Bruce Wayne in The Dark Knight Rises film from 2012. When Batman comes out of retirement to fight Bane’s organization, he's so used to winning against criminals and outwitting the police that he doesn't take Bane seriously enough despite Alfred's warnings. This bites Batman hard when he confronts Bane for the first time, and he's forced to undergo character development to get ready to save Gotham City from Bane. You can apply a similar plot arc to your characters. An overconfident character makes a serious mistake and has to recover from it, learning and undergoing character growth in the process.
Number five: Fields of expertise. There's a certain kind of public intellectual. They usually have a PhD and all their social media handles, that likes to pronounce upon the issues of the day. They will often say things like “as a scientist, I think” or “as an academic, I think” when commenting upon various issues. What's amusing is that their pronouncements are often wrong or wildly impractical because they've strayed out of their fields of expertise. Like the scientist in question might be, have a PhD in cellular biology and be a world-renowned expert in that field. But knowledge and expertise in one field does not necessarily translate to competence in another. This can result in basic errors that could otherwise be avoided. Academics run into this a lot. Two examples from real life might suffice. A reporter was covering some protests and was alarmed to discover rubber bullets lying on the ground and posted a picture of those rubber bullets to social media. He ended up widely mocked because the objects in question were not rubber bullets, but ear plugs. A minor celebrity went to a city and was horrified to see racist graffiti on the sidewalk and complained about it on social media, only for many commenters to point out that the symbols were not graffiti at all, but markings from utility workers indicating where electrical and gas lines ran underneath the sidewalk. This makes for a very believable way for your characters to make bad decisions. Force them to make decisions in an area where they don't really know what they're doing.
Number six: Conclusion. To maintain verisimilitude in fiction, you need to walk a fine line. If your character has suddenly become stupid to advance the plot, that will annoy the readers, but neither can your characters be infallible reasoning machines. Hopefully these tips and tricks will help your characters make mistakes in a believable way that will make your books more enjoyable.
So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week. And now, please enjoy a preview of Ghost in the Serpent as excellently narrated by Hollis McCarthy.
In this week's episode, we share five tips and tricks for finishing your novel during National Novel Writing Month.
This week’s coupon is for the audiobook of CLOAK OF SHARDS as excellently narrated by Hollis McCarthy. You can get the audiobook of CLOAK OF SHARDS for 75% off at my Payhip store with this coupon code:
NOVSHARDS
The coupon code is valid through December 8th, 2023, so if you find yourself needing an audiobook for Thanksgiving travel, we've got you covered!
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 176 of. The Pulp Writer Show. My name is Jonathan Moeller. Today is November the 19th, 2023, and today we're going to talk about how to finish a novel in November. Before we get into that, let's have Coupon of the Week. This week's coupon is for the audiobook of Cloak of Shards as excellently narrated by Hollis McCarthy. You can get the audiobook of Cloak of Shards for 75% off at my Payhip store with this coupon code: NOVSHARDS and that is NOVSHARDS. You can find the coupon code and the link in the show notes for this episode. This coupon code will be valid through December 8th, 2023. So if you find yourself needing an audiobook for Thanksgiving travel, we've got you covered.
Before we get into our main topic, let's also have an update on my current writing projects. I am very, very pleased to report that Cloak of Embers is finished and published and out in the world. You can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, my Payhip Store, and Smashwords. It is selling very briskly, so thank all for that. The initial reactions are very positive, so also thank you for that. You can get that at your favorite ebook retailer and if you need something to read over the Thanksgiving break, we've got you covered.
In audiobook news, I am also pleased to report that Dragonskull: Wrath of the Warlock is now out, as excellently narrated by Brad Wills. You can get the audiobook at Audible, Amazon, Kobo, Google Play, Apple Books, Chirp, Storytel, Spotify, and my Payhip store. And believe it or not, we will hopefully have a three more audiobooks coming out before the end of 2023. Dragonskull: Doom of the Sorceress, that's almost done. Should be wrapped up on Monday and hopefully be coming out not too long after that. The audiobook of Ghost in the Serpent, as excellently narrated by Hollis McCarthy. The audiobook of Sevenfold Sword Online: Creation, I will talk a bit more about that once it is done. Now that Cloak of Embers is out, I'm currently writing on my next book. I am 18,000 words into it and I will talk a bit more about it next time we record an episode in December. So tune in for more news on that.
00:02:10 Main Topic: How to Finish a Novel
Now to our main topic: how to finish a novel in November or any other month. I was so busy trying to finish Cloak of Embers is that I totally forgot that November is National Novel Writing Month. Of course, I've been doing this long enough now that every month is National Novel Writing Month for me. The whole point of NaNoWriMo, of course, is to write an entire novel in the space of the month or barring that, to get 50,000 words down of your novel. The entire exercise is to encourage people to learn to finish their novel. This is because finishing the novel is really quite hard, and some writers never managed to get that far. Like there are a lot of people who have started numerous novels, but they always run out of gas about 1/3 of the way through or, they get really excited about writing the first chapter or the real cool opening scene, but can never get past that point. So learning to finish novels is a vital skill if you actually do want to write novels, but it's a hurdle that some people never get over, and no doubt about it, it is a fairly significant hurdle. However, Cloak of Embers is my 146th novel. I had to look it up, which shows how many novels I have written. I can't remember the number off my top of my head. Let's take a look at some of the tips and tricks I've used to finish books in the past.
#1: it really does help to plot in advance in the writing world. Writers tend to break down into two camps, those who outline in advance and those who do not. That this is sometimes called plotters and pantsers, i.e. riding by the seat of your pants, though given that pants means something somewhat different in the UK than it typically does in the US, people have proposed the more dignified terms discovery writers or writing into the dark for writing without an outline. People who write without an outline, say that the process of figuring out what happens is part of the joy of writing, hence the term discovery writer. That said, I really do think you can save yourself both a lot of headaches and a lot of doubt if you outline at least somewhat in advance. It does offer many advantages. If you think through the plot in advance, you can potentially avoid any plot holes by working through the story first.
Outlining in advance will also let you avoid running into a problem where your characters get stuck in a situation or conversation and you don't know how to resolve it because you can't think of a solution on the spot. Advanced outlining is also more efficient. You generally have to spend less time in rewrites and editing because you are less likely to spend writing time going down blind alleys that will need to be removed from the story later. I've heard people say that they tried out outlining and found it too confining and were much happier once they started discovery writing. The reverse may also be true. If you find yourself running out of gas as you try to write a novel, outlining the plot in advance might help.
#2: start short. There was a post on a famous author’s blog where a reader emailed to say that he wanted to write a 12 volume epic fantasy series with like twenty point of view characters for his very first writing project and the author gently suggested that perhaps the idea was just slightly too ambitious for a first project. You see the same thing at the gym after New Year's Day. Suddenly a bunch of new people turn up and they will sprint at maximum speed on the treadmill like for a tenth of a mile before having to stop or load as many plates onto the bar as possible and attempt to deadlift. Except that isn't how sensible exercise works. You should start small and then build on what you have done every week or every two weeks.
Trying to sprint an eight minute mile your very first time or attempting a 250 pound deadlift for the first time, means at best you'll just get discouraged and at worst, you might mess your back up if you don't do the deadlifts properly. Thankfully, the chance of physical injury while writing is much lower than deadlifts, though you should still practice good ergonomics. I used to know a college professor who would complain about his back was bothering him if he typed too long and the way he would type is he would sit on the very edge of his seat, lean forward at like a 60° angle, so it was hunched over the laptop keyboard and type that way. Do not type that way, but that was a digression. But it might be wiser to let your first bite at writing fiction be smaller. Maybe a short story, maybe a novella, or perhaps a shorter novel instead of a 12 volume fantasy epic. Perhaps a 50,000 word sword and sorcery tale with a single point of view character. Learning to finish novels, like muscles, is something that is best built up gradually.
#3: Persistence. Like many other areas of life, in writing, there is no substitute for plodding persistence in the face of obstacles. Many of the basic writing guides say to start out by writing 1,000 words a day. Even though it might be a bit much if especially if you have a lot of other things going on in your life. If 1,000 is too much, why not aim for 500? Five hundred words a day is very often very manageable. You don't even need an actual computer with a keyboard anymore. You don't open up a Google Doc on your phone and thumb type in 500 words. Some people easily compose thousands of words of text messages and social media updates every day. Why not take out 500 of them for fiction? A little bit every day it builds over time and setting a minimum for yourself can help you get through some of the harder parts of the book to write, which we're going to talk about right now.
#4: the middle is always a slog. It's important to understand that no matter how many books you've written, no matter how long you've been doing this, no matter how experienced you are, the middle of the book is always a slog to write. Every single time! Beginnings are fun. You've got all these shiny new ideas in your head and it's time to put them down on the page. The endings are pretty fun too. You've probably had the climactic scenes in your mind's eye for a while, and it's time to write them. The middle, though, that's where people tend to get stuck. If you haven't outlined in advance, that's where you realize you haven't figured out how to get from Point A to Point B or that you've written yourself into a corner or a potential plot hole, even if you have outlined in advance and you have a pretty good idea of where you're going. Sometimes you arrive in the middle and figure out they are outline just isn't going to work and you're going to have to redo it or it is in fact working, but you just have to sit down and actually do the work you're putting in the words, day after day after day. But the ending somehow seems to be getting farther and farther away with every chapter you write. This is simply part of the process. It's also true of a lot of other things. The middle of a workout almost always seems to be the hardest, or a 300 mile road trip seems to seems like it will take forever somewhere around mile 130 or so. I don't think there's any fancy trick, but to keep going. Plodding persistence always wins out in the end.
#5: Done is better than perfect. As I've said many times before, never let perfect be the enemy of the possible. This is a manifestation of my favorite logical fallacy, the Nirvana Fallacy, which is a cognitive error that says that if the perfect outcome is not achievable, then it's not worth doing. This overlooks the reality that 60% of a good thing is definitely better than 0%. Pizza is a good metaphor for this. Obviously you'd like to eat the entire pizza, but a single slice of pizza is still better than no pizza at all. The Nirvana Fallacy is refusing to eat any pizza at all if you don't get to eat the entire pizza. Writers and creatives in general seem particularly prone to this. Like they'll get in the loop of endlessly polishing in the first chapter, but never getting past that point or rewriting their first draft over and over, and attempt to finally make it perfect. But perfection in this life is much like attempting to go faster than the speed of light, it cannot be done and it takes infinite energy to even attempt it. In the case of perfection, the energy you spent trying to make your book achieve perfection could have been better spent on writing and finishing new books.
I've never written any book I would consider perfect. I always look back years later and think I should have done this or that differently, but you know what? I still finished those books and a lot of people enjoyed them, even if I think them hindsight, I would change various things. A finished yet imperfect book is better than the perfect one that exists only in the imagination of the writer and will only ever exist in the imagination of the writer. So I think learning to accept I did the very best I could and now it's time to set this finished project aside and move on to something else as a necessary attitude for a writer to develop. Or, as Steve Jobs famously put it, real artists ship, which I am putting into practice myself as I have just published Cloak of Embers and I'm moving on to my next book Half-Elven Thief and we'll share more details about that in the next episode.
I hope these tips and tricks will help you finish your book. So that is it for this week. There is not going to be an episode of the show the first week of December because this week is the Thanksgiving holiday and so I'm taking a few days off for that. I hope you all have a happy and safe Thanksgiving and safe travels if you travel anywhere. The Pulp Writer Show will be back the second week of December with a new episode. Thanks for listening to the show. I hope you found this podcast useful. A reminder, you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week or the week after next week, in this case. Goodbye now.
In this episode, we discuss whether or not indie authors should have ebooks, audiobooks, or paperbacks. The episode ends with a preview of the audiobook of DRAGONSKULL: WRATH OF THE WARLOCK, as narrated by Brad Wills.
TRANSCRIPT
Once again it is time for Coupon of the Week!
This week’s coupon is for the audiobook of CLOAK OF IRON as excellently narrated by Hollis McCarthy. You can get the audiobook of CLOAK OF IRON for 75% off at my Payhip store with this coupon code:
IRONFALL
The coupon code is valid through December 2nd, 2023, so if you find yourself wanting to get caught up with Nadia’s adventures before CLOAK OF EMBERS comes out (hopefully soon!), why not start with an audiobook?
00:00:00 Introduction and Writing Updates
Hello everyone. Welcome. To episode 175 of. The pulp Writer Show. My name is Jonathan Moeller. Today is November the 12th, 2023, and today we're going to talk about whether or not indie authors should have ebooks. We'll also have a few updates on my current writing projects. Before we get into that, let's do Coupon of the Week. This week's coupon is for the audio book of Cloak of Iron, as excellently narrated by Hollis McCarthy. You can get the audiobook of Cloak of Iron for 75% off in my Payhip store with this coupon code IRONFALL, and that's IRONFALL and you'll be able to see that in the link in the show notes. This coupon code is valid through December the 2nd, 2023. So if you find yourself wanting to get caught up with Nadia’s adventures before Cloak of Embers comes out (hopefully soon), why not start with an audiobook?
Speaking of Cloak of Embers, let's have an update on my current writing projects, of which Cloak of Embers is the main one. I am making good progress on editing it and I am very much hoping I can get the book out before American Thanksgiving, which I believe is November 23rd this year (off top of my head). It might slip past that, but I am optimistic I should be able to do that unless something seriously goes wrong. I am also just about 14,000 words into my next book which I will discuss more once the Cloak of Embers is out.
We also have quite a bit of good audiobook news. Dragon Skull: Wrath of the Warlock is finished recording, as excellently narrated by Brad Wills. We just have to get through quality assurance and we will end this episode with a preview from the audiobook as well. Dragonskull: Doom of the Sorceress is being recorded right now, as is Ghost in the Serpent, which will be narrated by Hollis McCarthy and so hopefully we will have quite a few new audiobooks for you to listen to very soon.
00:01:57 Reader Comments and Questions
Before we get to our main topic, let's have a couple of questions from readers. Our first question is from Wayne, who writes in to ask: Hello, sorry to bother you, just have one question. I have begun the Frostborn series with the Grey Knight. Is there a series of books that lead up to Frostborn that I should read first? I did that with a different book series. I read the second series of books before realizing there was a series of books I should have read before it. Hope I explained that right. Really enjoy your work. I've read all the Cloak and Ghost series. Great stuff. Thanks.
Thanks Wayne. I am glad you are enjoying the books. In answer to your question, Frostborn is indeed the first series you should read if you want to do it in chronological order. It would go Frostborn, then Sevenfold Sword, then Dragontiarna, and then Dragonskull. So that would be the appropriate order to read that series if you want to. I intended each series to be stand alone, but I've learned in the years since that it doesn't matter what I intended. Many people still want to read the series in chronological order.
Our next question is from Brian, who writes in to ask: Good afternoon, Mr. Moeller. I have been a fan of your writing for some time. Like, especially during the Ghosts and the Cloak series. However, the Cloak and Ghosts crossover is hard to read as there are some discrepancies. For example, Andromache was killed but yet is alive in the crossover series. The coffee house- not too hard to explain, but it is there some books I miss to explain how the crossover comes to be and how the extremely two different time eras come to merge? That question is, kind of in a nutshell, why I didn’t write any more Cloak and Ghost books after the first three. Thanks for reading the books, Brian, and for enjoying them all. But Cloak and Ghost, the idea I had behind that was that Nadia meets a version of Caina who lives in her world, that's distinct from the main version of Caina in the series. And I thought why not do that? You know, superhero comics do that all the time. There's parallel universes and all that running around, but it turned out to just really confused people.
It's been over four years since I wrote the last Cloak and Ghost book, and I still get the questions like the one Brian had on a fairly regular basis, which is why I stopped writing the Cloak and Ghost series, just because it was too confusing for people. And speaking of the multiverse stuff, it's no secret that the Marvel movies have suffered quite a downturn in revenues and viewers ever since they turned to doing more multiverse type stuff, so I think multiverses might be something that is more popular in the writers’ heads than it actually is, which is a lesson I learned four years ago, with Cloak and Ghost and which Marvel and Disney seem to be learning the hard way now. Yeah, I'm not writing any more Cloak and Ghost books just for that reason because it just confuses things.
00:04:46 Main Topic: Ebooks and Paperbacks for Indie Authors?
Now on to our main topic of this week: should indie authors have ebooks or paperbacks? Indie author Brian Cohen runs something he calls the Five Day Author Ad Challenge every quarter. It's a good experience for coming to the grips with the basics of Amazon ads, and I've recommended it to a lot of people who've had good results with it. I didn't do it myself this year, but I'm still in the Facebook group and see the posts that come up every quarter. One really caught my eye. A new author was resistant to the idea that she should have an ebook at all. She only wanted to sell paperbacks and not bother with ebooks, which leads to the obvious question. Should indie authors have ebooks? Well, yes, not to be harsh, but the answer will obviously almost always be yes. For any kind of genre fiction, it will be far easier to sell ebooks than paperbacks. The Five Day Author Ad Challenge does have a lot of very new authors and very new authors not infrequently have a clear idea in their heads about how they hope it will go. Often they will talk about how they want to hold their paperback book in their hands, see it on the shelf of the local bookstore and local library, maybe have a table at the local book fair where they can sign books. Sometimes there will be a digression about the smell and feel of a paper book. However, this romantic dream then runs into the cold reality of economics.
It's very difficult to sell paperback books. Paperback books are expensive, and because of inflation and supply chains stuff with paper, they're getting even more expensive. The day of the $5 mass market paperback is long past. In the day of the mass market paperback, the author didn't get all that much money, like $0.10 to maybe $0.25 a copy, and sometimes even less than that. Granted, nowadays the margins are better for self-published authors, but the economics still aren't great for paper books. My most recent book, Ghost in the Serpent, is $13.99 in trade paperback on Amazon. If the reader buys a copy of the paperback on Amazon, I get about $3, and if they buy it through another platform, I get a little over $1.00. This is definitely better than the days of a $5 mass market paperback, but it's still very expensive for the reader. By contrast, the ebook of Ghost in the Serpent is only $4.99, and for every sale I get up around $3.50, which is the point. It is much, much easier to sell $4.99 ebook than a $13.99 trade paperback, and I get slightly more money from ebook sale than I do from a paperback one.
So genre fiction will almost always be more profitable in ebooks than in paperback for the indie author. I really mean always, but I said almost always to include flukes of fate and acts of God. Outside of genre fiction, it's a little more varied, but still a good idea to have an ebook. Certain kinds of nonfiction sell more strongly in paperback than an ebook. Children's books, especially ones aimed at toddlers and younger children, do way better in paper than an ebook. The reason for this is logical enough. Toddlers and small children often like to throw things. And are you going to give a four-year-old a $399 iPad or a children's book? They're also various specialty forms of nonfiction, cookbooks, technical manuals, and so forth that do well in paperback. Or if you have a book that has a lot of interior pictures, which is often true of cookbooks and other specialty nonfiction.
That said, most indie writers will have an easier time selling ebooks than paperbacks, which leads to the next question: should indie authors have paperbacks? Especially the writers of genre fiction I just described above, the ones who will probably sell more ebooks than in paperback? The answer to that is yes, if possible, and it’s usually quite possible. It used to be quite a bit harder to make paperback books, especially the interior. You needed to copy and paste the chapters of your book into a specially prepared Word document and formatting it was a serious pain. Now several software programs have come along that can automate the process for you. The one I use is Vellum, which automatically generates nicely formatted ebook and paperback book files for you. I believe you can do the same thing in Atticus and Scrivener, but I've never tried it. You can either make a wrap around cover for your book or you can use the automated tools included with KDP Print and Draft to Digital Print to make a cover. Most indies use either KDP Print or Draft to Digital Print to make their paperbacks. You can also use Ingram Spark and several other services, but Ingram Spark has a way sharper learning curve and tends to be more expensive. You almost certainly will not sell as many print books than ebooks, especially if you're writing genre fiction.
But paperbacks can be a nice bit of bonus income, especially since it isn't all that much additional work to set up a paperback. But that leads to the next question. You've got an ebook and the paperback of your book, should you have an audiobook? The answer to that is, it depends. You know how sometimes you ask an accountant or a lawyer a tax question, and the answer is no, except yes, but sometimes maybe? The reason for that is that U.S. tax law is so immensely complicated that the answer to any question about it can vary wildly depending upon an individual’s or company’s particular circumstances.
The same thing is true with indie authors and audiobooks. If you want to sell an audiobook, you will almost certainly need to pay for a human narrator. At the moment, I think Google Play is the only storefront that allows the sale of AI narrated audiobooks, so long as you do it with Google Play's built-in tools, which I've tested and is actually pretty good. Amazon just started testing AI generated audiobooks for sale, though they only just announced it in the first week of November 2023. That said, I suspect you realistically aren't going to be able to charge very much for it. Imagine the reviews along the lines of, I paid $13.99 or an entire Audible credit for this computer voice. One star, do not recommend. People generally don't like AI narrated audiobooks. My experiment with AI narrated audiobooks on YouTube generated a lot of comments along the lines of I like the story, but this voice sucks. That will almost certainly be true for any AI generated audiobook for fiction or nonfiction with a lot of emotion in it, like a memoir. It would probably work for something very dry book about tax law or real estate licensure.
Realistically, if you want to make any money from a fiction audiobook, you will almost certainly need a human narrator, and I mean almost certainly in the same sense I meant it above. So when I say it depends on whether or not you should pursue an audiobook, what it depends on is your financial status and business requirements. To get a good narrator, you will expect to pay in the $200 to $400 per finished hour range. You can also get a narrator via royalty share where you don't pay the narrator up front, but then you and the narrator split any royalties from the book for seven years. Generally I found the more experienced and qualified narrators prefer to be paid in the $200 to $400 per finished hour range. If you do pay upfront, depending on your business structure, there's a very good chance that this will be deductible and may help you greatly at tax time, though, as always, this website and podcast is not financial advice and for tax advice, you should consult an accountant qualified for your taxing jurisdiction. It's also important to know that self-publishing audio is bit like regular self-publishing but on hard mode: the mechanics are the same but everything is more difficult. Whether to pursue audio or not is a question that must be left up to the individual author and publisher. So to sum up, should indie authors have ebooks, paperbacks, and audiobooks? For ebooks and paperbacks, definitely yes. For audiobooks, if your circumstances allow for it and it's the kind of work you're interested in pursuing.
When I talked about this on Facebook and my blog, I had some interesting comments. So let's read a few of them here. Our first comment is from Jesse, who asks: does make me wonder how many indie authors take a crack at narrating their book themselves these days. Home studios aren't anywhere near as hard as to get set up as they once were, and even a good to mid high end and vocal workhorse microphone can be had for around $300.00 and last you for years. I guess it depends on motivation, but it seems like it'd be doable from equipment standpoint to at least (source: been doing home studio work for a long time). Jesse is right, it is in fact quite possible to put together a pretty good audiobook recording setup for not a significant amount of money. Obviously you need the microphone. You would need a computer with enough storage to handle the audio files and you would need some method of blocking out exterior sound and getting through the good the sound level you're supposed to have. I know during COVID many narrators, who usually go to a studio, and because of COVID, the studios were closed, set up home recording setups where they found they could record successfully in their closet because all the hanging clothes prevented echoes or they were able to build like a wooden framework over their desk and then hang blankets over it and that would prevent echoes enough to the point where they could record. Obviously that would get hot in summer, but that meant you could still work, and some indie authors do record their own audiobooks.
The difficulty is that recording your 10 to 12 hour long audiobook is a lot harder than most people think it is. I mean, think about this like twenty minute podcast episode you're listening to right now and think how many words I've flubbed or I've said the wrong word, or I sort of trail off randomly (exaggerated pause for comedic effect) in the middle of a sentence like that. Think of how many mistakes I've made just in this twenty minute podcast episode with my speech, and then imagine having to maintain absolutely perfect speech for like 8 to 12 hours at a consistent tone, not speeding up, not slowing down randomly, just being an acceptable level of audiobook narration is a lot harder and more physically and mentally demanding than many people think it is, so that's the big hurdle, not the equipment. I mean, you probably get the equipment to record your own audio book for around $1000 (maybe less if you get some of it secondhand), which while is a significant outlay of money, it’s not like you know, capital gains kind of investment, but the hard part is not the equipment. The hard part is being able to physically do it and record the audiobook at an appropriate speed for 12 hours or more.
The next comment was from M., who writes to say that $200 to $400 range for a narrator seems low to me. I have no experience whatsoever in the field, though. How many hours of work does that translate to? I think the SAG-AFTRA minimum rate for narrator is $325, where if you're a member of SAG-AFTRA Guild, you have to charge a minimum of $325 per finished hour, though that may have changed in the aftermath of the strike this year. Obviously celebrity narrators can command much higher prices. If you see an audiobook that was narrated by a famous actor, you can be pretty sure that his or her agent negotiated a higher rate than $200 to $400 per finished hour. Usually the rule of thumb is that for every finished hour, about two to three hours of prep work goes into it. Because you have all the editing and the corrections you need to do and you just can't sit down with a, you know, a book, open it up and start reading. You need to go through it first, make sure that you know how to pronounce everything and know what the structure of the sentences are and so forth.
So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found this show useful and interesting. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com and many of the older episodes now have transcripts attached. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week. Since we just spent a lot of time talking about audiobooks, it seems only appropriate that we close out the show with a sample from Dragonskull: Wrath of the Warlock as excellent narrated by Brad Wills, and that should hopefully be out before the end of November.
In this week's episode, I look back at some of my favorite classic video games, and also discuss my book advertising results from October 2023.
This week’s coupon is for the audiobook of CLOAK OF BLADES as excellently narrated by Hollis McCarthy. You can get the audiobook of CLOAK OF BLADES for 75% off at my Payhip store with this coupon code:
NOVBLADES
The coupon code is valid through November 28th, 2023, so if you find yourself wanting to get caught up with Nadia's adventures before CLOAK OF EMBERS comes out, why not start with an audiobook?
TRANSCRIPT
Hey, everyone. Welcome to Episode 174 of the Pulp Writer Show. My name is Jonathan Moeller. Today is November the 3rd, 2023, and today we're going to talk about classic video games. We'll also discuss October 2023's ad results and made up words that turn out to be not made up after all. Before we get into all that and then an update about my current writing project, it is time for Coupon of the Week. This week's coupon is for the audiobook of Cloak of Blades as excellently narrated by Hollis McCarthy. You can get the audiobook of Cloak of Blades for 75% off in my Payhip store with this coupon code NOVBLADES and that is spelled NOVBLADES and you get that in the show notes. The coupon code is valid through November 28th, 2023, so if you find yourself wanting to get caught up with Nadia's adventures before Cloak of Embers comes out, why not start with an audiobook? You can get the coupon code and the links in the show notes for this episode.
Now let's have an update on my current writing projects. I am 107,000 words into Cloak of Embers, which puts me on Chapter 21 of 22 so I'm almost done and I'm hoping to get that wrapped up next week if all goes well. At 107,000 words, I'm not sure how long it will be once I'm done editing and by the time the rough draft is done, but it will almost certainly be either the longest or second longest book that had Nadia as a main character. So that will be something to look forward to. I'm also 9,500 words into the book I'm going to write after Cloak of Embers and I will discuss that a bit more and what I intend to do with that after Cloak of Embers is published, hopefully in November. But we'll see.
In audiobook news, Dragon Skull: Wrath of the Warlock is almost done in audiobook, as excellently narrated by Brad Wills and we just have to finish proof listening to it and hopefully we should have that come out before the end of November if all goes well. Brad is also going to start work on Dragonskull: Doom of the Sorceress before much longer, and that will probably (given how the holidays are falling this year) come out in either late December or January, with January being the more likely outcome. In other audiobook news, Hollis McCarthy will soon start the recording of Ghost in the Serpent, so hopefully we'll have more updates on that soon.
00:02:30 Reader Questions/Comments
Before we get to our topics today, let's have a few questions from readers. Our first question is from Lisa, who writes to ask: Hello, I just started reading your book series with your character Ridmark Arban and I am wondering what is the very first book to start with. Is it the one called the First Quest or is it a different one to start with? Also I have been looking all over the Internet trying to figure out what the book order is for your character Ridmark Arban and I'm having no luck. In answer to your question Lisa, the very first book with Ridmark Arban would be Frostborn: The Gray Knight. That is the first book in the Frostborn series, and Ridmark is also the main character in Sevenfold Sword and then Dragontiarna, though I would recommend starting with Frostborn: The Gray Knight. And you can find the series reading order on either my website or it should be in the metadata on all the different retailers. And I think we have that set up properly now. Frostborn: The First Quest is a prequel to the main Frostborn series that I put out for free to people to read and enjoy as a bit of back story, but it's a prequel and the actual official starting point of the Frostborn series would be Frostborn: The Gray Knight.
Our next question…well, it's more of a comment really is from Juana who writes about the upcoming Cloak of Embers and her opinion of the character of Victoria Carrow. And this is what she thinks Victoria will be A: she's the head of Singularity B: She is a criminal elf. C: She killed Tarlia and took her place or D: She is an anthrophage elder with really good impulse control. In any case, she is bad news and I just don't like her.
Ah, as you might guess from that comment, Juana is a longtime reader who has read many of my books. Thanks for that, Juana. She has been very suspicious of Victoria Carrow from the beginning, when she first appeared, way back in Cloak of Ashes back in 2020. Well, Victoria does have a secret and we are going to find out what it is in Cloak of Embers. And during the process of writing this book, I realized that talking about Victoria's secret had an additional meaning that I did not intend but in this sense we are talking about the secret held by Victoria Carrow and not the apparel company.
And now for a question a couple of different readers have had over the past few months since Silent Order: Pulse Hand came out. A reader emailed to ask of the word materiel, spelled MATERIEL in Silent Order: Pulse Hand was a mistake and asked if it should have been spelled material, MATERIAL. No, that spelling is correct. Materiel is a real word when spelled with an E. It refers to weaponry, supplies and equipment used for war in the military or to quote the Wikipedia definition: “Materiel are supplies, equipment and weapons in a military supply chain management, and typically supplies and equipment in a commercial supply chain context. In a military context, the term materiel refers to either the specific needs, excluding manpower of a force to complete a specific mission, or the general sense of the needs, excluding manpower of a functioning army. An important category of materiel is commonly referred to as ordnance, especially concerning mounted guns, artillery and the shells they consume, along with fuel and munitions in general the steady supply of ordnance is an ongoing logistical challenge in active combat zones.” Or to put it another way, not only is materiel a real word, it is in fact a topic to which many serious minded military officers have devoted much serious minded thought since a failure to address your military's materiel needs means you're going to lose the war before the first shot is fired.
To be fair, as a science fiction and fantasy writer, I make up a lot of words. Grammarly is always so impressed that I use so many unique words but it really isn't fair because I do make a lot of them up. That said, I was a history major, which was not helpful to finding a real job, but turned out to be useful for concept and terms for fantasy novels. Like in Frostborn, I use the terms dux and comes for noblemen instead of duke and count because Latin was the primary language of Andomhaim and the terms duke and count were derived from the Latin words dux and comes. However, given how confused some people were by the terms dux and comes, if I had to do it all over again, I would probably default to duke and count, just to reduce reader confusion. Though urvaalg was one of my better made-up words. No one ever gets confused about what an urvaalg is. So those are the comments and questions for the week. If you have a comment or question you'd like addressed on the show, leave it as a comment on one of my websites and we will see if we can get to it.
00:07:09 Ad Results for October 2023
Our next topic for today is ad results from October 2023. Since it's past the 1st of November, it's good time to look back and see how my ads did for October 2023. I have to admit that October was a pretty weak month for sales for a variety of reasons beyond my control or honestly anyone's control. For one thing, the economy remains bad and inflation is high, especially in the US. For another, the international news in October was very bad, which always puts a damper on discretionary entertainment spending like books. Amazon US was consistently glitchy throughout all of October and still isn't working right as of the time of this recording. I can't prove this, but I think the books category faced strong competition from video games in October, especially Spiderman 2 for PlayStation and Super Mario Wonder for the Switch. Full disclosure, I did buy Super Mario Wonder and I'm playing it and it's excellent. On the plus side, Ghost in the Serpent had a strong start and Silent Order did very well in October on the strength of the Bookbub feature deal back in the first week of September and the lingering halo effect from Pulse Hand coming out soon afterwards. People are generally more willing to start a finished series than an unfinished one, especially in the science fiction and fantasy space. All my ads for October turned a profit, which I am very grateful for.
So here's how the Facebook ads did. For Frostborn, I got back $5.44 for every dollar I spent, with 44% of my profit coming from the audiobooks. For the Ghosts. I got back $7.46 for every dollar spent, with 8% of the profit coming from audiobooks. If you take out Ghost in the Serpent, my profit comes to $2.95 with 20% of the profit coming from the audiobooks. For Cloak Games and Cloak Mage, I got back $3.19 for every dollar spent and for Silent Order, I got back $4.45 for every dollar spent.
For Amazon ads, the only thing I advertised myself was Dragonskull: Sword of the Squire, which did pretty well. For every dollar spent, I got back $3.41, with 27% of the profit coming from the audiobook. So we see once again, that audiobooks, once you have them, are usually a good additional profit for a long series. For some reason I could never really get the Cloak Games or Cloak Mage audiobooks to sell, which is why I said usually instead of certainly.
I think in November I'm going to do things a little bit differently. I'm going to try advertising Frostborn entirely on Bookbub ads, which I haven't used in a while. Facebook has been making some changes to the way targeting works on its ad platform, and I can see those changes making it less useful to advertise books there. Additionally, Facebook has also begun testing a subscription service for an ad free experience, which obviously would make Facebook way less useful for book advertising. The advantage for Bookbub ads is that some of the targeting has already been done for you. Like with Facebook ads, one of the keys to success is to make sure you've targeted your audience correctly. With Bookbub ads, everyone looking at the Bookbub e-mail is already looking for discount books anyway, so some of the targeting work has been done for you already. Anyway, if Facebook is considering pivoting away from ads in favor of paid subscriptions, it will be good to have backup options ready. And as always, thanks for reading. There would be no point in advertising these books if people didn't read them.
00:10:29 Main Topic of the Week: Classic Video Games
So, let's go on to our main topic this week: something fun because it's my podcast and I wanted to talk about something fun. That topic is classic video games. The main way I have played classic video games for the last four years is the Nintendo Switch, which I bought in September 2019. I've mentioned before that I didn't play any console games from about 1998 to 2019. There were several good reasons for this. First, I was really busy. Second, consoles are expensive and I definitely didn't have the money to drop on many games for the 2000s and most of the 2010s. Third, while I did play games, I played on the PC. I remember in 2007 not going out to eat for a while to save up to buy a better video card so I could play Elder Scrolls 4: Oblivion on something other than the very lowest video settings. But 2019 marked a major personal milestone, my 100th book. Dragontiarna: Knights was about to come out and a few people asked what I wanted to do to mark this milestone. Maybe take a trip, go on vacation, that kind of thing. Instead, I decided that I wanted a Nintendo Switch. But why a Nintendo Switch?
At Easter 2018, my younger brother unexpectedly gave me a Super Nintendo Classic as a present. For a while, at the end of the 2010s, Nintendo intermittently sold two mini consoles, the Nintendo Classic and the Super Nintendo Classic, each one accompanied with recreations of the old style controllers and some of the greatest hits for the respective console. Playing around with the Super Nintendo Classic got me interested in the Switch since the Switch online subscription service also came with emulators for the NES and the Super Nintendo. I have played a lot of NES and Super Nintendo games back in the 1990s, but I only rarely had the chance to finish them. Partly it was because I was busy and partly because the technology to save games back then really didn't exist for either the Nintendo or the Super Nintendo, with a few exceptions. If you ran out of lives and died, or you had to go do something and turn off the console, that was it. Your game was gone and you had to start over from scratch.
But after Dragontiarna: Knights was published, I made up my mind about what I wanted to do to celebrate, and I got a Switch. As it turned out, getting the Nintendo Switch 8 months before the great COVID freak out turned out to be a really, really good idea. It gave me the opportunity to beat several games, actually numerous games that I had run out of time to play. The first one was The Elder Scrolls 5: Skyrim, which I had gotten for the PC back in 2011 and played intermittently ever since, but never found the time to finish. I beat it for the first time on Switch and then I finished Bloodstained: Ritual of the Night, which was a spiritual successor to the various Castlevania games of the 1990s. With a combination of Switch Online, save states, and some of the anthology collections available for the console, I managed to finish some of the classic games from the ‘80s and early ‘90s that I never had the chance to finish earlier, like the original Super Mario Games, Super Mario Brothers, Super Mario 3 for the NES, and Super Mario World for the Super Nintendo. I never really got into Super Mario 2 for the NES and never really tried to play it. The Castlevania series: the three Castlevania games for NES, Castlevania 2 for the Game Boy (the first Castlevania for Game Boy really isn't worth playing) and Castlevania 4 and Castlevania Dracula X for the Super Nintendo and I finally got to beat all those. The Zelda series: the original Legend of Zelda for NES (which I never finished) and Link to the Past for Super Nintendo, which is in fact one of the few Super Nintendo games I actually finished back when it originally came out, but I enjoyed being able to play it on the Switch with saved states. Super Metroid, which I never got a chance to play at all in the ‘90s and is deservedly a classic. You frequently see its mechanics turn up in many other modern games.
Lest you think I spent all my time replaying the classics, I did finish some newer games as well. The remake of Link’s Awakening was excellent, a good updating of the Gameboy Classic. Metroid Dread was absolutely superb, even though it took me a while to finish some of the boss fights. I also finished Elder Scrolls Blades, which I'm not going to say was a great game, but I still enjoyed it and I am proud to say I beat the final boss without paying for a single micro transaction, though I did buy the soundtrack, which makes for good background listening while writing epic fantasy. I keep meaning to play the remake of Metroid Prime, but I haven't gotten around to it yet. The multiplayer games also turned out to be great fun. I started bringing Mario Kart 8 and some controllers to family gatherings. Turns out nearly everyone likes Mario Kart. They say alcohol is a social lubricant, but Mario Kart is almost as effective and results in a lot fewer hangovers, though I do lose at Mario Kart a lot. Additionally, playing the old multiplayer classics like the original Super Mario with someone who appreciates them is always fun. So I think it's safe to say that I've gotten a lot of enjoyment out of that Nintendo Switch I bought back in 2019.
What's interesting is that the Switch is about 7 years old now as of this recording, which is the eternity in technology terms, yet it's still going strong. Microsoft, Sony, and the PC game market have been locked in an arms race for even more powerful hardware and more detailed graphics. By contrast, the Switch was fairly underpowered even for 2017, when it came out. And while it's been updated a few times in the year since, it's still essentially the same device. Pretty much every phone manufactured in the 2020s is more powerful than the Switch, but Nintendo doesn't seem super interested in rushing into their next console, though the rumor mill has been talking about the Switch Two or the Switch Pro for years. In fact, just a couple of weeks ago they released a Super Mario Wonder for the Nintendo Switch, and it was a huge hit and received universal acclaim on Metacritic. This approach makes sense once you know of Nintendo's philosophy of withered technology. This was a strategy articulated by Nintendo game designer Gunpei Yokoi (and I apologize if I pronounce his name wrong), who called it lateral thinking of withered technology. This philosophy described using mature technology that was well understood and cheaply obtained rather than cutting edge stuff to create unique game experiences different than anything else available.
I suspect this is a variant of a philosophy you see among successful people in every field. They rely on the boring but practical methods and combine them in ways to create something unique. Or if you dig into the many successes, you will find that the people behind them stuck to the well established fundamentals but did them really well, and that's what the Switch does, isn't it? It's a unique experience. You can plug it into the dock and play it on your TV or unplug it and use it like a handhole console like a super powered Game Boy. I can play on my couch or take it with me to those family gatherings and plug into the TV for Mario Kart 8. It's an idea that seems incredibly obvious in hindsight, but it really wasn't at the time. Dragontiarna: Knights was my hundredth book in 2019, and my most recent book, Ghost in the Serpent, was 145. Maybe when I hit 150 I should get a Switch OLED model, or the mythical Switch 2, if it is come out by then.
So that is it for this week. Thanks for listening to the Pulp Writer Show. I hope you found the show enjoyable. A reminder that you can listen to all the back episodes on thepulpwritershow.com. And if you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at whether or not writers should stop writing because of the threat of generative AI programs.
This week’s coupon is for the audiobook of CLOAK OF ASHES as excellently narrated by Hollis McCarthy. You can get the audiobook of CLOAK OF ASHES for 75% off at my Payhip store with this coupon code:
OCTASHES
The coupon code is valid through November 18th, 2023, so if you find yourself wanting to get caught up before CLOAK OF EMBERS comes out soon, why not start with an audiobook?
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello, everyone. Welcome to Episode 173 of the Pulp Writer show. My name is Jonathan Moeller. Today is October the 27th, 2023 and today we're going to talk about whether or not you should stop writing fiction because of the threat of generative AI. Before we get into that, we will have a Coupon of the Week and an update on my current writing projects. First up, Coupon of the Week. This week's coupon is for the audiobook of Cloak of Ashes, as excellently narrated by Hollis McCarthy. You can get the audio book of Cloak of Ashes for 75% off at my Payhip store with this coupon code: OCTASHES and again, that is OCTASHES and you can also see that in the show notes. This coupon code is valid through November 18th, 2023. So if you find yourself wanting to get caught up before Cloak of Embers comes out soon, why not start with an audiobook?
That does seem thematically appropriate to go from Cloak of Ashes to Cloak of Embers, even though Cloak of Ashes will be book three of the series and Cloak of Embers will be book ten. As you might guess, my current writing project is still Cloak of Embers and as of this recording I'm about 68,000 words into it, though I really want to get to 70,000 by the time I am done working on it for the day. I've had two different 10,000 word days working on this book, which is a very good thing because it's going to be a long one. As I mentioned before, I'm 68,000 words into it and I'm not even at the halfway point of my outline yet and some of the previous chapters are so long, I'm going to have to split them up into smaller chapters. So I am confident in saying that while I don't know exactly how long Cloak of Embers is going to be, I am entirely certain that it's going to be the longest book I will write in 2023.
For audiobooks, right now Brad Wills is recording Dragonskull: Wrath of the Warlock, and we are hoping to have that out by December or so. As for what I want to write once Cloak of Embers is done, I have not decided. I knew Cloak of Embers was going to be a long book. I didn't realize how long, so whatever I write next, it depends on how long it takes me to finish Cloak of Embers and how things look at that point in time, but I'm still hoping to have Cloak of Embers out in November, though it does look like there is a good possibility that the book might slip to December.
00:02:26 Main Topic: Should You Stop Creative Work Because of Generative AI?
So on to our main topic this week. Should you stop writing or pursuing creative efforts because of generative AI? Without major spoilers, the chief villain of the new Mission Impossible movie from back in May was an evil artificial intelligence. That makes it timely to do another podcast episode about generative AI. I recently saw a long, somewhat maundering social media post arguing that since soon AI would advance to the point that it could spit out a fully completed novel at the press of a button, there was no point in attempting to write any longer. The post’s author claimed it was a black pilled post, though my experience the term black pilled is usually Internet shorthand for “I will use my fears as an excuse to avoid action.” I also saw a New York Times article about a father worried about encouraging his son's creative interest because he feared that AI would soon replace all of that. So that leads to the question, should you stop writing fiction because of AI or engaging in any creative pursuit at all?
Short answer, no. Get a hold of yourself. Maybe splash some cold water on your face. The longer, more elaborate answer: One, using fear of AI as a reason not to do something is excuse making. In fact, this is a formal logical fallacy known as the nirvana fallacy, which states that if conditions are not perfect or the outcome of an action is not perfect, then it is not worth doing. The usually cited example of this is that people wearing seatbelts can die in traffic accidents, therefore, seatbelts are not worth wearing. The counterpoint to this is that has been well proven that seat belts reduce fatality traffic fatalities and injuries and an improved but imperfect outcome is better than no improvement at all.
Writers in general seem to be strongly prone to the nirvana fallacy. You will see many, many, many excuses for why writers do not want to write. Some of those excuses are, of course, perfectly valid, such as an illness, a life crisis like a death in the family, or a car accident, or something of that nature. But quite a few of those excuses boil down to the nirvana fallacy. Conditions are not perfect or the outcome will not be perfect, so therefore it is better not to start at all. Fear of AI is really the latest excuse to slot into the nirvana fallacy.
Two: AI is worse than you think it is. It is regrettable that the various image generations and generators and large language models get saddled with the term AI because there's nothing terribly intelligent about them. They're basically fancy autocomplete, whether for pictures or for words. Granted, further refinements in the technology have made it into very super-duper fancy autocomplete, but there's still nothing particularly intelligent about it. AI is also a lot harder to use effectively than many people think. If you want to get a decent result out of an AI, you need to spend a lot of work refining the prompts. People can make some beautiful images in Midjourney, but for every beautiful image that comes out of Midjourney, there's like 40 billion terrible ones. Every really good image you see that was generated with an AI probably took like a 400 word prompt after several hundred iterations. Getting acceptable fiction out of a chatbot is so much work that it's easier simply to write it yourself. Ironically, if you want to fix it out of a chatbot, ask it about something factual.
Also, whenever people try to rely on AI to do something important, bad things seem to happen. A nonprofit website devoted to treating eating disorders got rid of its volunteer counselors and replaced them with a chatbot, only for the chatbot to start dispensing bad diet advice. A couple of months ago, some lawyers in New York got in big trouble when they used ChatGPT for legal research, only for it to invent cases that had never happened. To be fair, the lawyer in question apparently failed to double check anything and ChatGPT repeatedly said in its answer it is a large language model and not a lawyer. As an amusing aside, the morning I wrote this paragraph, I got a text from a teacher I know complaining how much he hates ChatGPT. It's incredibly obvious when his students use ChatGPT to do their homework because the answers are so similar. As it turns out, ChatGPT isn't even good at cheating. The point is that whenever there are situations that involve personal or criminal liability, using AI is a very bad idea. Obviously, writing a is a much lower stakes endeavor, but that leads directly to our next point.
Number three: you can't see in the future. Just because everyone says AI is the next big thing doesn't mean that it is. The problem with a lot of tech CEOs is that they all want to be Steve Jobs. Steve Jobs was unquestionably a major figure in tech history, but he has been mythologized. His keynote presentations were masterpieces of showmanship, which means that people remember his career that way, like Steve Jobs strode onto the stage, dramatically unveiled the transformative next big thing: The iPod, the iPad, the iPhone, changed the world, and made billions of dollars in front of an applauding crowd. To be fair, I typed this paragraph when I wrote it on a MacBook Air. But that overlooks the actual history, which is that Jobs failed at a whole lot of stuff. He got booted from Apple in the 1980s. His subsequent company, Next computer, didn't do all that great. And when Jobs returned to Apple in the late ‘90s, the company was in such dire straits that it needed a deal from Microsoft to stay afloat until the eMac and the iMac came along. The triumphant keynote phase of his career was in many ways his second act as an older, wiser man after a lot of setbacks and a lot of obsessive work went into all the Apple products mentioned above. The iPad and the iPhone in particular went through prototype after prototype and were the work of large and skilled teams of engineers.
The trouble with remembering the mythology instead of the actual history behind Steve Jobs is that people tried to copy the mythology without doing the mountains of work that inspired the myth. These tech CEOs all want their products to be the next big thing, but the problem is that the product one, often isn't very good and is less of a product and more of an excuse to extract money from the customer and two, isn't actually all that useful. Like regardless of what one might think about an iPhone or an iPad, it cannot be denied that they are useful devices. I refused to use Apple devices at all in the 2000s because they are so expensive (a criticism that, in my opinion, remains valid), but in the mid 2010s, a combination of job changes (since I’d suddenly become responsible for a lot of Mac computers after a layoff) and just the sheer usefulness of many Apple devices meant that I started using them. I still have an iPod Touch I use when I go running or when I do outdoor work, and since Apple doesn't manufacture iPod Touches anymore, I will be sad when it finally dies.
By contrast, a lot of new products aren't that good or that useful. The CEO has forgot that to extract money from the customer, you actually have to provide value in exchange. An iPad is expensive, but it does provide value. NFTs are a good example of this phenomenon of failing to add value for the customer. For a while, all the big brains in social media were convinced that NFTs are going to be the next big thing. The idea was that NFTs would create digital collectibles and artificial scarcity. People talked endlessly about minting their NFTs and how this was going to revolutionize online commerce. But I think it is safe to say that outside of a few niches, NFTs have been soundly rejected by the general public. They don't add value. If you buy, for example, a collectible Boba Fett figure, it is a physical object that you own, and if anyone takes it without your permission, you can charge them with theft. By contrast, if you buy an NFT for a JPEG of Boba Fett artwork, you have an entry on a blockchain and there's nothing to stop people from copying the JPEG of Boba Fett. What's the point of the NFT, then? Even if you don't keep the Boba Fett figure in its packaging and give it to a child as a toy, it still provides value in the form of entertaining the kid.
Cryptocurrency was another next big thing for a while. Some people were sure that crypto was going to end central banks and government issued fiat currency. Of course, while there are many legitimate criticisms to be made of central banks and fiat currency, it turns out they do a good job of slowing down a lot of the scams that infested the crypto space. The late, great science fiction author Jerry Pournelle used to say that unregulated capitalism inevitably led to the sale of human flesh in the market, and crypto seems to have proven that unregulated securities trading leads inevitably to FTX and crypto marketplace collapses.
The Metaverse is a much more expensive version of this. Mark Zuckerberg, worried about the future of Facebook, decided to pivot to his virtual reality Metaverse. Likely, Mr. Zuckerberg thought that the rise in remote work during the peak of the pandemic would permanently change social dynamics and Facebook, if it acted right now, could be to virtual reality what Microsoft was to the personal computer and Google was to search engines. Facebook changed its names to Meta and burned a lot of money trying to develop the Metaverse. However, this plan had two major flaws. One, while some people preferred the new social arrangements during COVID, a vastly larger majority hated it and wanted things is to go back to normal as soon as possible and two, Meta spent like $15 billion to build the Metaverse, but ended up with the worst version of Second Life that required very expensive virtual reality goggles. Meta ended up wiping out like 2/3 of its company value. So while right now generative AI might be the next big thing, but as the examples above show, this might not last.
Number four, public derision. Generative AI could also be following a similar track as NFTs and cryptocurrencies: an initial surge of enthusiasm followed by widespread disdain and mockery and retreat to smaller niche. For a while, several big gaming companies were very excited about NFTs and a smaller number were interested in cryptocurrency. They would roll neatly into the growth of microtransactions which the gaming industry really loves, like you could buy a new skin or avatar for your character, and you'll also get an NFT is saying that you had #359 out of 5000, that kind of thing. Digital collectibles, as mentioned above, except the backlash was immense and people widely mocked every effort by game companies to insert NFTs into their product. It's an act too much of previous extract money efforts like microtransactions and lootboxes. Cryptocurrency likewise experienced an increasing level of public disdain. See how crypto bros have been mocked after the collapse of FTX and other large crypto companies.
Generative AI is very popular in some quarters but is beginning to experience a growing level of public disdain as well. One recent example was fantasy author Mark Lawrence's self-publishing contest. An AI designed cover won the competition and the outrage was high enough that Mister Lawrence cancelled the cover competition in future years. To be fair, part of the problem was that the artist lied about using the AI on his application form. The Marvel show Secret Invasion used a bunch of AI generated images for its title sequences, and there was a backlash against that. Various professional organizations have come out against generative AI, and apparently one of the key points in the Hollywood writer’s strike and the ongoing actor’s strike is restrictions on AI, though one of the sticking points here is less about AI and more about using AI to enable irrational greed. It seems like these studios want to be able to use an individual actor’s likeness in AI generation forever without payment. It's too soon to say how it will turn out, but it appears that a significant portion of public opinion is on the side of the actors on this.
It probably helps that the CEOs of major media companies invariably managed to come across as cartoon villains. David Zaslav of Warner Discovery seems like he's there just to loot the company as efficiently as possible. And Bob Iger of Disney is currently dealing with all the very expensive mistakes he made during his previous tenure as CEO. So if these guys are excited about AI, why should anyone else think it's a good idea? So it's possible that the public derision against AI might push into niche uses, which would be bad news for the companies that spent billions on it. I've found that people in general are not that upset about using AI to get out of unpleasant tasks like writing cover letters or answering emails, but if they are consuming media for entertainment, then they get very annoyed if AI was used and it's gotten to the point where “it seems like an AI created it” has become an insult in negative reviews of various programs.
Number five: synthesis. Despite all that I just said about cryptocurrency and NFTs, generative AI is objectively more useful than NFTs and less likely to use all of the money than crypto, though it might handle on the same low level risk of being sued if you use Midjourney for commercial purposes. I mean, most kids who are cheating on their homework, if they had thought about it a little more, rewritten, ChatGPT's response just a little bit, maybe throw in a couple of typos, they probably would have gotten away with it. To use a less unethical example, imagine you're applying for jobs and you crank out thirty different customized cover letters. You can spend all day sweating over a handcrafted letter that some HR drone will go in set for a second before throwing away, or you can use ChatGPT to generate them. There are lots of tedious documents which no one enjoys writing, but are necessary parts of daily life and something like ChatGPT is ideal for them or for that matter, specialized chat bots, ones are specifically designed to rate marketing copy and nothing else.
AI Audio will probably end up at a point where it's simply another feature integrated into e-readers. Hit play and an AI voice will read in an accent of your choice while the human narrated version will be a premium product. I think that generative AI will probably settle into a halfway point between AI will transform everything hype and AI will destroy civilization doomer-ism. That's how these things usually go. A new idea comes along: thesis. A backlash to it arrives: antithesis. After some struggle, they settle into a halfway point: synthesis. Then it becomes just another tool. Photoshop and Adobe offers some evidence for this position. Adobe has been integrating its Firefly generative AI stuff into Photoshop with the generative fill tool. If you know anything about Adobe, you know that they are as corporate and litigious as it gets. The company isn't exactly into taking big, bold swings with its products. They've been incrementally updating Photoshop and the other Creative Suite products forever. So if Adobe feels safe integrating generative AI into its products, it's probably not going anywhere for a while. But here's the important point. On social media, you see a lot of impressive images generated with generative fill in Adobe and Photoshop, but if you try it yourself, 99% of what it generates is not very good. Refinement, iterations, and testing are vital. If AI doesn't go away, I think that's where it's going, providing the raw materials for further refinement and improvement.
Six: conclusion. As you might guess from the tone of my podcast episodes on the subject, I don't like generative AI very much, and I don't think it adds very much of value, though this might be just my overall grumpiness. If overreacting legislation came along that crippled AI research, I don't personally think much of value would be lost. No one can see the future, as many examples above demonstrate. But overall, I think generative AI is going to be just another tool and one that will require practice to effectively use, actually will probably require more practice to effectively use than people think. Stopping writing or preventing a child from engaging in creative pursuits is a bit like stopping carpentry because someone invented the electric saw and think about how many people you see every day, who obviously don't think things through at all. Encouraging the child in creative pursuits will definitely serve him or her well later in life, regardless of the actual career.
So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at the movies I watched during fall 2023. We also have a brief digression about historical inaccuracies in crossword puzzles.
This week’s coupon is for the audiobook of CLOAK OF WOLVES, as excellently narrated by Hollis McCarthy. You can get the audiobook of CLOAK OF WOLVES for 75% off at my Payhip store with this coupon code:
OCTWOLVES
The coupon code is valid through November 8th, 2023, so if you find yourself wanting to get caught up before CLOAK OF EMBERS comes out soon, why not start with an audiobook?
TRANSCRIPT
00:00:00 Introduction and Writing Updates
Hello everyone. Welcome to Episode 172 of The Pulp Writer Show. My name is Jonathan Moeller. Today is October the 22nd, 2023 and today we're going to talk about the movies I saw in autumn 2023. We also have a brief digression about historical inaccuracies in crossword puzzles. Before we get into that, let's do Coupon of the Week. This week's coupon is for the audiobook of Cloak of Wolves as excellently narrated by Hollis McCarthy. You can get the audiobook of Cloak of Wolves for 75% off at my Payhip store with this coupon code: OCTWOLVES-that's OCTWOLVES and that will also be in the show notes. The coupon code is valid through November 8th, 2023. So if you find yourself wanting to get caught up before Cloak of Embers comes out before the end of the year, why not start with an audiobook?
Now let's have an update on my current writing projects. I am 44,000 words into Cloak of Embers, which only puts me in Chapter 6 of 22 so far. So I think we would have to split up some of those chapters into smaller ones. I think Cloak of Embers is going to be the longest book I write in 2023 and I'm hoping I can get it out before American Thanksgiving at the end of November, though it might be long enough that it will slip to December, but we will see. In audiobook news, since I recorded the last episode, Dragonskull: Talons of the Sorcerer is now available. You can get it at Audible, Google Play, Kobo, Chirp and all the usual audiobook stores. Brad is hard at work on Dragonskull…what is the next one? I don't remember off the top of my head. That's how many Dragonskull books I've written. I can't remember the title was off the top of my head, but Brad is hard at work on the seventh one, which is Dragonskull: Wrath of the Warlock, and so hopefully we can get that out before the end of the year.
00:01:56 History Lesson via Incorrect Crossword Puzzle Clue
Now for a brief digression into historical inaccuracies in crossword puzzles. Recently, someone I knew was working on a crossword puzzle, and one of the prompts was “Sacker of ancient Rome”-three letters across and the answer was “Hun” and that is wrong. Wrong, wrong, wrong! The Huns never sacked Rome. The Huns did, however, sack a lot of the Western Roman Empire. In the 400s AD, the Western Roman Empire had entered its final decline, with a lot of its foreign territory getting carved up into new barbarian kingdoms. The Huns were a group of Eurasian nomads and were indirectly one of the causes of the collapse of the Western Empire. Their migration west had inspired a lot of terrified tribes to flee west as well to get away from them. Those terrified tribes became the barbarian invasions that overran much of the Western empire, but the Huns were still coming from the east. Under the leadership of their king Attila, the Huns became even more formidable, capable of taking walled and fortified cities, which was traditionally difficult for nomadic horsemen to do. Anyway, the Romans and their Visigothic allies had previously repulsed the Huns at The Battle of the Catalaunian Plains in 451 AD.
Attila returned the next year and essentially destroyed northern Italy and his army pushed towards Rome. Emperor Valentinian the Third sent envoys to meet with Attila at the River Po and one of those envoys was Pope Leo the First and no one knows exactly what happened next. According to one story, when Atilla met Pope Leo, he saw Saint Peter and Saint Paul flanking the Pope in all their holy radiance with drawn swords in their hands, promising Attila that he would die if he entered Rome. So impressed was Attila that he turned his army around, left Italy, and Leo was credited as the savior of the city.
The truth is probably somewhat more prosaic. Attila’s army was running out of supplies, since Italy had already suffered a couple of bad harvests before Attila had burned down most of the northern half of the peninsula, which as you can imagine, did not help. In addition, a serious disease, probably dysentery, was spreading through Atilla's army. The Eastern Roman Emperor had sent an army of his own to attack the Huns’ current homelands in central Europe on the Danube, and until Attila to go deal with that problem. Another account says that Atilla’s advisers feared that Attila might suffer the same fate as the Visigothic Alaric, who died shortly after sacking Rome a little over forty years earlier. There is a good chance that Atilla was superstitious in a way it is hard for the modern mind to grasp, but until the start of modern science and the universities in the Middle Ages, people generally did not distinguish between natural and supernatural causes for events. Considering Alaric’s fate might not have been that outlandish for Attila when it came to his calculations. Pope Leo was also a man of great intelligence and charisma.
Perhaps he simply pointed out all these facts to Atilla and the Hunnic king, knowing that he was overextended and potentially in serious trouble, decided that the possibility of divine wrath was an acceptable face-saving excuse to turn around. We'll never know what happened at that meeting, but whatever the reason, Attila turned his army around and left Italy without attacking Rome. The new Eastern Emperor had stopped paying tribute to the Huns and Attila planned to deal with him next, but he died of a nosebleed on his wedding night in 453 AD. Attila’s sons immediately embarked on a civil war with each other and the Hun’s empire fell apart in short order. So the Huns never sacked Rome. Granted a lot of other people did, in fact sack Rome in the 400s AD, but the Huns never did. And that crossword puzzle annoyed me so much that I just spent the last five minutes talking about it!
00:05:24 Main Topic: Autumn 2023 Movie Reviews
Now on to our main topic, the movies and streaming shows I watched over autumn 2023. We are well in fall now, with winter just over the horizon and that's means it's time to discuss those shows and movies. As always, we will start from my least favorite and work up to my favorite. So we'll start with The Flash, which came out in 2023. This movie very famously failed at the box office, and it's not hard to see why. It's like the CG artists finally had their revenge on Warner Discovery for being overworked and underpaid because a lot of the movie’s CG looks like something a beginner might crank out in an older version of Unity or Daz Studio. Plus there's all these various serious crimes that the lead actor has been accused of, which makes the main character rather less likeable. Also The Flash, like many modern movies, simply cost way too much money to make, which meant it had to make big money to earn back a profit. If your movie cost $50 million to make, a $200 million return is good news. If it costs $220 million, you're in big trouble. To be fair, the movie was not without its good points. The Flash realizes he can run faster than the speed of light, which means he can travel back in time and attempt to save his mother (since she was murdered earlier), unfortunately doing so breaks the space-time continuum and threatens to destroy Earth and Flash tries again and again to set things right. Michael Keaton does well as an older Batman, and Supergirl was pretty cool.
There are also several genuinely funny bits in the movie. However, the movie leaned hard into two of my least favorite plot devices: time travel and the multiverse. The problem with time travel and the multiverse is that with an infinite number of alternate versions of the characters, the stakes ultimately become meaningless. I think it also shows how the superhero genre film has kind of run out of gas. Instead of telling new stories and new plots, all the multiverse movies are just churning up slightly alternate versions of old characters and stories. It's like playing a computer game you've already finished but making slightly different choices this time, like playing as a fighter/mage instead of a fighter instead of a thief/mage, or something. Overall grade: C-
Our next movie is Black Adam, which came out in 2023. I think this was slightly better than the Flash, though not by very much. There is a somewhat complicated back story involving the Council of Shazam, wizards, a demon possessed crown, and a magical champion. In the modern day, the story takes place in the nation of Kahndaq, which is clearly meant to evoke modern Egypt and Iraq. Kahndaq is currently ruled by a British mercenary company called Intergang, but don't worry about them. They just disappear halfway through the movie without any explanation. The leader of the resistance against Intergang is an archaeologist named Adrianna, and her son Amon, who is the kind of annoying kid who uses words like “neo-imperialist occupier” with a straight face while outrunning mercenaries on his skateboard. Anyway, Intergang is looking for the evil magic crown and Adrianna tries to stop them. In the process, she actually releases Teth-Adam, the champion of Kahndaq, from his tomb. Adam annihilates the mercenaries chasing Adrianna and then tries to come with term with the fact that he's been asleep for the last 5,000 years.
Now that would have been a more interesting movie: a superpowered Bronze Age warrior wakes up and tries to come to terms with the modern age. Or he decides that the decadent modern age needs enlightenment to reach proper Bronze Age warrior values. Instead, we get the Justice Society (I assume they're the store brand/Sam's Choice version of the Justice League), who show up to fight Black Adam. Unfortunately, after they convince Black Adam to stand down, the Crown's evil magic wakes up and chooses a host and only Black Adam can save the world. Like the Flash, this movie had its strong points. The CG was a lot better than in Flash, and Dr. Fate was an interesting character. So was Hawkman. Unfortunately, like The Flash, the plot didn't make much sense and relied too heavily on hooks to the rest of the DC universe. But on the plus side, no time travel. Overall grade: C
Next up is Haunted Mansion, which came out in 2023. This movie flopped at the box office, but it wasn't that bad for a movie about a Disney ride. It wasn't a scary movie. It was a scary movie in the tongue-in-cheek way that jack o’ lanterns are scary. Like, the original purpose of a jack o’ lantern in Iron Age societies was apparently to keep malevolent spirits at bay during the harvest. That was serious business back then, but now it's sort of play acting to entertain small children. Haunted Mansion is the same kind of tongue in cheek scariness, overlaid with quite a bit of comedy. The plot centers around a bitter and disillusioned former ghost hunter hired to use his ghost camera to take photos of spirits at a haunted house. The ghost hunter goes along with it, hoping for a quick payday, but quickly becomes ensnared in the curse surrounding the Haunted Mansion. He then has to team up with a crazy professor, a fast talking priest, a medium with good Yelp reviews, and a widowed doctor and her precocious son to defeat the malevolent Hatbox Ghost who rules over the ghosts of the Haunted Mansion. I am not, generally speaking, a big fan of the Disney corporation. But I am told that the movie has many Easter eggs referring to the original ride for people who appreciate that kind of thing. The movie didn't do well in theaters, but I expect it'll have a long afterlife on streaming. Overall grade: B-
Next up is Men in Black 3, which originally came out in 2012. The original Men in Black was a near perfectly constructed science fiction comedy. Men in Black 2 was good, but not quite on that level and I think Men in Black 3 falls at about the same ranking. In this one, a lethal alien named Boris the Animal breaks out of a secured lunar prison and embarks on a rampage of revenge against Agent K. To facilitate his vengeance, Boris steals a time travel device and goes back to 1969 to kill a younger K at a critical junction in the timeline. Once Agent J realizes what has happened, he obtains another time jump device and goes back to fix things. As I've mentioned many times before, I don't really like time travel stories. However, this one works because it's pretty funny. To make the time jump work, you literally have to jump off a building of sufficient height to trigger the device. The other comedy parts are good, and Josh Brolin does a pitch perfect impersonation of Tommy Lee Jones as the younger agent K. Overall grade: B
Next up is Men in Black International, which came out in 2019. I'd heard bad things about this movie, but it was actually quite enjoyable. Tessa Thompson and Chris Hemsworth star as Agent M and Agent H. Based on the movie’s advertising, I thought Agent M would be an almost tediously infallible Girlboss character with Agent H as her dimwitted sidekick. Fortunately, this turned out not to be the case and both characters had considerably more depth. Agent M is a nerdy probationary agent who desperately wants to prove herself while Agent H is a charismatic, somewhat lazy hedonist who always manages to pull off his assignments in the end. Agent M's and Agent H’s first assignment together is to bodyguard an alien royal who promptly gets himself killed by two mysterious shapeshifting assassins. As things go haywire in the aftermath, the agents realized that the royal had a dark secret, and there's a traitor somewhere within the Men in Black. I thought it was an entertaining movie and probably should have done better than it did. Agent M and Agent H make a great comedy duo and they were also excellently funny bits. Liam Neeson was also good as Agent T, the commander of branch office, and there are no time travels or multiverses in this one. Overall grade: B+
Next up is Ahsoka, which came out in 2023. I would say Ahsoka is good but unfinished, since only two of the major plots get resolved and in such a way that it sets up future adventures. I realized the other the other day that Star Wars is the American equivalent to Doctor Who. The similarities are remarkable. One, both are long running sci-fi franchises. Two: but they're definitely not hard science fiction. Three: both are under the stewardship of large, ponderous, frequently ineffective organizations (whether Disney or the BBC). Four: both have spawned a vast maze of tie in novels and comics and games. Five: both have fandoms that act like religions, complete with a crazy fringe and six: and like religions that break into warring factions, both have fandoms that decide upon a particular era or releases the best one and argue vociferously about which part of the franchise is the best, with almost the same fervor as people arguing about whether Thomas Aquinas, Martin Luther, or John Calvin had the correct interpretation of the Bible. This isn't to be glib, but to know that the same self-destructive tribal instinct that humanity exhibits in politics and religion also seems to appear in far less serious arenas like football supporters and science fiction franchises, or even in something as silly as game console brands, as a single glance at an online argument about the respective merits of the Xbox and PlayStation will demonstrate. Anyway, that was a philosophical digression. Back to the Ahsoka show. It was better than I expected. Once again I thought that Ahsoka would be another tediously infallible Girlboss type character, but she was nothing like that. Instead she made several serious mistakes, faced enemies who were stronger than her, and had to learn and adapt and grow to survive her challenges. In other words, a compelling protagonist. All the performances from the actors were good, especially the late Ray Stevenson. His Baylan Skoll character really stole Episode 4, and if this was destined to be Mr. Stevenson's last performance, at least it was a great one. Diana Lee Inosanto was great as Morgan Elsbeth, who asked to be one of the single most competent villains in all of Star Wars- evil, but she gets results.
I also really liked the way the lightsaber duels are presented. They seem more like something out of a samurai movie. The combatants are careful of their footing and their stances, only to explode into some motion, rather than the more acrobatic flipping and spinning around in the prequel movies. I have to admit, in the publicity stills for the show I kind of thought that the show's version of Grand Admiral Thrawn looks sort of like Elon Musk transmogrified into a Smurf, but that was just a bad angle. Combined with his voice and mannerisms, Lars Mikkelsen’s performance as Thrawn really works. I suspect Mr. Musk only wishes he had this version of Grand Admiral Thrawn’s air of gravitas and authority. The show ends on sort of an Empire Strikes Back style cliffhanger. I hope the story will continue, but I have my doubts. Disney wasn't in great shape even before the writers and actors’ strikes, and I wonder if the company is simply going to run out of financing for ambitious projects like Ahsoka. One more point: the soundtrack by the Kiner family was A+ work, with the Japanese style musical motifs for the lightsaber duels, the long, ominous horns from the Night Sisters, and the blasting pipe organ from when Thrawn makes his return. Overall grade: B+
Next up is Collateral, which came out in 2004. This is a superb neo-noir thriller. Jamie Foxx stars as Max, a hapless LA taxi driver who picks up Vincent, played by Tom Cruise, who claims to be in town to secure signatures for a real estate deal. Vincent offers Max $600 to drive around for the night and in need of the money, Max agrees, except it turns out Vincent is actually a hit man in area to kill five targets, and when Max realizes what is happening and tries to bail, Vincent forces him to continue. I really like this one. Tom Cruise's perpetual intensity works very well in the villain role, and the psychological duel between Max and Vincent was compelling to watch. Vincent claims that his targets are bad people who deserve their fates. But once Max figures out that Vincent's final target most definitely does not deserve her fate, the race is on to save the target's life.
The movie did have the overused trope where the LAPD gets mad the FBI is taking over their case, which was a thing even way back in Die Hard. In fact, that was a major plot point in Die Hard, now that I think about it. In real life, the FBI's interaction with local law enforcement mostly involves providing consulting and lab services and local law enforcement is actually often eager to hand a troublesome case over to the Feds because it then becomes somebody else's problem. I also thought the soundtrack seemed a bit off in the first half of the movie, but those are minor quibbles. Collateral was a thoroughly enjoyable thriller. Definitely recommend if you like the genre of film. Overall grade: A.
That brings us to the last movie I saw this autumn and I think it would tie with Collateral for the favorite thing I saw this fall and that is A Haunting in Venice, which came out in 2023. This is the third of Kenneth Branagh’s Hercule Poirot movies. I really like the first one he did, Murder on the Orient Express, but I thought the second one he did, Death on the Nile, was only so-so, which was disappointing because Death on the Nile is, in my opinion, one of the best of the Hercule Poirot books. But A Haunting in Venice is on par with Orient Express. The movie takes place in 1947 and Hercule Poirot, soul-sick and weary after the horrors of World War II and all the depths of human evil he has seen in those cases, has decided to retire in Venice. His friend Ariadne Oliver (Agatha Christie’s self-parodying author insert in the Poirot novels) turns up to ask him to help debunk a medium preying upon a grieving mother. Poirot immediately demonstrates the medium is a fraud, but soon afterwards someone tries to kill him, and a few minutes later the medium herself is killed. It's then up to Poirot solve the case, even as the suspects become increasingly convinced that supernatural powers are behind the killing. This movie also had one of my favorite plot devices from the 2009 Sherlock Holmes movie: the rationalist detective confronted by a seemingly supernatural mystery. Branagh's provision of Poirot is darker, rather more angsty than the book version, but I enjoyed it nonetheless. Tina Fey was also an excellent choice to play Ariadne Oliver. Overall grade: A.
So those are the movies I saw this autumn, and check back towards the end of winter, when we'll do a winter 2023-2024 Movie Roundup episode. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. It really does help. Stay safe and stay healthy and see you all next week.
In this week's episode, I take a look at 10 different types of popular fantasy. A preview of the audiobook of DRAGONSKULL: TALONS OF THE SORCERER as narrated by Brad Wills is included at the end of the episode.
It is once again time for Coupon of the Week!
This week’s coupon is for the audiobook of CLOAK OF DRAGONS, as excellently narrated by Hollis McCarthy. You can get the audiobook of CLOAK OF DRAGONS for 75% off at my Payhip store with this coupon code:
OCTDRAGONS
The coupon code is valid through November 3rd, 2023, so if you find yourself needing to listen to something as the days get shorter, we have an audiobook for you!
TRANSCRIPT:
00:00:00 Introduction and Writing Updates
Hello everyone. Welcome to Episode 171 of the Pulp Writer Show. My name is Jonathan Moeller. Today is October the 15th, 2023 and today we're going to discuss the different genres of fantasy. Before we do that, let's have Coupon of the Week. This week's Coupon of the Week is for the audiobook of Cloak of Dragons as excellently narrated by Hollis McCarthy. You can get the audiobook of Cloak of Dragons for 75% off at my Payhip store with this coupon code OCTDRAGONS and that is OCTDRAGONS. Again, that's OCTDRAGONS. You can get the coupon code and the links in the show notes. The coupon code is valid through November 3rd, 2023, so if you find yourself needing listen to an audio book as the days get shorter, we have an audio book for you.
And before we get into our main topic, let's also talk about my current writing projects. I am pleased report that Ghost in the Serpent is finished and should be out at most of the ebook stores. You can get it right now at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. And it should be out in Scribd in a few days, hopefully. It’s selling briskly and very well. Thank you for that. I am excited to see that many people are excited to return to Caina's world. So that makes me look forward to writing the sequel, Ghost in the Veils, which I will probably write after I finish Cloak of Embers. Speaking of Cloak of Embers, that is my current writing project. As of this recording, I am on Chapter 2 of 22 which puts me at 14,000 words into the book and hopefully…hoping to have it out before American Thanksgiving if all goes well, though, it might slip to December depending on how much home maintenance and suchlike I need to do in October and November.
In audiobook news, Ghost in the Serpent will be recorded as an audio book starting on November 7th, I believe. So, hopefully it should be out in December-ish in audiobook form. And Dragonskull: Talons of the Sorcerer is finished. It just has to get through quality control and proofing at ACX and Findaway, so it should not be too much longer to hear that and we will include a sample of that audiobook as excellently narrated by Brad Wills at the end of this episode. So that's where I'm at with my current writing projects.
00:02:13 Main Topic Introduction: Different Genres of Fantasy
Now on to our main topic. I've written a couple of different kinds of fantasy, so today I thought I'd talk about the different kinds of fantasy and what differentiates them from each other. I should mention this isn't intended to be a comprehensive list nor a rigorously academic one. Genre is one of those topics that invariably seems out to bring out the “well, actually” commenters from the woodwork to argue over the finer points of what exactly constitutes hard science fiction or sword and sorcery. I don't think it is useful to consider genre as a strict taxonomy of stories like phylum and kingdoms and species for different types of animals. My view is that the writer needs to think first and foremost about what will make a good story. The overall kind of story you are writing is reflected by the genre and where there are certain underlying assumptions that the reader will expect for that genre. Genre is merely a useful shorthand of specifying what kind of story the reader expects to get when he or she picks up your book. Like if your cover and title make the reader assume that your book is contemporary romance, the reader will be very surprised and probably annoyed if the book turns out to be a grim detective story. With that in mind, let's take a look at some of the popular genres of fantasy that are predominant nowadays.
00:03:30 Type #1: Epic Fantasy
Number one: epic fantasy. Everyone knows what this one is: it's the genre inspired by the Lord of the Rings: big sweeping story with multiple point of view characters and numerous different settings to visit. There will often be large battle scenes or sequences. Usually a lot of traveling is involved. There will often be a large overarching quest that is the main plot or conflict of the story. Almost invariably, the epic fantasy doesn't take place on Earth, but on a constructed world designed by the author. A map is often required. Epic Fantasy also tends to be really, really long, with both long individual books and long series overall. This has had kind of a deleterious effect on the genre in recent years, since sometimes authors run out of gas and can't finish the series, and sometimes publishers pull the plug because the sales just aren't high enough. Epic fantasy also tends, but not always, to have clearly delineated lines between good and evil. If there's a morally ambiguous antihero, he or she will tend to reform, die heroically, or become one of the bad guys. Epic fantasies that I've written include Frostborn, Sevenfold Sword, Dragontiarna, Dragonskull, and the Demonsouled series.
00:04:42 Type #2: High Fantasy
Number two: high fantasy. This term tends to get used interchangeably with epic fantasy, but in the strictest sense, high fantasy is fantasy that takes place in a constructed world like Middle Earth or Narnia or the Forgotten Realms. The proper term for that is secondary world. I've done numerous secondary worlds, the setting of Frostborn, the setting of Demonsouled, the setting of the Ghosts are all secondary worlds. Even though Cloak Games/Cloak Mage has other worlds, it takes place primarily on Earth, so it doesn't quite count as a secondary world, which leads neatly to our next type of fantasy.
00:05:17 Type #3: Low Fantasy
Number three: low fantasy. As with high fantasy, this is one of those terms that tends to have a mutating definition, like in the original sense low fantasy simply meant a fantasy that took place on our world rather than a constructed world. This obviously can cover a wide range of stories, from literary magical realism and a Gothic ghost story to urban fantasy like the Dresden Files. Low fantasy has also acquired a couple different definitions: fantasy story without an epic plotline or one with a morally ambiguous antihero as the lead. But in the original sense of the word, it was a fantasy story that took place in our world rather than a constructed world like Middle Earth or Westeros. Cloak Games and Cloak Mage would be the biggest low fantasy series I've written. Some of the short stories in my Otherworlds anthology would count as well.
00:06:04 Type #4: Sword and Sorcery
Number four: sword and sorcery. Everyone knows what this one is: Conan the Barbarian. You have a protagonist or group of protagonists making your way through a fantasy world fighting evil sorcerers, sinister cultic priests, and tyrannical local nobles. Usually, the protagonists are looking out for themselves or hoping to get rich instead of undertaking a grand high fantasy quest. If the series goes on long enough with the same main character, then eventually the scope might expand in scale. Conan himself started out as wandering vagabond and ended up as King of Aquilonia and in the one and only full length novel that Robert E. Howard wrote, Conan has to reclaim his throne and keep the evil sorcerer Xaltotun from bringing back an ancient dark empire, which is quite a bit more epic in scale than many of the other Conan stories. Sword and sorcery typically has a darker edge to it than epic fantasy. The protagonist might be greedy thieves or raiders, though they will still have the core of honor to them. Of course, a lot of modern sword and sorcery tends to veer over into grimdark, which we will talk about shortly. In my books, sword and sorcery elements turn out frequently in all my epic fantasy novels: Frostborn, Demonsouled, and the Ghosts. Ridmark and Mazael both spend time as wandering knights, having adventures and Caina in the Ghosts frequently breaks into the strongholds of corrupt lords and evil sorcerers to steal stuff from them.
00:07:17 Type #5: Urban Fantasy
Number five: urban fantasy: fantasy set in the modern world of the 20th and 21st century, where you might have wizards and elves and vampires walking around next to modern lawyers, policemen, and politicians. Generally, urban fantasy tends to break down along two different lines. The first is the masquerade, a term popularized by the old Vampire The Masquerade role playing setting. The idea is that there's an expansive supernatural world, but for whatever reason is kept secret for most people who don't know about it. The reasons might be that the normal world might rise up in wrath and destroy the supernatural if its existence came out, or that the supernatural world preys on the normal one like vampires, and prefers to remain secret, or you have to be actually able to use magic to be able to perceive the supernatural world at all.
I think the most famous current example of the masquerade world is actually Harry Potter. The Harry Potter books aren't technically urban fantasy, but the book’s division of the world into the Muggles who can't use magic, and the Wizards who do is a good example of a masquerade. The other version is a world where magic exists, everyone is aware of it, and society has adapted to it. This can be played for laughs like you have an elf as head of the neighborhood HOA and a dwarven blacksmith who is running for Congress under the slogan of “hammering government back into shape like iron upon my ancestral forge.” Or it can be played dead serious with rival magical factions holding sway on various parts of Earth or the US government forcing all mages into a secret program and so forth. One variant that a commentator mentioned (commenter Grace) added when I talked about this on Facebook: “I'd alter how you break down urban fantasy slightly differently. Obviously there's the masquerade as you defined it but the other form I see most often is what I call magical apocalypse, best defined by Ilona and Gordon Andrews’ Kate Daniels series. Basically that's (unintelligible word-9:09) genre is that magic came back to the world of the vengeance, changing everything suddenly and at least somewhat disastrously.” That is a good point from Grace, and I used some of that in my Cloak Mage/Cloak Games series where magic returned to Earth quite suddenly in the year 2013 when the elves invaded and conquered Earth. So as I said, Cloak Mage/Cloak Games series are my urban fantasy books.
00:09:29 Type #6: Lit RPG
Number six: LitRPG. This is a new genre that has arisen in the last few years. Basically LitRPG are science fiction and fantasy stories told using the conventions of science fiction and fantasy role-playing games, especially MMORPG style games. If you're not familiar with that acronym, it's a massively multiplayer online role-playing game like World of Warcraft, Elder Scrolls Online, Star Wars the Old Republic, and similar games. Of course, characters entering a game world isn't exactly new. Jumanji was basically LitRPG with a board game, and in the new movies from the 2010s, the characters explicitly enter a video game world and have stats and special abilities. In the 1970s, Andre Norton wrote a novel called Quag Keep with some characters get pulled into the Dungeons and Dragons world via magical gaming figurines. I think it's on Kindle Unlimited now if you want to read it. Ender's Game is a science fiction version of the trope where Ender discovers that game he is playing has deadly consequences. I think there are generally two strains of LitRPG. In one, the protagonist is pulled entirely into the game world, leaving Earth behind and lives there completely. In the other, the protagonist is playing the game and trying to balance it with his or her real life, maybe financial pressures, maybe the game has a dark secret, something like that. Both versions lean heavily onto the tropes of MMORPG games. The protagonist selects a character class, levels up, faces bosses, might join a guild or start a stronghold, and so forth. LitRPG is mostly an indie author phenomenon; not many legacy publishers have published LitRPGs. An exception to that might be Ready Player One, but that was only a couple books and that's only really the really high profile example I can think of. Currently the only LitRPG I've written is Sevenfold Sword Online: Creation, but as of this writing I’m 19,000 words into the sequel, Sevenfold Sword Online: Leveling.
00:11:30 Type #7 Cultivation/xianxia
Number seven: Cultivation, also known as xianxia Fantasy, which I'm that is as close to the actual pronunciation as I can come. The term is derived from the Chinese word xian, which means immortal being. Cultivation is a relatively new genre in the West but has come over from China thanks to the Internet. It's hugely popular in China but less so in the US, though it does have a devoted fanbase. The idea is that by essentially unlocking or cultivating one's energy, usually called qi, you can gain fantastic abilities of mind and body and become a xian. Some xian are become so powerful that they can conquer galaxies. Sometimes there are rival clans of xian engaged in conflict with each other or who follow different paths in school of training like martial arts schools in a samurai movie. If you’ve ever seen a wuxia film with supernatural martial arts heroes following secret training traditions, it's a lot like that, except with more abilities and a greater scope in the setting. American readers are sometimes surprised at how harsh Chinese written xianxia fantasy can be, but I suspect that's because Chinese culture in general is a lot less individualistic than American culture and is generally less forgiving of victimhood than American culture is, though of course, as with all cultural statements, that can be something of a generalization. I've never written any cultivation fantasy, though elements that do pretty frequently appear in LitRPG since the leveling up in a LitRPG is at least superficially similar to the paths of cultivation in xianxia fantasy. Nadia’s journey through Cloak Games/the Cloak Mage is superficially similar to a cultivator's journey. But I don't think that's a valid comparison because I started writing Cloak Games in 2015 and I never even heard of xianxia fantasy until late 2021. And so therefore I don't think I can say that was an influence.
00:13:26 Type #8: Historical Fantasy
Number eight: Historical fantasy: historical fiction with a fantastical twist, like Henry the Fifth was secretly allied with the king of the elves when he invaded France, or the Library of Congress is actually a secret magical society that has pulled the strings of American history from its founding. The degrees of fantasy and historical accuracy can vary wildly between authors in how much research they happen to do. This, of course, can easily blend in with urban fantasy. To return to our Library of Congress example from earlier, if the plot is set in the 1880s, it's historical fantasy. If it's set in the modern era, then it's urban fantasy, though the 1880s plot line can still obviously influence events. I've never written any strictly historical fantasy, though Frostborn assumes a somewhat magical past on Earth, and Cloak Games has the elves arrive and conquer Earth in 2013, which was 10 years ago now, so sheer longevity has given that series an element of historical fantasy.
00:14:20 Type #8: Grimdark
Number nine: grimdark. This is less than a genre and more of a tone. Grimdark was largely inspired by George R.R .Martin's a Song of Ice and Fire, and to a lesser extent, Joe Abercrombie’s books. Grimdark books are brutal, bloody, and violent, often explicitly so. Expect most of the characters to die in various horrible ways, often described in exacting detail. All the characters will be morally bankrupt, with those who are not becoming easy prey for those who are. In grimdark, the bad guys wins, but all the characters are the bad guy. I came to dislike grimdark quite a bit because in my opinion it embodies a sort of adolescent nihilism that some people never quite grow out of. This isn't to say that A Song of Ice and Fire didn't do it well, at least in the early books, but its many imitators did it less well. I consciously avoid writing grimdark because I don't like it. That said, it can be done well. The movie Sicario about the US intelligence apparatus playing an underhanded game against the drug cartels is a masterpiece of a film but very, very dark.
00:15:23 Type #10: Space Fantasy
Number ten: science/space fantasy. This is a science fiction story with strong fantasy elements. Doctor Who and Star Wars both come to mind as immediate examples, since both have strong fantasy elements that they dress up in scientific sounding explanations. Doctor Who essentially is about a space wizard with a magic space box, who flies around having adventures, preferably in the company of one or more attractive female companions. The show traditionally seems to suffer when it strays from that formula. The proportion of science fiction and fantasy within Doctor Who varies depending upon the writer and the showrunner. Likewise, Star Wars is basically about magic space samurai who fight each other with laser swords and space magic.
Another example might be Warhammer 40K, which does have space orcs and space elves fighting each other with space magic, though the bigger influences are probably grimdark science fiction and horror. All three franchises have been around long enough that they sort of created their own genre of space fantasy. Like LitRPG, it hasn't really hit the legacy publishing business, but you see lots of indie books that use science fiction and fantasy to the point where you have mages flying around on starships. I've never really written anything in space fantasy. Even the more supernatural elements of Silent Order like the Great Elder Ones and the Macrobes come from more horror than fantasy and the science fiction elements in Cloak Mage that have appeared in recent books are straight up science fiction that I've added to an urban fantasy setting, not science fantasy type stuff. Though interestingly, Brandon Sanderson's books sometimes come at science fantasy from the opposite end, where the book's magic system is so intricate and detailed that the setting can build a technological society off it. I think his very newest book, The Sunlit Man, is a very good example of that.
00:17:08: Concluding Thoughts
Conclusion: so those are ten different types of fantasy that I think are popular nowadays. No doubt I missed some, and they're probably genres of fantasy popular right now that I haven't heard of yet, like I hadn't heard of xianxia fantasy until 2021. That said, for a writer, especially for an indie writer, the main value of genres is to add…is an aid to think about marketing, like my Cloak Games/Cloak Mage series, and mainly urban fantasy. But there's also elements of historical fantasy in it, and more and more science fiction elements, especially in the last few books but it’s mainly urban fantasy, so I designed the covers to look like urban fantasy and I market it as an urban fantasy book. It's good to be conscious of what you are writing. Like Frostborn and the other Andomhaim books are primarily epic fantasy, so I try to stick to the accepted tropes, but I do let other stuff bleed in as I find it interesting, and I think it would enhance the story.
And as always, thanks for reading my books, whatever genre they turned out to be. So that is it for this week. Thanks for listening to the Pulp Writer Show. I hope you find the show useful. A reminder that you can listen to all the back episodes of the show on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. It really does help. Stay safe and stay healthy and see you all next week.
In this week's episode, we consider eight tips & tricks for writing vivid descriptions.
COUPON OF THE WEEK
This week’s coupon is for the audiobook of GHOST IN THE SURGE, as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE SURGE for 75% off at my Payhip store with this coupon code:
OCTSURGE
The coupon code is valid through October 27th, 2023, so if you find yourself needing to listen to something while raking leaves, it might be time for a new audiobook!
00:00:00 Introduction, Writing Updates, and Ad Results
Hello everyone. Welcome to Episode 170 of the Pulp Writer Show. My name is Jonathan Moeller. Today is October the 6th, 2023. Today we're going to discuss how to write vivid descriptions. Before we get into that, let's start off with Coupon of the Week. This week's coupon is for the audiobook of Ghosts in the Surge as excellently narrated by Hollis McCarthy. You can get the audio book of Ghost in the Surge for a 75% off at my Payhip store with this coupon code: OCTSURGE, again that's OCTSURGE spelled OCTSURGE. This coupon code is valid through October the 27th 2023. So if you find yourself needing to listen to something while raking leaves, it might be time for a new audiobook.
Before we get into our main topics or some reader questions, let's have an update on my current writing projects. I am almost done with Ghost in the Serpent. I am hoping actually to have it out a day or two after this podcast episode goes live, then it will be full speed ahead on Cloak of Embers, which it took longer to get to Cloak of Embers than I really wanted. But the Summer of Finishing Things was quite helpful with getting things finished. So now I have time to get back to the Cloak Mage series and Nadia's latest adventures. The audio book of Dragonskull: Talons of the Sorcerer is done, and hopefully that should be turning up on the various audiobook stores before too much longer. So that is where we are with our current writing projects.
And since it's still very early in October, let's have a look back at my ad results for September 2023. September was kind of an odd month from an advertising perspective. From the 19th to the 21st, Amazon had their Stuff Your Kindle promotion that tends to mostly revolve around Kindle Unlimited books. So I hadn't planned much for it because I don't have any Kindle Unlimited books at the moment. However, I had forgotten that I had a few Amazon ads campaigns running for Cloak Mage Omnibus One in the spring, and some of those ads showed up on the Kindle Unlimited books. So those ads kicked into overdrive and spent a lot of money, like way more than I really wanted. On the plus side, it balanced out that the Cloak Mage Omnibus One made back $1.22 for every dollar the runaway ads spent, so it all ended well.
Well, for my Facebook ads, it was once again useful to see that audio books are helpful for advertising. Once you spend the money on the audiobook, it's worthwhile to advertise the ebook because any sales of the audiobook are essentially bonus profit at that point. So here's how the Facebook ads did: Frostborn, I got back $4.38 for every dollar spent and 38% of the profit came from audio. Ghosts, I got $3.08 back for every dollar I spent and 25% of the profit came from audio. For Cloak Games and Cloak Mage, I got back $3.49 for every dollar I spent and the audiobooks didn't sell well enough to make much of a difference. Silent Order, I got back $7.70. But that’s also partly because Pulse Hand came out in September, but even without Pulse Hand still would have been $3.54. Notwithstanding the adventures with the Cloak Mage ads I forgot about, the Amazon ads I did on purpose performed pretty well. For Dragonskull: Sword of the Squire, for every dollar I spent on ads, I got back $3.57 and 16% of the profit came from audio. So that is how my ads performed in September 2023.
00:03:27 Reader Questions
Before we get to our main topic, let's have a few questions from readers. Our first question is from Diana, who asks: Hi, Jon, I'm so sorry to bug you, but my ADHD brain won't let this go, and Google hasn't helped. All the dark Wizards in the Frostborn and Sevenfold Sword and Dragontiarna in the series give each other ironic nicknames, but what is a Theophract? I'm not skilled enough in the English language to figure it out, and apparently neither is Google. Thanks so much for all your books. Thanks, Diana. Glad you're enjoying them. In answer to that, the term Theophract is essentially nonsense. It's basically very bad Greek for a God armor and I picked that name because the Theophract was the apprentice of the warden. So I wanted to hopefully give a subtle indicator that the Theophract was more dangerous than the average dark elven lord.
Our next question is from John who asks: Want to start reading about Nadia, but not sure which book started her series out. Could you give me a hand to let me know? The very first appearance of Nadia is in Cloak Games: Thief Trap, which should be free in ebook form on most of the major ebook stores.
Our final question this week is from Wesley, who says: Hey there. I wanted to ask if there any books or series outside of your own catalog that you would recommend. I've gone through the majority of your works already and have read the Ridmark saga twice. Well, let's see. For indie books, I would recommend William King's Kormak saga, and the Awaken Online series by Travis Bagwell is the best Lit RPG I've read. For science fiction, Timothy Zahn’s Heir to the Empire trilogy, his Icarus Hunt and Icarus Plot books, and his Conquerors trilogy. The Galaxy’s Edge and Forgotten Ruin series by Nick Cole and Jason Anspach are pretty good. For historical mystery. I really like the CJ Sansome books about Tudor era lawyer Matthew Shardlake, so hopefully that should keep you occupied for a short time.
00:05:22 Introduction to the Main Topic of the Week: How to Write Vivid Descriptions
Now let's talk about our main topic this week: how to write vivid descriptions. Let's start off with an anecdote. A long time ago, I was in the process of moving to a new state and attempting to find an apartment. This was very challenging because the rental housing market in the area was limited and expensive. One day during this process, I drove a long way to view a duplex with the rental agent, only discover: 1: that the owner hadn't actually given permission to view the property, so it was all locked up and 2: the property in question was directly next to one of the busiest interstates in that part of the US. But the rental agent I'll give him this, did his best. “I'm going to paint you a word portrait of what this duplex is like,” said the agent. And so I stood there on the front walk trying to hear him shout the description of the duplex over the roar of passing trucks on the nearby freeway. It was right about then and I realized that I was going to have to bite the bullet and buy a house. But that's a story for another day.
If you're a rental agent, painting a word portrait is probably not going to help close the sale. But if you're a writer, it's a vital skill. Because it is important to describe things so that the reader can quickly visualize the characters and setting of your story. A common complaint readers have about a book is that it's difficult to visualize the characters or that the author doesn't adequately explain what things look like. With that in mind, here are some tips for creating vivid and memorable descriptions in your books.
00:06:43 Tip #1: Avoid Info Dumping
#1. Avoid infodumping. Infodumping is the practice of dropping a ton of information on the reader’s head all at once. The most common example is “As you know, Bob” conversations, where the character tells Bob a lot of stuff that Bob already knows for the purpose of relaying plot vital information to the reader. There are better ways to convey this information in the course of the story. It is also possible to inadvertently use infodumping in descriptions.
Let's use an example from the Cloak Mage series: Nadia's favorite dollar store chain, the Dollar Commandant. And here it is: “The Dollar Commandant. The store occupied a parcel of land facing the state highway. The parking lot was assault and had room for exactly 40 vehicles, currently held four pickup trucks, three cars, and two minivans. The Dollar Commandant store stood one story high, 150 feet wide, and 400 feet long. Glass doors opened into the store’s interior. Hanging over the store’s front doors was a painting of the story the store’s mascot, a grinning, grinning mustachioed man wearing an elaborate military uniform and a large hat with a plume on.”
After hearing that, do you have an idea of what the Dollar Commandant store looks like? Yes, you probably do. But was that description somewhat tedious to listen to? Also yes. When writing a novel, it's always best to avoid tedious bits or to cut them out entirely. And if you do that for every single piece of description, people may have a hard time finishing your book. They may not be able to articulate why they found your story boring, but infodumping and descriptions would be a big part of it. I also repeated the word store way too many times in a single paragraph. You can also end up info dumping with character descriptions.
For example, here's Nadia visiting the Dollar Commandant: “Nadia walked across the parking lot to the Dollar Commandant store. She was a Caucasian woman of mixed Russian and Scottish ancestry who stood 5 feet and three inches tall and weighed 120 pounds. She had gray eyes, red tinted brown hair, and was built like either a marathon runner or a distance swimmer. Today she wore steel toe boots, black jeans, a red sweater, and a black wool peacoat.” Long time readers will know that Nadia usually dresses in the coat because her magic tends to drain away her body heat, which causes some odd reactions in summer. More on that below. Once again, you probably have an idea of what Nadia looks like from the description.
However, once again this description was just somewhat tedious to listen to. Why is this a problem? It's bit like extra drag on a car, something that increases the wind resistance, like a damaged side panel jutting out a little bit isn't much of a problem, but probably should be addressed at some point. Too much slows the code down decreases gas mileage, and can even make the car undrivable. Too much tedious description will slow down your story and make it harder to read, much like too much wind resistance on a car. The exception to the scene is where or when you would expect a character to engage in a clinical description.
For example, a law enforcement officer sharing a description of Nadia would say something like “Caucasian female, 5 foot three, 120 pounds, mid 20s, last seen wearing a black coat and black jeans.” Or let's say a commando leader had to plan a raid on the Dollar Commandant store for some reason and then he would likely offer a detailed description of the building to his followers as part of the planning process.
00:09:50: Tip #2: Avoid Laundry Lists
Number Two: avoid laundry lists. A subset of infodumping is the laundry list technique of character description. This happens when you describe a character by listing off what they're wearing. For example, Nadia at the Dollar Commandant again: “Nadia stood in the checkout line. She wore black wool peacoat, red sweater, black jeans, and heavy boots. Her brown leather purse was slung across her chest, her hand grasping the strap.” Again, this is a bit tedious, or if we were to describe the Dollar Commandant cashier in the same way: “The cashier sat on the metal stool behind the counter, a large woman wearing a blue Dollar Commandant polo shirt, enormous hoop earrings, silver and gold bracelets, and red leggings.”
Both descriptions are basically a laundry list of what the characters are wearing without any other details to engage the senses. As writers, we seem to default to laundry list descriptions whenever a character appears. As with infodumping, there's a time and a place for that kind of description, but the problem is that it is boring and doesn't offer much to hold the reader's attention. So how to make descriptions more interesting? Let's take a look at a few methods for writing more vivid descriptions.
00:10:53 Tip #3: Engage Two or More Senses
Number three: engage two or more senses. A rule of thumb for descriptions that will serve you in many situations is to try and engage two or more of the senses whenever possible. Humans, with some exceptions, are primarily visual creatures. Sight is generally the main sense through which we perceive the world. However, the other four senses are constantly running and providing additional information, often on a subconscious level. This means that you can immediately punch up your descriptions by including information about the additional senses. For example, compare this description of the Dollar Commandant store to the one we heard before:
“Nadia stepped through the doors and into the Dollar Commandant store. The blast of the air conditioning hit her in the face, accompanied by the faint odor of toilet bowl cleaner, and she shivered inside her coat. Cluttered aisles of low cost merchandise stretched all the way to the back of the store. A woman in a yellow sundress and flip flops held a sleeping toddler as she sorted through a bin holding plastic beach toys. At the registers, a bored looking cashier sat on a stool and did not look up from her phone. Nadia headed for the hardware aisle, the cheap green carpet rasping against her boots.”
While this may be technically less precise than the first description, it probably created a more vivid picture of the Dollar Commandant store in your mind. The reason is that we managed to engage three senses at once: sight: the description of the cashier, smell: the air conditioning and the toilet bowl cleaner, and hearing: the rasp of the cheap carpet. Perhaps it brought to mind similar stores to the Dollar Commandant that you may have visited.
To use another example, let's redo the description of Nadia above. In this example, the cashier, whose name is Maxine, looks at Nadia for the first time: “Maxine sighed and put down her phone as the customer stepped to the register. She was buying beef jerky and freeze dried fruit of all things. The women was short and wiry and pale, wearing a black wool peacoat that was way too heavy for the weather. Even in the air conditioning, she ought to have been sweating like a toilet tank and smelling like a sweat sock. Instead, her face was dry and she didn't smell much of anything at all.”
In this case, Maxine notices that Nadia isn't sweating, and the absence of odor is what draws her attention. Of course, the description also used similes, which takes us right up to the next tip for improving descriptions.
00:13:02 Tip #4: The Right Amount of Metaphor and Similes
Number four: the right amount of metaphor and similes are your friends. Human communication is basically symbolic, even language itself is a series of symbols intended to convey a specific meaning, like the word laptop is a string of letters which represents a specific sound that humans can make and…in the English language, that specific sound represents a portable computer. So the human brain runs on symbols, which means you can use symbolism in the form of metaphors and similes to help augment your descriptions. Quick rule of thumb: a metaphor is a comparison that uses the verb is in the description.
For example, “The Dollar Commandant is a dumpster.” In this sentence, the Dollar Commandant store isn't literally a dumpster, but the speaker is comparing it to one. A simile, by contrast, uses the word like in the description. “The Dollar Commandant looks like a dumpster.” In both cases, the speaker is expressing disdain through the Dollar Commandant through the use of figurative language, just in slightly different ways. The judicious use of metaphors and similes can enhance your descriptions. For example, here is Nadia again: “Nadia walked across the parking lot to the Dollar Commandant store. She's a short, lean women in a dark coat with eyes like cold grey coins and a smile that is a little too hard to be friendly. The coat was too heavy for the summer day and also loose enough to conceal a shoulder holster.”
In this description, we can use a simple way to help describe the way that Nadia sometimes unsettles people. Or to make it more vivid, we could describe her through Maxine, the cashier's eyes. “The woman stepped up to the register, and Maxine sighed and put down her phone. The customer was buying beef jerky and freeze dried fruits of all things, and Maxine looked her over: short, wiry, and pale and wearing a heavy coat that looked way too hot, but it was an expensive coat, maybe a present for her husband to judge from the wedding ring. Probably some rich girl slumming it in at the Dollar Commandant. Maxine started to speak and the woman's eyes caught her attention, pale and gray and bright like coins in the freezer, and sharp as a knife. Maxine swallowed her smart remark to resolve to get the woman out of the store as fast as possible.”
Careful use of metaphors and similes can improve your descriptions. You don't want to do overdo it, of course. Her eyes were like coins, cold and bright. Her skin was pale as moonlight upon ice, her red tinted brown hair was like the sunset upon a mahogany board. Her teeth were white and even, like, perfectly spaced mints. Too much of that sounds like florid love poetry, or maybe the Song of Songs from the Bible where King Solomon compares his beloved's hair to a flock of goats in the mountains, which was probably more flattering in the early Iron Age Levant than it is today.
00:15:31 Tip #5: Mix and Match to Create a Vivid Description
Number five: mix and match. To create a really vivid description, you can mix and match the techniques we've already described. Try to engage at least two of the senses and mix in a metaphor or simile or two. Let's have Nadia walk into the Dollar Commandant store again. “Nadia walked through the doors. The air conditioning hit her like a slap in the face after the summer heat, and everything smelled faintly of toilet bowl cleaner. Cluttered aisles stretched to the back of the store, their shelves laden with a hodgepodge of low cost merchandise. A bored cashier sat behind the register, eyes on her phone. The woman in a yellow sundress and flip flops held a sleeping toddler in one arm, her expression intent as she dug through a bin of plastic beach toys. It looked like the sort of place where Nadia could walk out with half the store merchandise under her coat. And so long as she was quiet, the cashier wouldn't look up from her phone.”
With this we can create a more vivid description. We have similes, the slap in the face and the looks of the place. We also have engagement with two of the senses, the feel of the cold air and the smell of the toilet bowl cleaner. This will also work with people, of course. Let's take another look at the scene where Maxine notices Nadia for the first time.
“The customer put some beef jerky and freeze dried fruit on the counter, the packaging crinkling and rustling, and Maxine blinked and put down her phone. The woman smiled at her from the other side of the counter, short ,wiry, and pale. She wore a stark black peacoat of all things, and her smile was unsettling. Combined with grey eyes, it made Maxine think of a shark.”
Once again, we have engaged two senses, sight and hearing. We also have an indirect metaphor where Nadia makes Maxine think of a shark. How much description you use is up to you, of course, but in some situations may need to use more, which we'll discuss right now.
00:17:06 Tip #6: More Description is needed in Science Fiction and Fantasy
Number six: more description is needed in science fiction and fantasy. One advantage of anything set in the modern world is they can often get away with using less description, since people immediately know what you're talking about. For example, consider this sentence: “The police officer walked into the McDonald's, the lunchtime crowd easing away from him.” Almost certainly you immediately had a clear picture of the scene. You know what a police officer usually looks like, and you've probably been in or worked at a crowded fast food restaurant during the lunch rush. You could quickly use this to establish the scene and move on to the more interesting parts of the story. If a specific detail requires more elaboration, like the police officer is there to arrest one of the employees or customers, you could spend more time describing the scene, but the point is that for things set in the roughly contemporary world, you can often get away with using less description because the audience will be familiar with the things you are talking about.
However, with fantasy and science fiction, you often don't have this option because you're describing strange and fantastical things that do not exist in the real world. Consider this sentence: “The Orcish warrior walked into the tavern, all eyes turning to face him.” Enough people have seen the Lord of the Rings movies and played World of Warcraft or Dungeons and Dragons that most people will probably have a vague mental image of a hulking green skinned guy walking into a fantasy tavern. Of course, is it a Warcraft style orc come to get a drink? A savage but honorable warrior? Or is it a Tolkienian orc, a corrupted servant of the dark power? It’s when you would start to get really specific or start inventing new concepts that you have to use more description.
Let's take another example from the Cloak Mage series, the anthrophage. In the books, anthrophages are carnivorous monsters that haunt the shadow lands and Nadia winds up fighting them quite often. Since the concept of an anthrophages is something I made-up for the series, I needed to spend a bit more time describing the creature so that people will know what I'm talking about. “The anthrophage prowled toward Nadia. The miserable thing was roughly human shaped, but gaunt, the muscles like bundles of piano wire beneath its mottled gray hide. Black claws jutted from its fingers and toes, and a row of dark spines ran down its back. Yellow eyes glared up at Nadia over a fang filled mouth and a black crater of a nose and the rotting grease smell of the creature’s breath came to her nostrils.” That probably gives you a good idea of what an anthrophage will look and smell like. As with the orcish warrior in the tavern you mentioned above, fantasy and science fiction has moved enough into the mainstream that many people at least have a vague idea of what an orcish warrior, an elven wizard, and a dwarven blacksmith look like, or at least enough not to be totally lost. Someone who only reads, like Jason Bourne style thrillers might get a bit lost picking up a fantasy novel, but if you're writing fantasy, odds are they aren’t your target audience anyway.
However, the more original and unique your concept, the more time you will have to spend describing it, especially if you get really strained with your concepts like, say, the McGuffin of your science fiction book is a thousand sided crystalline prism that exists in multiple universes simultaneously and causes everyone who looks at it to simultaneously see their greatest fear and deepest desire, you're definitely going to have to spend some words describing this thing.
00:20:14 Tip #7: Infuse Characterization into Descriptions
Number seven: infuse characterization into descriptions. It's a kind of rule of thumb in law enforcement and investigation that if five different witnesses see a car accident, you will get five completely different and often contradictory accounts of what actually happened. This is because human perception is quite fallible and can vary based on a thousand different factors, an annoying reality for investigators. But you can use it to your advantage in descriptions by infusing characterization into them. What do I mean by this? How a character describes something in the narrative can also give valuable insight into the character. We've talked about how to make descriptions less boring, and this is an excellent way to do it, engaging multiple senses and using metaphors and similes will make descriptions more vivid, but adding characterization will further intensify the description and also help you illuminate the character.
For example, imagine a homeless man sitting on the curb outside of a gas station. How a character describes the homeless man will probably provide an insight into the character. A woman who has previously been attacked or robbed by a homeless man would react with fear and describe him in threatening terms. A police officer would note details about potential criminal violations and threat assessment. A charity volunteer or social worker might note the man's poor condition and health problems. A covert field operative might realize that the homeless man is, in fact another agent in disguise, or is being paid to act as a lookout for the operative’s enemies. A necromancer would consider the homeless man's viability as a potential undead minion. I am a fantasy writer mostly, after all.
Let's go back to Maxine, the cashier of the Dollar Commandant. If the scene is written from her point of view, we can use her description of Nadia to get a grasp on Maxine's character. For example, let's say Maxine hates her job and is kind of lazy. “She put down her phone with a sigh and looked at the customer. A short, wiry, woman stood on the other side of the counter. She wore an oversized black peacoat, her sharp gray eyes watching Maxine. A small pile of beef jerky and freeze dried fruit sat on the counter, placed there while Maxine had been watching her phone. That coat was way too hot for the weather. Probably some skinny little rich girl who exercised way too much, Maxine decided with disdain, and so was cold all the time, which meant that Maxine had to ring up her stupid jerky.” That gives us a good insight into Maxine while describing the scene. By contrast, let's say Maxine is kindlier and mostly contented with her life. “She put down her phone and smiled at the customer. A short, wiry woman stood on the other side of the counter. She wore an oversized black peacoat, her sharp features arranged in a polite smile. A small pile of beef jerky and freeze dried fruit sat on the counter, placed there while Maxine had been looking at the new pictures of her grandchildren. That coat was way too hot for the weather, and the woman inside it looked almost underfed. Maxine wondered if the poor girl was sick or had some kind of circulatory problem.”
Or let's say that Maxine is actually neither of those things, but is a high end criminal and is working at the Dollar Commandant as part of the scheme that will allow her gang to clear out the safe deposit boxes at the bank across the street. “She put down her phone and smiled at the customer, maintaining the role of a genial cashier, but a prickle of alarm went down her back. An oddly dressed women stood on the other side of the counter, short, wearing oversized black peacoat, black jeans, and steel toed work boots. The coat was more than big enough to hide a shoulder holster, and it was hot enough that the woman should have been sweating beneath the coat, but she wasn't. The women had cold gray eyes and a sharp face. Maxine known some killers in her time, and they all had eyes like that. Had the gang been tumbled? No, they were far enough along that the police would have shown up by now. Maybe it was just a coincidence. Maxine realized that she had frozen for too long and then smiled and started running packages of beef jerky and freeze dried apples over the scanner, resolved to get this customer out the door before she noticed anything amiss.”
Any metaphors and engaging multiple senses can make the descriptions more vivid, but adding characterization to them will make them even more vivid, reveal insight into your characters, and also help move the plot along.
00:24:06 Tip #8: Keep it as Short as Possible
And finally, number eight: keep it as short as possible. How much description should you use? As much as you need, but no more. I'm aware that is something of a tautology, but it's true. You should use as much description as you need to convey what you want to describe, make it as vivid as possible, and then no more. The reason for this is that you are telling the story and you do need to get on with it at some point. Remember our wind resistance metaphor from above? Too much description will slow things down and you might have the reader paging ahead to when the action resumes.
The classic example of this is a romance novel where the heroine and love interests have an…encounter, and then there are pages and pages of surrendering and taking and opening and metaphorical soaring and so forth. Other genres have their characteristic weak points with description as well. A fantasy novel might spend too much time describing a fight scene or a science fiction novel could spend too much time describing an alien creature. Thriller authors sometimes like to show off their research a little too much by describing the protagonist’s firearms in pages and pages of loving detail. Always remember that you are telling a story and it's important to get on with the story. It's good to have vivid descriptions, but you don't want to get bogged down with them.
That rental agent who painted a word portrait of the duplex didn't close the sale. But hopefully these tips and tricks will help you to paint vivid word portraits in your books.
So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.
In this week's episode, we take a look at the perils and advantages of audiobook production for indie authors. A preview of DRAGONSKULL: FURY OF THE BARBARIANS (as narrated by Brad Wills) is included at the end of the episode.
It’s time for a new Coupon of the Week!
This week’s coupon is for the audiobook of GHOST IN THE FORGE, as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE FORGE for 75% off at my Payhip store with this coupon code:
GHOSTFORGE
The coupon code is valid through October 7th, 2023, so if you find yourself in need of a good listen as we advance into fall, perhaps it’s time to get a new audiobook!
TRANSCRIPT
00:00:00- Intro and Coupon of the Week
Hello, everyone. Welcome to Episode 169 of the Pulp Writer Show. My name is Jonathan Moeller. Today is September, the 22nd, 2023 and today we're going to discuss whether or not indie authors should produce audiobooks. Before we get to our main topics, let's do Coupon of the Week.
This week's Coupon of the Week is for the audiobook of Ghost in the Forge as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghosts in the Forge for 75% off at my Payhip store with this coupon code, GHOSTFORGE. That coupon code is valid through October the 7th, 2023. So if you find yourself in need of a good listen as we advance in the fall, perhaps it's time to get a new audiobook. You can get the coupon code and the link to the store in the show notes. Let's have some updates on my current writing projects and some questions and comments from readers, and then we'll get to this week’s main topic.
00:00:59- Writing Updates
I am almost to the end of Chapter 15 of 20 of Ghost in the Serpent, which means I'm just about 75% of the way through the rough draft, so I'm hoping I will wrap that up soon, probably before the end of September, but possibly in the first week of October. The audiobook of Dragonskull: Fury of the Barbarians is finished and is currently processing through all the stores, so hopefully we'll be able to announce that soon. And in fact, we're going to include an excerpt from Dragonskull: Fury of the Barbarians at the end of this episode, so you will be able to listen to a sample. Dragonskull: Tales of the Sorcerer is also going to be started. I think we're going to start recording that on Monday if all goes well, so hopefully we should be able to get that out and available before the end of the year. And once Ghost in the Serpent is finished and published, the next project will be Cloak of Embers, which I hope to start writing in October. That is a neat segue into questions from readers.
00:02:01 Reader Questions
Our first question this week is from John, who asks: This is great news. I've been wanting to read more about Caina and her friends, and now we're finally going to get a new series with her. I just checked and there is no pre-order available yet, so please let me know where we can get this one. I don't usually do pre-orders because setting the logistics of it can be kind of a hassle but if all goes well, Ghost in the Serpent should be out sometime in October 2023, so not too much longer.
Our next question is from Michael, who asks: Have you tried Starfield, Jonathan or do you intend to at some point when you have the time? I was surprised at just how much like Skyrim in space it is. I have in fact tried Starfield. I have Xbox Game Pass for the Xbox I got last year and since Starfield’s in Game Pass, I went to install it and give it a try. Michael's right, it is very much like Skyrim in space where instead of a sword and magic spells, you have a laser gun in the spaceship. Though if you get an axe, you can fight with it like it's a sword. I haven't had much time to play it because I've been focused on trying to get Ghost in the Serpent finished, but I should have more time to play it soon, I think.
Our final question this week is from Godfrey who asks: I love all your books that I've read so far. Still a few to go. I'm slightly confused. How about the audio availability of your Cloak Games and Cloak Mage series? Both these series, which are some of my favorites, only appear to have audio available for the first few books. I'm wondering therefore, if there are plans to issue the rest of each of these two series as audiobooks. Thanks for the kind words, Godfrey. I am glad you enjoyed the Cloak Mage and Cloak Games books and in answer to your question, this is a perfect segue into the main topic of the week, whether or not indie authors should produce audiobooks.
00:03:45: Main Topic of the Week
I had a conversation the other day about how indie authors sometimes try to produce audiobooks only to give up because the audio books don't sell or don't turn a profit. This is quite understandable. Audiobook self-publishing is like the hard mode of ebook self-publishing. Everything about the process is slower, harder, and more expensive than publishing ebooks, especially the more expensive part. As I've logged before with a bit of work, it's possible to produce an ebook entirely with free software. Audiobooks, if you want to hire a really good narrator, are going to cost between $200 and to $400 per finished hour.
So, some basic math will demonstrate the difficulty. At 10 hours long, an audio book of your novel might cost you around $3,000 to produce. If you sell it exclusively via ACX, which means Audible, Apple and Amazon, you will probably get an average of $5 per sale, which means you have to sell about 600 copies to turn a profit. If you sell it through wide distribution, which means you can sell in stores other than Apple, Audible, and Amazon, you will probably get around $2.40 for an ACX sale. Though what you will get on with other stores can range from anywhere to like $1.00 in the library services to almost $6.50 on Chirp and Google Play, depending on your sale price. So just on ACX sales alone, you would need about 1,240 sales to get back your money. Therefore, if you are an indie author and you are thinking about audiobooks, it's a good idea to take a hard look at your finances and business plan and think about whether it's really a smart idea or not.
All that said, I have turned a profit on several of my audiobook projects, Frostborn number six through eleven have all made back what I spent on them, and so have about six of the eighteen Ghost books. I'm pretty sure they'll all eventually earn back what I spent. I am unsure if the Cloak Games or Cloak Mage books will earn back. To refer to Godfrey’s earlier question, so that's why I haven't done any more of them for a while. With all that in mind, here are some….actually, how many tips are these?…with all that in mind, here are 9 tips I found that make audiobook production profitable.
00:05:56: Tips for Audiobook Production
#1: Deductions
Depending on how you have organized your publishing business, you may be able to take the production cost of your audiobooks as a business deduction on your taxes, which could reduce your total tax liability, i.e. how much you owe the government when you file taxes. Note that I am not an accountant or a lawyer and you should obtain tax advice from an accountant qualified for your jurisdiction and legal advice from a lawyer licensed to practice in your jurisdiction. That said, the whole idea of deductions sometimes gets sneered at by people ignorant of how taxes actually work, like it's some sort of trick which people use to buy themselves caviar but in most taxing jurisdictions, you can deduct business expenses from your taxes. Though what qualifies as business expenses will vary depending on where you live and what sort of business you actually have, basically business deductions are the governments way of saying spend this income on something on our list of approved expenses to benefit the economy or we're going to take it as taxation, so in my specific situation and business structure, audio production is a deductible expense, which is very beneficial when it comes time to file taxes for the year, but again, consult with a qualified accountant regarding your specific situation.
Of course, there are still taxes on audiobook payments. I have to file 1099 Forms for my narrators, which means they have to pay taxes on the payment as income. When I file taxes and then any sales of the audiobook count as taxable business income, to say nothing of the state sales taxes the customer pays when buying the audiobook. Uncle Sam has centuries of practice of getting his cut and he's very, very good at it.
In my frank opinion, it's wisest just to figure out what you legally owe, preferably with the help of a qualified accountant, and paying that. A lot of otherwise smart people have brought themselves a lot of woe by ignoring that obvious truth.
00:07:35: Tip #2
#2 Finishing a Series
I've noticed that in fantasy and science fiction, readers really dislike an unfinished series. I had originally planned to make Silent Order open end with sort of an adventure of the week format, but that really didn’t work out. I think you could do a more open-ended series structure in genres like mysteries, thriller, and regional crime, but science fiction and fantasy readers have come to expect a complete series arc with a definite and satisfying conclusion at the end.
Audiobook science fiction and fantasy listeners have that as well, but it's even more intense, selling just one audiobook that isn't part of a series is an uphill climb. I have noticed a definite uptick in sales once an audiobook series is complete. Listeners really like to be able to start a series and just listen on straight through to the end. That said, getting to a finished audio book series is a lot of work and money. Frostborn was 15 books long. The Ghosts and Ghost Exile together were 18 books. The last few books, and though all those series were longer than usual, which means they were more expensive to produce.
So if you've written a really long series, getting the entire series in audiobook can be a huge commitment of time and money. As an example, the first Frostborn audiobook I self published was Frostborn: The Dark Warden in late 2018, and the final book finally came out in June 2022. The final audio book finally came out in June 2022, almost four years later. Why the delay? Money ran short on occasion or I didn't have time to work on it or there were health difficulties and then COVID happened in the middle of all that, but now the series is complete and is consistently one of my best sellers.
Audio books number one through five in the Frostborn series were produced by Tantor and then I did number 6 through 15 myself. 6 through 11 have all earned back where I spent and I expect 12 through 15 to reach that point sometime towards the end of 2024. So it was worth it to put them all out, but man, it was a lot of work to get there and I didn't even do the actual narrating. I paid someone else to do it. That said, if you write shorter series of books than I do, putting them out into audio will be obviously less expensive and less effort.
00:09:37: Tip #3
#3: Ebook advertising
Basically, if the ebook of your book sells well, then odds are the audiobook is going to do well as well. I've experimented a lot with this, but I haven't found very many very good ways of directly advertising audiobooks. More on that soon. It's easier to advertise ebooks than audiobooks, at least in my experience. So rather than trying to advertise audiobook, it’s generally better to advertise the ebooks attached to the audiobooks. As an example, I'm advertising The Ghosts Omnibus One at $0.99 right now. For every 10 or so sales of the ebook, I seem to get one sale of the audio book. Of course the ebook gets about $0.35 a sale while the audiobook does roughly between $5 and $5.90 per sale, so the audiobooks really do help with the profitability of any advertising, especially on a discounted ebook.
Interestingly, this means that if you have an ebook series that is also available in audiobook, that means it becomes easier to profitably advertise the series, because you will also have money coming in from the audiobooks. I've had a couple of months where 40% of the profit from advertising Frostborn and The Ghosts came from the audiobooks. Though as we've said, getting the entire series in audiobook can be a significant challenge.
00:10:47: Tip #4
#4: Bundles
One thing I found that works well for audiobook sales is bundling. Like, The Ghosts Omnibus One which I mentioned above, is a bundle containing Child of the Ghosts, Ghost in the Flames, and Ghost in the Blood along with the short story Ghost Aria. This lets me have the nice quartered cover with four different titles on it so that it looks very good on Audible. Audible is basically the reason ebook bundles work so well.
There have been some changes in recent years with the addition of Audible Plus, but Audible still mostly works as a subscription credit system. That means you subscribe to Audible and you get your credit a month, which you can then use to buy an audiobook on the store. Since you have the credit, it makes sense to get the longest possible audio book you can for your one credit to maximize the value. The Ghost Omnibus One was the first bundle I did in March 2020. I wasn't expecting much to happen because a lot of other stuff was going on in March of 2020, as you might recall, but the Ghosts Omnibus One was 39 hours long, which made for an attractive value for your credit. It did really well and was my first audio book title to sell more than 1,000 copies in total. I've since had good luck with other bundles. The rest of The Ghosts and Ghost Exile series, and then the Malison complete series audiobook.
00:12:04: Tip #5
#5: Going Wide.
It might be worthwhile to go wide with your audio books, which means having them available on platforms other than Audible, Amazon and Apple. ACX, Amazon's audiobook creation platform has been nasty hook to it. If you set your audio books exclusive to ACX you can get 40% royalties, but if you go non exclusive which is what Y means in this context you get 25%. Sometimes depending on promotions and so forth and the weird way ACX's accounting works, in practice it turns out to be around 12%. For a lot of writers, it’s worthwhile to go exclusive with ACX because the money will be better and Audible, Amazon are the dominant market in audio book publishing.
That said, it is in fact, possible to make more money at the other stores. Google Play, Chirp, Kobo, and Spotify all offer better royalty rates than ACX, even if they don't have the number of users that Audible does. Going wide also allows you to offer direct sales, i.e. selling off your own Shopify or Payhip store or other similar e-commerce platform. Part of the reason I can offer 75% off audio books for my Coupon of the Week is because even with the massive discount, I still make almost as much as I would with a non exclusive sale off ACX. Another advantage is that you get your audiobook into the various library services. The way most of these work is that the library or library system most likely gets access to a big catalog of books and ebooks and audiobooks and the library system only gets charged if someone actually checks out one of the titles.
The rate per checkout for the author is pretty low. It's usually around $1.30 USD, but somebody was checking your audiobook out from the library probably wasn't going to buy it themselves, and the $1.30 is still better than nothing. We've mentioned earlier how if an ebook sells well, the attached audio book will probably sell as well. If you have a lot of ebook sales on non Amazon stores, then it is definitely worthwhile to think about going wide with your audiobooks.
00:13:50 Tip #6
Number 6: Chirp Deals
Additionally, going wide offer is access to the one effective way I found of directly advertising audio books, Chirp deals. Chirp is owned and run by Bookbub. If you're familiar with Bookbub, you know they send out a daily e-mail newsletter containing links to free or discounted ebooks and authors and publishers pay for spots in those newsletters. I myself have done it many times. However, Bookbub could never promote audiobooks because Audible was the dominant force in audiobook publishing, and Audible doesn't let authors or publishers set the price for any audiobooks. To get around this problem, BookBub started its own audiobook store, Chirp Books, where they could sell audiobooks. Chirp offers a daily e-mail newsletter with a list of discounted books, and I've had good results with Child of the Ghosts, Ghost in the Cowl, and Cloak of Dragons. The reason those three audiobooks worked well is because they all have a long tail of sequels: 8 each for Child of the Ghost and Ghost in the Cowl and 5 after Cloak of Dragons.
Usually for a Chirp deal, the first audiobook in the series is $0.99 and then I set the second and third books to $2.99 for the duration of the $0.99 promotion on the first book, which lasts a month. Obviously I will sell the most copies of the $0.99 audiobook and get about $0.30 a pop for those sales.
But I get just under $1.50 for each of the sales on the $2.99 books and some lights them and goes on to get the entire series through. So the later titles in the series can generate like $5.50 per sale depending on price. This works so well that Cloak of Dragons has actually made more from its Chirp deal than it did from the entire time it has been on ACX.
So if your audio books are wide and you have a series of them, is definitely worthwhile to apply for Chirp deal. That said, if you just have one or two audiobooks, you probably would not get much benefit from it.
00:15:46: Tip #7
#7 Time and Chance.
The more audio titles you have across more platforms, the more likely it is that something will take off unexpectedly or do unexpectedly. Well, I had a good example of that in July. My payment from Findaway Voices was usually high. I dug into the data and found out that the Ghost series had experienced a very good month on Storytel. It's one of the stores you can accessed through Findaway Voices distribution. They're based in Sweden and mostly distributed in European and Asian countries. I honestly had only a vague idea that Storytel existed at all. But because my audio books were available there, I had a very good audio month in July, thanks to Storytel, sales. Granted, “plan on getting lucky” is not good planning and should not be in a business plan.
However, for good luck to happen, it takes time and effort. Luck is like lightning and the more lightning rods you build, the better the chance of catching some lightning. It's just that audiobook lightning rods take a really long time to build. ACX famously offers royalty share audio book productions where instead of paying the narrator, you split the royalties from the audio book for seven years. If you pay for production, it's not unrealistic to project seven years or so to make your money back. Like, I started on Frostborn audio books in the fall of 2018 and finished the series in audio four years later in the summer of 2022. And like I mentioned above, 6 of the 10 books recorded in that time have turned to profit, which is actually really good in terms of the time frame.
00:17:12: Tip #8
#8: Beware of reviews.
If you're new to the audiobook space, one thing to watch out for is the overall hostile tone of the negative reviews. I think some indie authors have gotten spooked by negative reviews that were weren't actually indicative of how the audio book was selling or was perceived. I have the feeling that the easier form of media is consumed, the nastier the reviews. Like, a book takes some amount of mental effort to read, but it's less effort to listen to than an audiobook and even less effort than watching a movie or playing a video game, so you are more likely to find over the top negative reviews.
The easier form of a media is to consume, which is why you find things like people posting 7 hour video reviews of why they hate Starfield, or the PlayStation or something. I have an additional theory that this is one of the unfortunate side effects of social media. Negativity always gets more likes and clicks so some people become even more negative to get the likes and clicks, which sets up a vicious cycle.
Anyway, what this means in the audiobook space is that you can have most perfect book ever written, narrated by the most beautiful and charismatic voice ever to speak a human language, a voice that would have made kings and emperors listen enraptured in ancient days, and people will still leave long angry reviews because they didn't like the way weather was pronounced. So when you publish your audiobook, be aware that it's going to get some negative reviews and don't panic when you do. I'm afraid it's simply inevitable and part of the process. Your audiobook will not be for everyone. The challenge is connecting your audiobook to the audience that will appreciate it, which is why we were talking about marketing so much.
00:18:40: Tip #9
#9 Selling AI audiobooks is even harder.
Because audio audiobook production is expensive and difficult, and AI technology has advanced so much in the last few years, people have been experimenting with creating and selling AI generated audiobooks. This will not be the solution to the challenge of audio production. People seem to either love AI or hate AI, and I definitely have a strongly negative personal opinion about generative AI.
That said, it won't be as amazing as its advocates think, nor as dire as the doomsayers believe. People who hate AI or love AI both have a vision where someday you'll be able to type in a prompt like: Lit RPG book where Luke Skywalker and Sherlock Holmes team up to Sauron on Muppet Treasure Island, and the AI will spit out a perfectly crafted book, movie, or game that matches that prompt. But this is as much a fantasy as Lysenkoism or the Whig theory of history, or Rumpelstiltskin’s attempting to generate infinite wealth by spinning straw into fake gold.
As much as people like Bob Iger and David Zaslav would like to get rid of all those annoying actors or writers and replace them with AI, the technology isn't good enough, and the courts and the legislatures generally don't seem to be in favor of copywriting AI generated material. But that's a larger discussion beyond the scope of this podcast episode for the specific area of my audiobooks. The problem is that the AI can generate a voice that sounds almost like a perfect human voice, fluently reading the text. This has the unfortunate side effect of triggering the uncanny valley effect and making it difficult to listen to the audiobook for a long period of time because the voice swiftly becomes boring. You know the voice narrating the drug side effects at the end of commercials, where it's like Zinoplav can cause blah blah blah. Imagine listening to that voice narrating a nine hour romance audio book.
The performative aspect of audio books is hard to quantify, but it is undeniably real and undeniably has a strong effect on the finished audiobook. I experimented with AI audiobooks on YouTube a bit over the last two years. Google Play came out with a program where you could automatically convert one of your ebooks to an AI narrated audiobook. Since I never had any intention of turning Silent Order into audiobooks, I felt comfortable experimenting with the program for that series since it wasn't screwing anyone out of a job.
I didn't think the results were good enough to sell, but I did post them on YouTube for free, though, to be fair, I did make some money from the attached ads.
What did I learn? First off, there isn't a lot of money in it. In the time I've had AI narrated audiobooks on YouTube, I made about 60% of what it would cost to turn Silent Order: Iron Hand into a real audiobook.
Second, people really, really hate AI voices, like intensely and with a passion. They hate them, if a brief glance at the YouTube comments for those audiobooks will reveal, this is one of the things that the Pro AI advocates never seem to accept.
People generally hate AI generated stuff. Like, people have no problem using generative AI to write their homework assignments or doing unpleasant writing tasks they don't want to do, like writing cover letters. That kind of thing. But when it comes to actually consuming entertainment media, most people hate AI like this. This sounds, looks, reads, like an AI did it has become a common insult online.
00:21:55
The Marvel show Secret Invasion got a lot of flack because they used AI generated images for the opening titles. Though to be fair, that show had a lot of other problems, so I don't really think AI is a way to lower the cost of audiobook production or to generate a viable audiobook for sale. I think the eventual use of the technology will be to integrate with ereaders. Like say you want your phone to read a book aloud to you. You'll select the voice and accent you want and the e-reader app will read a book to you. In fact, you already can do that on many devices, just with voices that aren't quite as advanced.
In my opinion, I think that's a big win for accessibility for visually impaired readers and listeners. But I don't think it's going to replace human narration.
00:22:37 Conclusion
Producing audiobooks can be very satisfying and help you reach an audience that otherwise wouldn't encounter your work, but they're definitely not a get rich quick scheme, and they are unquestionably a whole lot of work.
If you're an indie author, should you turn your books into audiobooks? I'm afraid the answer has to be individualized. You have to take a good, honest look at your finances, business structure, and goals, and decide if audio production audiobook production will work for you or not. That said, it is nice when you get the emails from listeners saying they listen to the entire series on a cross country drive or while doing something difficult and unpleasant. And with that in mind, thank you all for listening to so many of my audio books.
00:23:18 Conclusion
So that is it for this week. Thanks for listening to the Pulp Writer Show. I hope you find the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave for review on your podcasting platform of choice. Stay safe, stay healthy, and see you all next week. And now we'll close out the show with the sample of Dragonskull: Fury of the Barbarians as narrated by Brad Willis.
00:23:44: Audiobook excerpt of Dragonskull: Fury of the Barbarians
In this week's episode, we take a look at some of the fantasy worldbuilding decisions that went into the FROSTBORN series. I also discuss finishing the original HALO trilogy on the Xbox console.
It’s time for a new Coupon of the Week!
This week’s coupon is for the audiobook of GHOST IN THE STONE, as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE STONE for 75% off at my Payhip store with this coupon code:
GHOSTSTONE
The coupon code is valid through September 29th, 2023, so if you need to listen to something while raking leaves, it might be time to get yourself a new audiobook!
TRANSCRIPT:
Hello everyone. Welcome to Episode 168 of the Pulp Writer Show. My name is Jonathan Moeller. Today is September the 15th, 2023 and today we're going to discuss fantasy worldbuilding in the Frostborn series. We'll also talk a bit about how I finished the Halo trilogy and comments on last week's episode and some updates on my current writing projects. But before we get to all that, let's first have Coupon of the Week for this week.
00:00:28
This week's coupon is for the audiobook of Ghost in the Stone as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Stone for 75% off at my Payhip store with this coupon code GHOSTSTONE. Again, that's Ghost Stone spelled GHOSTSTONE. It will also be in the show notes. The coupon code is valid through September 29th, 2023. So if you need to listen to something while raking leaves, this might be a good time to get yourself a new audiobook.
00:00:57
What I am working on right now is Ghost in the Serpent, the first new Caina book in two years and the first book of new Ghost Armor series. I'm currently 36,000 words into it, which puts me on Chapter 8 or 9 of 20. I can't remember which, I'll double check and we will talk a little bit more about that later in the show.
Once Ghost in the Serpent is out, I'm hoping to have that out in October and then I will start in the next Nadia book Cloak of Embers. I haven't done a Nadia book since April, which is a bit of a time delay, but I wanted to spend the summer finishing things. As I mentioned with The Dragonskull Series and The Silent Order series and now both of them are done. So it is time to start something new, which would be the Ghost in the Serpent and Ghost Armor series in this case.
00:01:46
In audio book news we are doing audio book proofing for Dragonskull: Fury of the Barbarians right now and hopefully that will be wrapped up this coming week and then we can get the audiobook out before too much longer.
00:02:01
Before we get to our other topics, I wanted to read a comment from longtime reader William about last week's episode about finishing The Silent Order series, and William has to say: It's hard to put a number on it, but writing different series and different genres probably helps bring in new readers. Silent Order was the first of your series that I started reading specifically because of a post on William King's blog about your experiment with Eclipse Hand followed by Cloak Games, Demonsouled, The Ghosts and eventually Frostborn. Even if Frostborn and its sequel series at your best sellers (and they are), I might never have picked up the Gray Knight if I just stumbled across it on Amazon. An example would be Games Workshop, which started out making a lot of odd games and spin offs aside from its two massively popular miniature war games. These both help pick them new players and encourage writers to explore new themes which fed into and enriched the main games.
Naturally, they didn't sell as well as the main games, and occasionally they didn't sell very well at all. So gradually the marketing and sales department managed to shut down any such projects, and for a decade or so, their two main games grew staler and sales stagnated, and then they started trying to diversify their offerings again, as well as improve community outreach and other initiatives and sales improved.
The post he's referring to was one about Eclipse Hand, where you'll remember if you listened last week's episode, I had written Silent Order Eclipse Hand entirely with free software like Ubuntu Linux, Libre Office, Office Writer, Sigil, and so forth, just to prove a point that it could be done and I did. So it it's funny how there are many different ways that readers can feed into your books. And that's one of the reasons I wanted to persist with that Lit RPG series, which I'm working on the side right now in hopes of, you know, bringing in new readers. But that reminds me of a verse from the Book of Ecclesiastes, where it's cast your bread upon the waters and in seven days it will return to you. There's a couple different interpretations of that passage, but one of them is that sometimes it's good to take chances on things because you don't know how it will come back to you later.
And so if you have any other comments or questions that you would like answered on the show, leave a comment or question on my website or Facebook page, and we'll see if we include it.
00:04:18
And now some more information about Ghost in the Serpent. When I mentioned that my next book would be Ghost in the Serpent and that got both an enthusiastic response and a few questions. So let's answer them here.
When will Ghost in the Serpent come out? Hopefully October if all goes well and nothing drastic comes up.
When in the series’ timeline does Ghost in the Serpent take place? Just about a year after Ghost in the Sun, which you will recall was the last Caina book I wrote back at the end of 2021.
How many books will the Ghost Armor series have? I am planning for six.
Will there be an audiobook for Ghost in the Serpent? We are hopefully planning to record Ghost in the Serpent in November, if all goes well.
And do you need to reread the previous Ghost books first, before reading Ghost in the Serpent? The answer is, if you want to. The truth is, I can try to make Ghost in the Serpent as stand alone as I want, and I will try to, but people will still want to read the previous books anyway, like I had to laugh when I saw some of the coverage for the Ahsoka TV show with the show’s creators insisting that you didn't need to watch Star Wars Rebels or the Clone Wars first to understand the show. Meanwhile all these content mills are coming out with articles like 27 essential Rebels episodes to watch before Ahsoka.
So if you've never read any of the ghost books, the first book, Child of the Ghosts, is free on all ebook platforms, and the bundle of the first three books, The Ghosts Omnibus One, is only $0.99 in U.S. dollars on all platforms at the moment.
Next question was when are you going to write another Nadia book? After Ghost in the Serpent is done. It will be called Cloak of Embers and will hopefully come out in November or December.
Finally, what will Ghost in the Serpent be about? Well, you'll just have to read and find out. One preview: we never did find out why the surge someone send Kylon back to New Kyre.
00:16:48
One amusing thing that happened recently was that I accidentally finished both Halo 2 and Halo 3 on the Xbox. I've mentioned before that I didn't play any console games at all from about 1998 to 2019, so I missed out on the entire Halo series, but in 2022 I got an Xbox and after I used it to beat Skyrim, I started in on the Halo Series and I beat the original Halo single player campaign in October of 2022.
This year I fired up Halo 2 and started playing through the main campaign. I sort of got distracted for a while in May, but I came back to it in August and picked it up again. I kept plugging away at the main campaign and to my surprise I suddenly beat it. Halo 2 ends on something of a cliffhanger, so I could see why Halo 3 was such a big deal back in 2007. Naturally, I had to keep going, and since Halo 3 is included in the Master Chief Collection, which is included in Xbox Game Pass, I started up on Halo 3. Apparently in its first week of sales back in 2007, the game made more than $300 million, which is like major motion picture territory, and in my opinion, Halo 3 totally deserved it. There are some amazing levels in that game, like the bit where the Master Chief has to take down the two giant enemy next simultaneously or the final level when Master Chief and the Arbiter have to escape the collapsing Halo with Master Chief driving the warthog and the Arbiter running the machine gun on the back, it's like Mario Kart, but with firearms.
I think the original Halo remains my favorite because of its relative simplicity. There are only so many weapons and so many enemy types, but the game puts them to good use. I have to say console gaming is a very different experience than PC gaming, I said I didn't play any console games at all, from about ‘98 to 2019, but that isn't to say I played no games, I just spent a lot of time PC gaming in the 90s and 2000s and in the 90s, that meant fiddling with autoexec.bat and config.sys and making sure emm386.exe was configured properly. Oh, and making sure the sound card was configured to use a different IRQ than the other devices on the system. Granted, if you were born in the 90s or the 2000s, you probably have no idea what I was talking about just now, but if you know you know, whereas with the console you just download the game and it almost always works. Very different experience!
Though I have to say my favorite part of Halo has to be the parts where you get a tank and start blasting away at the enemy. Very satisfying. We had a couple of good comments about Halo when I posted about it on Facebook. Reader Jeremiah says: My son and I played the Master Chief collection together and of course use the skulls which he had previously collected such as infinite ammo, etcetera. I forget which Halo game it was, might have been 3 but not sure. One of the skulls allowed you to practically fly by jumping and holding that button down. You had a blast on that. You'd crash into a wall going fast and die, or just slide past all the enemies and keep on going. I think that's one of the reasons why Halo is so enduringly popular, much like Mario Kart is because it gives such good multiplayer experience that hopefully you can build some positive family memories around.
Our next comment about that comes from JK who says: I used to do PC game phone tech support in the late 80s and had to actually talk people through editing their autoexec.bat and config.sys files. Well my hat is off to you, JK. That sounds extremely difficult. By the time I started doing tech phone support, that was in the age of Windows 98, Windows 2000, and Windows Millennium Edition, I don't know if any of your listeners out there remember Windows Millennium Edition, but it was deeply terrible and broke frequently, so I spent a lot of time dealing with phone support with Windows 98 and Windows Millennium Edition, especially Windows Millenium Edition, but that was still less complex and less aggravating than trying to talk someone through fixing their autoexec.bat file over the phone had to have been.
00:10:12
Now on to our main topic this week, a question about fantasy world building in the Frostborn series. This comes from reader Paloma, who asked a question about Andomhaim:
A question: The Magistri get married and have families, but I don't remember any Magistrius in the books having any woman or man, though it's hard to think like that with mentality of the Middle Age world with them, I hope not that the men in this situation are like monks because I hope Joaquin has someone amazing in his future.
In answer to that question, we're going to talk about it for a while. In the Frostborn world, the Magistri can get married. Minor spoiler if you read the Frostborn: The Shadow Prison, the Magistrius Camorak marries a widowed baker after the Frostborn War after she essentially bakes her way into his heart. The Magistri were founded at a time when Andomhaim’s population was low and so everyone of every station of life was encouraged to have children.
A few of the first Magistri wanted the Order of the Magistri to become a monastic religious order that happened to wield magic, but there was sufficient opposition to the idea that it didn't happen. They sort of compromised halfway where all magic users in Andomhaim would be required to join the Magistri, but could still have possessions and get married. That said, the Magistri do tend to get married at a much lower rate than the nobles and commoners for three reasons.
First reason is that Andomhaim has an overall suspicion of magic. It's much stronger among the commoners than the nobles, but it's still there among the nobility. A lot of people remember that a significant portion of the Order of the Magistri sided with Tarrabus Carhaine and the Enlightened of Incariel during the Civil War, and the Frostborn series.
There are many, many stories about Magistri going bad that have worked their way into the folklore of Andomhaim. The evil wizard is as much of a stock character in the songs and tales of Andomhaim as it is in modern day fantasy novels.
This isn't entirely fair to the Magistri, of course, but the belief is there, though people who have been healed of serious injuries by the healing spell of the Magistri often they have a much higher opinion of the Order.
The second reason is money. Magistri can get a stipend from the Order or from the noble in whose court they serve and they can't hold land. So though the Order as a whole can hold estates to support itself, marriage in Andomhaim, especially between nobles and wealthy merchants, is usually more about property and producing heirs than romantic love. Since the Magistri don't bring any property to a marriage, that's often a nonstarter, especially among nobles. Commoner Magistri like Camorak are much more likely to get married.
The third reason is that Magistri frequently becomes so enamored of their studies that they simply don't have time for marriage and very little interest in pursuing one. Magic, to paraphrase an old comedy sketch, is one heck of a drug, which is one of the reasons why Magistri do go bad. They become so obsessed with magical power and learning more secrets that they lose their connection to the rest of humanity.
That said, it's not terribly common for male Magistri to have mistresses in the form of “housekeepers” and so forth. It's a bit like the Western Church during the Middle Ages. One thing that perpetually vexed clerical reformers in the Western Church throughout the Medieval period was how many priests had common law wives and concubines. Remember that life in the Middle Ages was frequently very harsh and while the village priests often would work lands and farm alongside the rest of the peasants, he nonetheless had had better income and more prestige than many other villagers. Becoming the priest’s “housekeeper” was often a more attractive prospect than the other available options. In fact, in some reasons, this arrangement became so frequent, so common that a frequent effort of clerical reform was attempting to keep a priest from passing his office down to his eldest son via his common law wife. In Andomhaim, the church has evolved to a structure more similar to the Eastern Church during the Middle Ages. Priests could be married, but bishops and abbots were expected to be unmarried and be celibate.
While less frequent than the Magistrius with a housekeeper, female Magistri sometimes become the mistresses of the nobles in whose court they serve. It's a frequent enough occurrence that the beautiful young Magistria and the grim Lord whose eye is caught by the beautiful young Magistria are stock characters in these songs of Andomhaim like the evil wizard described above. Though, depending on the personality of the individual Magistria, bard who sings one of those songs within her earshot might gain a lifelong enemy.
The Swordbearers, by contrast, are much more popular than the Magistri. Partly this is because they integrate in Andomhaim social structure more easily. Swordbearers can and frequently do hold land. Constantine Licinius is a Swordbearer and a dux of the Northern Land and Ridmark Arban is the Commons of Castarium and the Constable of Tarlion. And they're both Swordbearers. Since Swordbearers are supposed to protect the people of Andomhaim from dark magic and knights and nobles are supposed to protect the people of their lands, the two roles to use rather neatly.
While both commoners and nobles have become Magistri and Swordbearers, there's something more aspirational about becoming a Swordbearer, a wandering knight who wields the sword of white fire against monsters.
Knights of the Soulblade, of course, can get married even though they are more likely to leave widows and orphans than the Magistri. And consider the Swordbearers and the Magistri from the perspective of common peasant who doesn't know any of this, a Magistrius or Magistri would be a remote, aloof man or woman wielding abilities you don't understand, and that he or she might have gotten them from the devil. You've heard stories about how Magistri can serve dark powers. Maybe they can heal injuries, but at what cost?
But then an urvaalg starts, probably around the forest near your village. It kills three of your cows, and it also kills the blacksmith’s son and two of the Lord’s men in arms. Nothing can kill the monster. And everyone locks themselves in their houses at night, fearing that the beast will come out of the darkness for them. Then a grim taciturn warrior arrives at your village, maybe alone, maybe with a few trusty companions with a sword of white fire. He kills the monster that's been terrorizing your village and leaves its head mounted on stake. And then he also kills one of the village elders. Apparently the elder had been controlling urvaalg with dark magic, using it to attack his rivals’ livestock, and in some cases, his rivals themselves. With that done, the sword bear moves on to his next quest. So both the Magistri and the Swordbearers are feared. But the Swordbearers are more respected. However, because of the violent nature of a Swordbearer's career, the Magistri in general tend to live much longer.
00:16:29
So I hope that provides a good explanation of some of the worldbuilding behind the FROSTBORN series, and that is it for this week. Thanks for listening to the Pulp Writer Show. I hope you found the show useful. If you enjoyed the podcast, please leave a review on your podcasting platform choice. Stay safe and stay healthy and see you all next week.
In this week's episode, I celebrate finishing the 14th and final book of the SILENT ORDER series by looking back at the writing of the series over the last six years.
This week’s coupon is for the audiobook of GHOST IN THE STORM, as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE STORM for 75% off at my Payhip store with this coupon code:
GHOSTSTORM
The coupon code is valid through September 29th, 2023, so if you find yourself needing entertainment as we proceed deeper into the school year, perhaps it's time to get a new audiobook!
In this week's episode, I take a look back at the movies I watched over the second half of summer 2023. I also provide writing progress updates and answer reader questions.
It’s time for a new Coupon of the Week!
This week’s coupon is for the audiobook of GHOST IN THE BLOOD, as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE BLOOD for 75% off at my Payhip store with this coupon code:
SEPGHOSTS
The coupon code is valid through September 22nd, 2023, so if you find yourself dealing with the Back To School blues, it might be time to get yourself a new audiobook!
In this week's episode, I take a look back at the DRAGONSKULL series, and discuss what it took to complete a 9-book epic fantasy series.
In this week's episode, I recall reading THE SILMARILLION for the first time as a teenager, and discuss how it later influenced MAGIC THE GATHERING.
In this week's episode, we offer some tips and tricks for writers dealing with bad reviews. We also look at how Facebook and Amazon ads performed in July 2023.
In this week's episode, we discuss writing dialogue in fiction, and share eight tips & tricks for writing better dialogue.
In this week's episode, we take a look at what fantasy writers can learn about worldbuilding from the Willow streaming series. I also discuss how I wrote 10,000 words in a single day for the first time since January 2022.
In this week's episode, we take a look at Meta's new Threads social media platform, and investigate why dragons in the CLOAK MAGE series never seem to eat people.
In this week's episode, we look at the use of the passive voice in fiction, and discuss whether or not it is bad.
In this week's episode, I look back at how my ads performed in June 2023, and discuss & review recent movies that I have seen.
In this week's episode, The Pulp Writer Show returns and answers a lot of reader questions about Frostborn, The Ghosts, and writing in general!
A preview of the audiobook of DRAGONSKULL: BLADE OF THE ELVES (as narrated by Brad Wills) is included at the end of the episode.
In this week's episode, we take a look at plot complications and how you can add them to your novel. We also discuss the SUPER MARIO BROTHERS movie.
The Pulp Writer Show will be on hiatus until the second half of June 2023.
This week's episode marks my 12th anniversary of self-publishing. I look back on 2 million ebook sales during that time, and reflect on lessons learned.
In this week's episode, as promised I take a look at the beta of Adobe Firefly, and share my thoughts on it. I also discuss phishing scams and answer a common reader question about the GHOST NIGHT series.
In this week's episode, I take another look at generative AI tools and consider what they might mean for writers. I also take a look at March's ad results and discuss the very excellent board game HEROQUEST.
In this week's episode, we look at the hit piece WIRED magazine published about popular fantasy author Brandon Sanderson, and four lessons this offers for indie authors.
In this week's episode, I take a look back at DRAGONSKULL: SWORD OF THE SQUIRE. I also answer reader questions and talk more about Magic The Gathering. At the end of the show, we share a sample of the upcoming audiobook of DRAGONSKULL: SWORD OF THE SQUIRE, as excellently narrated by Brad Wills.
You can get 25% of the audiobook of DRAGONSKULL: SWORD OF THE SQUIRE at my Payhip store with this coupon code:
SQUIREAUDIO
https://payhip.com/b/QX1Ti
In this week's episode, we celebrate reaching the 150th episode of the Pulp Writer Show! I look back at the ten most popular episodes of the show.
We also answer reader questions and discuss reasons for conceding in Magic The Gathering: Arena.
In this week's episode, I respond to reader questions & comments about the principles of storytelling.
Once again it is time for Coupon of the Week!
SEVENFOLD SWORD: OMNIBUS ONE is going to have a Bookbub deal this month, so it seemed a good time to have SEVENFOLD SWORD: NECROMANCER be the coupon of the week! You can get 50% off the ebook with this coupon:
MARNECRO
The coupon code is valid until March 27th, 2023.
https://payhip.com/b/iowCD
In this week's episode, we take a look at Microsoft's new Bing Chat AI, and discuss whether it is a good idea or not. I also talk about Magic The Gathering: Arena, and describe how my Facebook and Amazon ads performed into February 2023.
In this week's catch-up episode, I take a break from shoveling snow to calculate just how many short stories I've actually published. I also talk about SEVENFOLD SWORD ONLINE: CREATION, my new LitRPG novel.
This week’s coupon is for GHOST IN THE SURGE (as excellently narrated by Hollis McCarthy), the climactic book of the first THE GHOSTS series. You can get fifty percent off the audiobook with this coupon code at Payhip:
FEBSURGE
The coupon code is valid until March 6th, 2023.
https://payhip.com/b/wWRtS
In this week's episode, we take a final look at the OGL and Creative Commons situation with Dungeons & Dragons, and consider what it means for indie authors
Coupon of the Week!
The audiobook of GHOST IN THE MASK (as excellently narrated by Hollis McCarthy) is now available on my Payhip store! You can get it for 50% off with this coupon code:
FEBMASK
The coupon code is valid until February 27th, 2023.
https://payhip.com/b/LHcX4
In this week's episode, we take a look at third person narration versus first person narration, and consider the pros and cons of each when writing fiction.
Once again it's time for Coupon of the Week!
The audiobook of GHOST IN THE ASHES (as excellently narrated by Hollis McCarthy) is now available on my Payhip store! You can get it for 50% off with this coupon code:
JANASHES
The coupon code is valid until February 15th, 2023.
https://payhip.com/b/JXW0t
In this week's episode, I ran out of time to prepare notes for a show, so instead I'm going to answer many reader questions and talk about topics of interest to indie authors.
I ran out of time to prepare a Coupon of the Week for this week, but if all goes well it should return next week.
In this week's episode, we take a look at the controversy over the Open Gaming License for Dungeons & Dragons, and examine the business lessons that offers (along with a business lesson from Taylor Swift) for indie authors.
I just finalized the audiobook of GHOST IN THE FORGE (as excellently narrated by Hollis McCarthy) on Payhip store, and you can get the audiobook for 50% off with this coupon code:
JANFORGE
The coupon code is valid through January 31st, 2023. Get the audiobook of GHOST IN THE FORGE here!:
https://payhip.com/b/vhySD
In this week's episode, I explain my process for creating a cover for my fantasy novels. We also answer reader questions.
Coupon of the week returns!
This week the coupon is for the ebook version of CLOAK GAMES: SHADOW JUMP. You can get it for 25% off at my Payhip store with this coupon code:
JANCLOAK
The coupon code is valid through January 31st, 2023. Get CLOAK GAMES: SHADOW JUMP here!
https://payhip.com/b/vCTm8
The Pulp Writer Show returns for 2023 In this week's episode, we take a look at six business lessons for authors inspired by Jon Peterson's book GAME WIZARDS, which describes the legal struggles around Dungeons & Dragons in the 1980s. We also take a look at Brandon Sanderson's decision to keep his Kickstarter novels off Audible.
In this week's episode, I look back to see how many of my writing goals in 2022 I reached, and I set some new writing goals for 2023. I also look back at my favorite books and games of 2022.
In this week's episode, I talk with Troy Lambert of Plottr, who discusses ways that writers can use Plottr to outline their books and prepared story bibles for longer series.
You can see Troy's "Thursdays With Troy" videos about Plottr on YouTube here:
https://www.youtube.com/@Plottr
This week the coupon is for the audiobook of GHOST IN THE STORM. As you might know, GHOST IN THE WINDS came out in audiobook recently, and narrator Hollis McCarthy said that of the eighteen Caina novels (and two short stories) she narrated, GHOST IN THE STORM and GHOST IN THE WINDS were her two favorites. So you can get 75% of GHOST IN THE STORM at my Payhip store with this coupon code:
DECSTORM
The coupon code is good through January 9th, 2023. Get GHOST IN THE STORM here!
https://payhip.com/b/T9Lk7
In this week's episode, we discuss 5 tips to solve the Sequel Escalation problem. We also talk about the validity of AI-generated artwork.
This week the coupon is for one of my favorite books, SILENT ORDER: ECLIPSE HAND! I wrote ECLIPSE HAND entirely on Ubuntu Linux to prove that it could be done, so five years and five thousand copies sold later I still get a sense of satisfaction looking back at it.
You can get 75% off ECLIPSE HAND at my Payhip store with this coupon code:
12ECLIPSE
The coupon code will be valid through December 31st, 2022.
https://payhip.com/b/j5J6f
In this week's episode, I answer a new writer's business questions. We also discuss when smartphones first became useful.
The release of the final audiobook in the GHOST EXILE series, GHOST IN THE WINDS, is imminent! To celebrate this occasion, this week's coupon gives you 75% off the audiobook of GHOST IN THE COWL (the first one in the series) at my Payhip store:
DECGHOSTS
The coupon is valid through December 25th, 2022. So if you need an audiobook for your Christmas travels, GHOST IN THE COWL has you covered!
https://payhip.com/b/SMj1q
In this week's episode, I take a look at seven things I am thankful for in the indie author world. I also talk a bit about ELDER SCROLLS BLADES, a mobile game I've been playing recently.
Since if all goes well SILENT ORDER: WRECK HAND will be coming out soon, this week's coupon is for the ebook of SILENT ORDER: OMNIBUS. Start Jack March's adventures with this 75% off coupon at my Payhip store:
NOVSILENT
https://payhip.com/b/lhCyU
The coupon code will be valid through December 10th, 2022, which should give you enough time to read SILENT ORDER: OMNIBUS ONE before starting WRECK HAND.
In this week's episode, I take a look at seven things I am thankful for in the indie author world. I also talk a bit about ELDER SCROLLS BLADES, a mobile game I've been playing recently.
Since if all goes well SILENT ORDER: WRECK HAND will be coming out soon, this week's coupon is for the ebook of SILENT ORDER: OMNIBUS. Start Jack March's adventures with this 75% off coupon at my Payhip store:
NOVSILENT
https://payhip.com/b/lhCyU
The coupon code will be valid through December 10th, 2022, which should give you enough time to read SILENT ORDER: OMNIBUS ONE before starting WRECK HAND.
In this week's episode, I talk about how STAR WARS provides valuable lessons in fantasy worldbuilding for writers, and why my attempt to write a book about Windows 8 didn't go so well.
This December will mark twelve years since I finished writing the rough draft of what would become CHILD OF THE GHOSTS. At the time, I thought it was the last novel I would ever write. Subsequent events proved otherwise. :)
Anyway, to celebrate this milestone, the audiobook of CHILD OF THE GHOSTS is our coupon of the week! You can get it for 75% off at my Payhip store with this coupon code:
NOVGHOSTSAUDIO
https://payhip.com/b/W8H9g
The coupon code will be valid until November 30th, 2022.
In this week's episode, we discuss whether or not publishing gatekeepers are good for writers, and the effect that Twitter changes might have on indie authors.
It's time for a new regular podcast feature - the Coupon of the Week! Once a week I'll share a coupon for a discount off an ebook or an audiobook at my Payhip store.
To celebrate the launch of CLOAK OF MASKS, here's a coupon for the audiobook of CLOAK OF DRAGONS, the first book in the series. You can get it for 75% off at my Payhip store with this coupon code:
NOVDRAGONS
The coupon code will be valid until November 30th, 2022. Get the audiobook here:
https://payhip.com/b/ThXjD
In this week's episode, I take a look at how writers should respond to negative reviews of their books. I also take a look at advertising performance in October 2022.
In this week's episode, I take a look at the movies and TV shows I watched this autumn and share my opinions. This includes Top Gear Maverick, Morbius, Jurassic World Dominion, Rings of Power, She-Hulk, Andor, and others.
In this week's episode, I discuss ways to create and maintain suspension of disbelief while writing fiction. I also answer reader questions and talk about the original HALO game.
In this week’s episode, we discuss worldbuilding in urban fantasy settings (specifically in my CLOAK GAMES/MAGE series), and take a look back at how my advertising campaigns performed in September 2022.
In this week's episode, we discuss how the proposed merger between Simon & Schuster and Penguin Random House shows how self-publishing is better for writers than traditional publishing.
The Pulp Writer Show will return with new episodes in October.
In this week's episode, we discuss how the proposed merger between Simon & Schuster and Penguin Random House shows how self-publishing is better for writers than traditional publishing.
The Pulp Writer Show will return with new episodes in October.
In this week’s episode, we discuss the concept of "zeerust" - how something that seemed futuristic in science fiction can become anachronistic and dated.
In this week's episode, I offer my opinions of the movies and television shows I watched this summer, and we discuss reader comments on the last few episodes.
In this week's episode, we examine a badly-written marketing email, and reminder writers to be wary of scams. We also discuss the merits of technical writing and the dangers of the Nirvana Fallacy for writers.
In this week's episode, we'll take a look at six methods for writing characters that the reader will find sympathetic. I'll also discuss why I spend less time writing about technology than I did a few years ago.
The Pulp Writer Show returns from hiatus! In this week's episode, I discuss listener opinions about the AI-narrated audiobooks I've posted on YouTube. I also talk about how to balance writing time with other responsibilities.
In this week's episode, I talk about how the CLOAK MAGE series breaks with some of the genre conventions of urban fantasy. We also discuss some listener comments about AI-narrated audiobooks.
The Pulp Writer Show will return with new episodes in August 2022.
In this week's episode of The Pulp Writer Show, I discuss my experiment with digitally narrated audiobooks. I also talk about finally finishing the FROSTBORN series in audio (with a human narrator).
The Pulp Writer Show returns from hiatus! In this week's episode, I'll answer reader questions that have arrived during the six weeks since I last recorded a show.
I'll also talk a bit about Amazon returns and the end of the iPod era.
In this week's episode, we'll talk about using dialogue to create distinctive characters in fiction.
I also talk about buying an Xbox and answering reader questions.
THE PULP WRITER SHOW will return with new episodes in June 2022.
In this week's episode, we discuss how to pick appropriate categories for your book on Amazon and the other bookstores. I also talk about THE BATMAN movie, and answer reader questions and comments.
In this week's episode, I discuss a reader question about the sources of writing success. I also answer questions about the CLOAK MAGE and GHOSTS series.
In this week's episode, I take a look back at four lessons learned from eleven years of self-publishing.
I also answer reader comments and questions about advertising and the DRAGONSKULL series.
In this week's episode, I discuss my results for advertising my SEVENFOLD SWORD series in the month of March. I also answer questions about the DRAGONSKULL series.
In this week's episode, I discuss my methods for finding names for fantasy characters, places, and novels.
I also answer questions about the CLOAK MAGE and DRAGONSKULL series.
In this week's episode, we talk about Brandon Sanderson's epic Kickstarter, and discuss when to start advertising your books using CPC (cost per click) ads.
In this week's episode, I discuss reaching the sales milestones of 10,000 self-published audiobooks and 20,000 traditionally published audiobooks. We also discuss the value of improvement in self-publishing, and answer reader questions about the CLOAK MAGE and DRAGONSKULL series.
In this week's episode, I explain why I don't like writing prequel novels. I also discuss drawing fantasy maps and some exciting audiobook news about the DRAGONTIARNA series.
In this week's episode, I answer a reader question about what I would do if I started self-publishing from scratch in 2022. We also take a further look at the effectiveness of free ebooks.
In this week's episode, we take a look at three different methods for starting your novel and introducing the central conflict.
In this week's episode, I answer a reader question about the DRAGONSKULL series. I also discuss novel length and new ways of sending free short stories to my newsletter subscribers.
In this week's episode, I discuss readers' opinions about free books and whether or not they work for marketing.
I also talk about Draft2Digital's surprise acquisition of Smashwords, and the excellent Nintendo Switch Game METROID DREAD.
In this week's episode, I take a look at whether or not free first-in-series books still work for indie authors.
I also answer reader questions and talk a bit about AI-narrated audiobooks.
In this week's episode, I discuss finishing CLOAK OF IRON and talk about how to price paperback books on Amazon.
I also discuss the DRAGONLANCE series of Dungeons & Dragons novels and Microsoft's proposed purchase of Activision Blizzard.
In this week's episode, we look at seven different ways you can create conflict within your novel or story.
In this week's episode, we look at tips and tricks for creating distinctive characters.
Happy New Year! In the first episode of 2022, I discuss my eight writing goals for 2022. I also talk a bit about ad spending and series metadata.
In the final episode of 2021, I take a look back and see how many of my writing goals for 2021 I met.
I also talk about POWER ON, a fascinating documentary about the history of the Xbox.
In this week's episode, I talk about backlist books vs frontlist books, and consider which are better for indie authors.
I also discuss NFTs and my favorite Nintendo Switch games of 2021.
The Pulp Writer Show has its 100th episode! Thanks for listening, everyone.
In this week's episode, I discuss the ultimate reason for writing fiction. We also talk about Spotify, audiobooks, and the perils of cloud computing.
In this week's episode, I look back at nine things in the writing world that I am thankful for in 2021.
I also answer reader questions and look at Facebook and Amazon Ad spending for the month of November.
In this week's episode, I offer tips and tricks for creating conflicts for powerful characters without artificially de-powering them.
I also discuss my recent Chirp deal for CHILD OF THE GHOSTS and the 10th anniversary of The Elder Scrolls V: Skyrim.
In this week's episode, I discuss what might be next for Caina after the conclusion of GHOST NIGHT.
We also talk about vintage cyberattacks and Spotify's acquisition of audiobook distributor Findaway.
In this week's episode, I take a look at four reasons for writing mystery novels.
I also discuss the release of GHOST IN THE SUN, Kobo Plus, and how to properly organize an asset library.
In this week's episode, I describe my experiences with the 5-Day Amazon Ads Profit Challenge, and the useful knowledge I gained.
We also discuss Metroid Dread, Diablo II Resurrected, and the 1984 version of the Dune movie.
In this week's episode, I talk about finishing GHOST IN THE SUN, the final book in my GHOST NIGHT epic fantasy series.
I also answer reader questions, and discuss the new DUNE movie.
In this week's episode, we look at 14 ways to keep smartphones from ruining the plot of your novel. Romeo & Juliet wouldn't have been a tragedy if Juliet could have texted Romeo, after all, and we'll share some tips & tricks to avoid smartphone-induced plot holes.
I also answer reader questions and discuss the new Dune movie.
In this week's episode, I offer six tips to help you finish your novel.
I also answer reader questions and talk about video games from the 1990s.
In this week's episode, I take an introductory look at DRAGONSKULL, my new epic fantasy series, which is now available on all ebook stores.
I also answer reader questions and comments.
In this week's episode, I describe my six month experiment with posting audiobooks to YouTube, and explain my opinion that YouTube is a bad platform for content creators.
I also provide updates on my various writing projects across the month of September.
In this week's episode, I share progress on my current writing projects and answer reader questions about CLOAK GAMES and the FROSTBORN universe.
I also share the results of my ad spending for August 2021.
In this week's episode, I offer advice to a writer who has trouble finishing a book. I also answer questions about the CLOAK MAGE series.
In this week's episode, I look at methods for tracking ebook sales.
I also answer questions from readers about audiobooks and the CLOAK MAGE series.
In this week's episode, I share four tips for dealing with artistic frustration, or when your creative project doesn't match what you see in your head.
I also discuss direct sales a bit more.
In this week's episode, I look at the advantages and pitfalls of selling ebooks direct, and answer reader questions about CLOAK MAGE and ereader devices.
In this week's episode, I look at Facebook ads and ask whether or not they're worth the hassle.
I also answer reader questions about the CLOAK MAGE series.
In this week’s episode of the Pulp Writer Show, I talk about the process of finishing the DRAGONTIARNA series and share some reactions from readers about the final book.
In this week's episode of the Pulp Writer Show, I ask for fantasy book recommendations from readers.
I also talk about the pros and cons of writing via dictation and speech-to-text software.
In this week's episode, I discuss recent Amazon glitches, the dangers of unverified information on the Internet, and the new MASTER OF MAGIC remake coming in 2022.
I also answer reader questions and provide updates about DRAGONTIARNA: WARDEN.
In this week’s episode, I talk about DRAGONTIARNA: WARDEN, the final book of the DRAGONTIARNA series, and answer questions from readers.
In this week's episode, I discuss ten possibilities for a new series once DRAGONTIARNA and GHOST NIGHT conclude this summer.
I also answer questions from readers about the GHOST NIGHT series.
In this week's episode, I look at whether or not a writer can profitably advertise a stand-alone book with no sequels.
I also discuss GHOST IN THE LORE and the audiobook version of FROSTBORN: THE DWARVEN PRINCE.
In this week's episode, I answer audiobook questions from listeners, and explain why SEVENFOLD SWORD's audiobooks were completed before FROSTBORN.
I also answer questions about paperbacks and writing tips.
In this episode, we look at six ways writers can learn to handle criticism effectively. I also answer questions about the DRAGONTIARNA and WRAITHSHARD series.
In this week's episode, I take a look back at the last ten years of self-publishing, and share ten tips & tricks I have learned for selling books on all platforms.
In this week's episode, I take a look at whether or not Facebook ads can still work for indie authors.
I also answer reader questions and comments, and discuss the classic PC game MASTER OF MAGIC.
In this week's episode, I take a look at the 2014 film CHEF and how it provides an excellent example of internal conflict for writers.
I also answer reader questions and comments, and reveal the title of the final DRAGONTIARNA novel.
In this week's episode, I look at how the Snyder Cut of the Justice League movie offers three lessons for indie authors. Specifically, how the most successful creative works meet three criteria:
1.) They fulfill the vision of the creator.
2.) They meet the expectations of the audience.
3.) They turn a profit on their costs.
I also answer questions about the DRAGONTIARNA, CLOAK MAGE, and SILENT ORDER series.
In this week's episode, I discuss how I republished my mystery novel SHARE THE PAIN as AVENGING FIRE, and sold two and a half times as many copies in one month as the book had previously sold in ten years.
In this week's episode, I discuss my book STORYTELLING: HOW TO WRITE A NOVEL, which offers tips & tricks for writing a novel based upon the rules of story structure.
I also answer questions and comments from readers about DEMONSOULED, DRAGONTIARNA, and AVENGING FIRE.
STORYTELLING: HOW TO WRITE A NOVEL is now available at all ebook stores.
In this week's episode, we discuss verisimilitude for writers and how much research to do so a novel feels real without getting bogged down in the details.
I also answer questions about audiobooks and new book covers.
In this episode, we discuss the idea of the "marketing funnel", and how to best utilize it for indie authors.
I also answer questions from readers about the DRAGONTIARNA and GHOST NIGHT series.
In this week's episode, I discuss how to focus on writing new fiction even when faced with other urgent tasks.
I also give an update on new and upcoming publishing projects and answer reading questions about AVENGING FIRE and the CLOAK MAGE series.
In this week's episode, I look at my ten bestselling audiobooks of 2020 and consider what this means for selling and marketing audio in 2021.
I also answer reader questions about marketing and my new mystery novel.
In this week's episode, I look back at my bestselling ebooks of 2020, and my most-read Kindle Unlimited titles.
I also answer reader questions about the DRAGONTIARNA series and sales platforms.
In this week's episode, I describe my advertising strategies for 2021.
I also answer reader questions and comments about the FROSTBORN, CLOAK GAMES, and DRAGONTIARNA series.
In this week's episode, I take a look back at ebook sales for 2020.
I also answer reader questions about Frostborn, Malison, and mystery novels.
In this week's episode, I discuss my ten writing goals for 2021, and look ahead at new projects.
In this week's episode, I look back at my writing goals for 2020 and see how many of them I achieved.
I also answer reader questions about the CLOAK GAMES series and Kindle Unlimited.
In this week's episode and the final episode of 2020, I take a look at tips to help people write 10,000 words in a day.
I also answer reader questions about the FROSTBORN and CLOAK GAMES series.
In this episode, I discuss the experience of learning more about cover design in 2020, and how this has helped with self-publishing.
In this week's episode, we discuss whether or not traditional publisher have any advantages over self-publishers in the modern marketplace.
In this week's episode, I look back at the favorite scenes I wrote in 2020.
I also answer reader emails and talk a little more about Facebook Ads.
In this week's episode, I discuss finishing both the rough draft of WRAITHSHARD: WRATH & BATTLE and the WRAITHSHARD series itself.
I also talk about changes to Audible's return policy and Star Wars author Alan Dean Foster's dispute with Disney.
In this episode, we discuss the instability and unreliability of Facebook ads in the runup to the 2020 US election, and how this is a good reminder for indie authors not to put too much trust in any one platform.
We also answer reader questions and discuss upcoming writing projects.
In this week's episode, I answer reader questions about GHOST IN THE VISION, my 115th novel.
We also discuss Barnes & Noble's recent website troubles, Audible's return policy, and Super Mario merch.
In this week's episode, I look at some suggestions and techniques for finishing all 50,000 words of National Novel Writing Month.
In honor of NaNoWriMo, in this episode I look at the Mac platform and the PC platform and consider which one is better for writers.
We also discuss graphic novel adaptations and series length.
In this episode, I talk about finishing the rough draft of my new book GHOST IN THE VISION.
I also answer reader questions about MALISON, FROSTBORN, and THE GHOSTS.
In this episode, I discuss why my DEMONSOULED and MASK OF THE DEMONSOULED series left Kindle Unlimited while THE GHOSTS and GHOST EXILE stayed in the program.
We also talk about the Barnes & Noble Nook hack and answer reader questions.
In this episode, I discuss the recent BookBub Featured Deal for my book SEVENFOLD SWORD OMNIBUS ONE.
I also talk about novel crossovers and forthcoming audiobook editions.
In this week's episode, I discuss a reader's question about how long his novel should be and how long it should take to write.
I also talk about my new book, DRAGONTIARNA: CROWNS, and what I plan to write next.
In this episode, I discuss the relationship between art, business, and advertising for writers.
I also talk about translations, cover redesigns, and newsletters.
In this week's episode, I talk about finishing the rough draft of DRAGONTIARNA: CROWNS, and Kindle Unlimited versus wide ebook distribution.
The episode ends with an exclusive preview of the upcoming GHOST IN THE RAZOR audiobook!
In this week's episode, I examine David Gaughran's Series Marketing Escalation Paradox, and consider how best to promote a long series of novels.
I also talk about finally finishing the main quest of THE ELDER SCROLLS V: SKYRIM nine years after starting the game!
In this week's episode, I look at six ways that old books can generate new work, and hopefully new sales.
In this week's episode, I take a look at four self-publishing tools I have reconsidered using this year. I also discuss my new book, WRAITHSHARD: PYRE & FORGE.
In this week's episode, I consider the 5 questions about the writing journey from the 500th episode of the Creative Penn Podcast.
In this episode, I look at six of the best paid tools for self-publishing and examine what they offer for saving time.
In this week's episode, I talk about my new book DRAGONTIARNA: DEFENDERS, and discuss some news from the world of self-publishing.
In this episode I talk about the best strategy for audio sales and the evolving level of text-to-speech technology.
I also discuss PEACE TALKS, the new Dresden Files novel!
In this week's episode, I share six things I would do if I started self-publishing from scratch in 2020.
In this episode, I discuss five tips for writing a really long series of novels.
Additionally, enjoy an exclusive preview of the audiobook of GHOST EXILE OMNIBUS ONE!
In this episode, I discuss 7 ways to learn from failures and avoid frustration while self-publishing.
In this episode, I discuss how my book MALISON: THE COMPLETE SERIES reached #1 in its category on multiple ebook retailers.
There's also a short bonus excerpt from my forthcoming audiobook GHOST IN THE HUNT, as narrated by Hollis McCarthy.
In this episode, I discuss 8 ways to both write and market your short stories, and how to use short stories as a marketing tool.
In this episode, we discuss 6 tips for how to outline your novel before you start writing the book.
In the 30th episode of the Pulp Writer Show, we look at ways of writing compelling characters that stick in the reader's memory.
In this episode, I discuss 6 things I have learned about selling audiobooks over the last several years.
In this episode, I look at the pros and cons of four ways to find cover art for your self-published book:
1.) Hire an artist to create custom art.
2.) Hire an artist to create a cover from stock photos in Photoshop.
3.) Buy a premade cover.
4.) Make the cover yourself.
In this episode, I share twelve examples of how I created names for characters and settings in fantasy novels.
April 2020 marks my ninth year of self-publishing, so in this episode, I look back at nine things that have NOT changed in the last nine years.
April 2020 is the ninth anniversary of when I self-published my first book, so in this episode I look back at nine things that have changed in self-publishing over the last nine years.
In this episode, I take a look back at my CLOAK GAMES/CLOAK MAGE series and its origins.
In this episode, we consider the reasons for writing (and other activities) during times of crisis like the coronavirus.
Like many people, you might find yourself suddenly working from home for the first time. Here are some tips and tricks to make the experience as productive and as pleasant as possible.
In this episode, I list off some books and games I have enjoyed over the last few years that you might enjoy if you find yourself stuck inside for an extended period of time.
In this episode, I discuss permafree ebooks, and whether or not they make sense as a sales strategy.
FROSTBORN OMNIBUS ONE sold its 100,000th copy last week, so let's have a reader question & answer session about the FROSTBORN, SEVENFOLD SWORD, and DRAGONTIARNA series!
Thanks to Ares Moffet, Emery Ducek, Juan Mayorga, Phil6122, Juan Llanes, Scott Osmond, Tom Thorn, Quentin Powell, Samuli Honkanen, Starlin, William Duckett, Justin Bischel, RC, Donald Cake, Kris, Sam, and Andrew Skillen for their questions!
In this week's episode, I share some of the best resources and books for helping you to get started with self-publishing.
In this episode, I discuss what happens when a writer runs out of ideas, and how an understanding of story structure can create a good book idea out of nearly any situation.
In this episode, I list my bestselling books of 2019. I also discuss what it cost to write and publish those books.
In this episode, we discuss how to avoid overpowered characters when writing science fiction and fantasy novels.
In this episode, I answer reader questions about Caina Amalas and THE GHOSTS series of epic fantasy novels.
Thanks to Michael Philips, Justin Bischel, Juana Bargus, Edward Barry, Sue Manvell, William Duckett, Cindy A, Jack, Elizabeth Upp, Emery Dueck, and Christina O'Neill for their questions!
In this episode, I look at which ebook platforms had the best sales in 2019, and compare them to 2018's results.
In this episode, I discuss the tips and tricks I used to write nine million words of novels over the last twenty years.
An anecdote about a 3 1/2 floppy disk also provides an excellent reminder of the importance of backing up your work!
In this episode, I discuss my writing goals for 2020, and look back at how many of 2019's writing goals I managed to accomplish, including things that went wrong.
In this episode, I explain how I used free software to write and publish by book SILENT ORDER: ECLIPSE HAND, and show how you can do the same with your own books.