The Pulp Writer Show
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.
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Episode 320: How I Learned To Write Fast
09/14/2026
Episode 320: How I Learned To Write Fast
In this week's episode, I take a look back over the last fifteen years and recount how I learned to write quickly. This week's coupon code will get you 50% off the : FALLSTONE The coupon code is valid through September 28, 2026. 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 320 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September 11th, 2026, and today I'm discussing how I learned to write fast. Before we get to all that, we will have Coupon of the Week and a progress update on my current writing, publishing, and audiobook projects. This week's coupon code will get you 50% off the audiobook of Ghost in the Stone, Book #5 in The Ghosts series (as excellently narrated by Hollis McCarthy) at my Payhip store. That coupon code is FALLSTONE. As always, we will include the links and the coupon code in the show notes for this episode. This coupon code will be valid through September 28th, 2026. So if you need a new audiobook this fall, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. For Blade of Visions, which is my main project right now, the rough draft is done, the first editing pass is done, and I'm hoping to start on the second editing pass as soon as I finish recording this episode. So if all goes well and nothing unexpected happens, I very much hope that the book will be out a week from when this episode goes live. So a week from whenever you listen to this, check your favorite ebook store and hopefully Blade of Visions will be there. And of course you can always listen to this podcast and watch my website and social media for other announcements. My secondary project is Elven-Warlock, the seventh book in the Rivah Half-Elven series. I am currently 16,000 words into that. As soon as Blade of Visions is published, Elven-Warlock will then be my new main project and if all goes well, I hope to have that out in October sometime. In audiobook news, as I mentioned last week, Blade of Thieves and Cloak of Worlds should now be available at all the different audiobook stores. Hollis McCarthy is currently recording Cloak of Summoning and we should have some updates on that soon. In a bit of exciting audiobook news from that or related to that, I should mention that Hollis McCarthy was announced as a finalist for Narrator of Distinction for the Professional Audiobook Narrators Association for her work on Cloak of Embers, which was Cloak Mage #10. So if you get a chance, be sure to congratulate Hollis for that if you hang out on my social media pages. So that's where I'm at with my current writing, publishing, and audiobook projects. 00:02:25 How I Learned to Write Fast Now let's move on to my main topic, how I learn to write fast. Occasionally I will see a new indie author looking with dismay at how much time it takes to write and expressing the opinion that it must be impossible to write a million words a year without the aid of generative AI. Ha, no. I should point out that I wrote a million words in 2016, 2017, 2018, 2019, and 2020 and back then the current AI tech bros were still searching for the big scam that would one day make them rich. They tried crypto and NFTs in the interim. ChatGPT would not be inflicted upon the world until the end of 2022. Admittedly, I didn't write a million new words in 2021, 2022 and 2023, but that was from a combination of personal issues taking up time and illness. I still hit between 800,000 and 900,000 in those three years. In 2024 and 2025, I wrote a million new words. I might or might not hit a million new words in 2026, and it largely depends on how the rest of the year goes. I had to take a lot of time off in spring and summer, and that really slowed me down. I did hit 700,000 words once Blade of Visions was done, so we'll see what happens the remaining four months of the year. But yes, if you're writing full-time, a million words in a year is certainly achievable, though as with all things it takes practice and can be subject to events. With that in mind, I thought I would explain how I was able over time to ramp up to writing a million new words in a year. It was less something I set out consciously to do when I started this in 2011 and more a step-by-step evolutionary process that took several years. By the grace of God, I have been indie publishing for almost 15 and a half years now. So here's the process of how I ended up writing a million words in a year. #1: Tech Writing Back in the second half of the 2000s, I used to do a lot of tech blogging, mostly about Linux, and I also did tech support, which frequently involved writing FAQs and guides for how to connect your Blackberry or Windows Mobile device to the company email or whatever. In retrospect, Blackberry and Windows Mobile were both terrible operating systems, so it's not surprising the iPhone and later Android blew them out of the water. Anyway, tech blogging taught me the value of writing quickly. Back then, you could still make money off Google AdSense, and so if I could write quickly on a tech topic, I could post it, get Google traffic, and then make a little bit of money from Google Ads. Writing FAQs and guides also taught me the value of writing as concisely and as clearly as possible. President Franklin D. Roosevelt famously said of public speaking that the best approach to public speaking was “be sincere, be brief, be seated”, and that's also true of technical guides. Back then, I was working on novels as well, specifically what would end up becoming the first three Caina books, but I never wrote more than a thousand words a day of fiction unless I was bored or I was really inspired, neither of which happened all that often. #2: Soul of Serpents By the end of 2010, I had sworn off trying to get traditionally published and decided to focus on tech blogging, but then I got my first Kindle after Thanksgiving in 2010, and I realized there had to be a way to make money off this thing. This led me to discovering Kindle Direct Publishing, Barnes & Noble, Smashwords, and the other early self-publishing platforms. I published Demonsouled, Soul of Tyrants, and the first three Caina books, and then I decided I'd write one more Demonsouled book to finish off the story. It always annoyed me to no end that I'd never gotten to write a sequel to Soul of Tyrants, but now that the opportunity was here, I decided that I would have a Demonsouled trilogy and Soul of Serpents would be the last novel I would ever write, which goes to show I may not be that great at telling the future. Soul of Serpents was the first book I ever wrote specifically intended for self-publishing instead of submitting it to legacy publishers. I wrote it over the summer of 2011, and I figured if I wrote 1,500 words a day, I could get the rough draft of the book done by the end of the summer, which I did, and I ended up publishing it at the end of August of that month. That was also why I made Demonsouled and Child of the Ghosts free for the first time, which meant that their sequels started to sell a little bit. I was actually beginning to make a little bit of money off my novels for the first time in my life, which was very exciting. It also meant that I wanted to continue the Demonsouled series past the third book, which leads us to the next phase of our story. #3: Soul of Dragons In the second half of 2011, I was extremely busy. I had a full-time job and I had a part-time job that required a lot of off-the-clock preparation. Despite that, I was determined to write Soul of Dragons, so I pushed onward when I could. This was when I began writing during my lunch break for the first time, but I often didn't get to my 1,500 words a day during lunch. So by the time I got home at the end of the day, which was frequently between 9:00 and 10:00 PM, I would frequently squeeze in my remaining words (sometimes all my words), before I went to sleep, only to wake up at 5:45 AM to go to the gym. This level of workload, as you can imagine, was absolutely exhausting, and I don't recommend it, but I still did it. I think it was necessary to learn to write a novel under a state of extreme strain since that was good practice for the 160 books that would follow Soul of Dragons. If I wrote only when I was perfectly calm and there was nothing else demanding my time or attention, I would never get any writing done at all. I really hate to give career advice to younger people since so much of the advice they receive these days is obsolete at best and malicious and condescending at worst. In economic terms, 2026 might well be another planet compared to 1976 or 2000, but sometimes in life you really do have to put in a maximum effort over a sustained amount of time (even if it's approaching midnight, you have to get up in five hours, and you still have 500 words to go before you can sleep). That said, if at all possible, I would advise only putting in that kind of effort if you're working for yourself and not for an employer that will lay you off the instant the stock price dips slightly. It took a while, but I did it. Soul of Dragons came out in February of 2012 and sold pretty well. By this time, the books were selling well enough that while I didn't want to go full-time, they were providing a nice cushion against the unexpected vagaries of life. My full-time employer was also heading towards trouble, so I decided to keep writing. #4: Ghost in the Storm My next book in early 2012 after finishing Soul of Dragons was Ghost in the Storm. Like with Demonsouled and Soul of Tyrants, I was always disappointed that I never got to continue Caina's story past the end of Ghost in the Blood, and so I was excited to start Ghost in the Storm. Little did I know that Caina's story would continue for another 30 books past that. I wanted to write faster, so I settled on a goal of 3,000 words a day for Ghost in the Storm. I would write as much as I could in the morning, then over my lunch break, and then finish my 3,000 words, hopefully in the evening before I went to bed. I very distinctly recall that in March of 2012, I was in the process of moving to a new apartment. I bought a couch and scheduled it to be delivered that morning at about 10:00 AM. So I took the morning off, brought my laptop and a folding chair to the empty apartment and wrote, and I kept writing and writing, and the couch never showed up. Finally, in exasperation, I had run out of my hours off, so I had to go to work only to get the call at 4:00 PM that the couch guys had finally showed up and needed me to let them in. I begged them to stay where they were, broke the speed limit to get back to the apartment, and arrived just as they were walking back to their truck. Thankfully, I was able to convince them to deliver the couch. As annoying as that day turned out to be, it worked out well because I got the new couch and I also wrote a bunch of Ghosts in the Storm, which ended up coming out towards the end of April 2012. #5: Ghost Aria In summer 2012, I wrote Soul of Sorcery, which was a huge book that took a long time to write, but it was also the first book I ever wrote that made it to any bestseller list of any kind on amazon.com, which was a pleasant milestone. After Soul of Sorcery, I started working on Ghost in the Stone and finished it up in early 2013. For both Soul of Sorcery and Ghost in the Stone, I had stuck to 3,000 words a day. By then, I had started working more on marketing, so I had an email newsletter. It had occurred to me that giving something away for free in the newsletter might be a great way to drive newsletter engagement, and I'd always liked writing short stories back in the 2000s. So why not write a bonus short story related to the book and give it away for free? So that was where Ghost Aria came from. It was the first short story I gave away for free with my newsletter. Since then, I've written hundreds of short stories and given away tens of thousands of them, so I think it was a good decision. #6: Dual projects In 2015, I had the opportunity to write a tie-in novel for a game product, which I wanted to do, yet I hesitated because I was working on Ghost in the Inferno at the time, and I knew Ghost in the Inferno would actually sell and make some money. The tie-in book was a roll of the dice, but it was a good enough opportunity that I wanted to take it, or so it seemed at the time, but I didn't want to stop working on Ghost in the Inferno, so I did both. Ghost in the Inferno was my main project, and the game book was my secondary one where I squeezed out a couple hundred words a day. Once Ghost in the Inferno was done, I finished the game book relatively quickly. Of course, nothing ever came of it. The game company and the book company fell out and then respectively went out of business, and the game tie in book never saw the light of day. I would've been better off not writing the tie in novel, except I gained a valuable skill from the experience. Before that, I had only ever worked on one fiction project at a time. Now I had taught myself to do two at once. Ever since then, I have followed my primary/secondary project model while trying to get as many words down as possible in my primary project, but I also write 250 words or so of my secondary project before I go to the gym in the morning while I'm having my coffee. So when I finish my primary project, I'm usually about 10,000 to 20,000 words into my secondary project, which gets promoted to my new primary project. For example, Blade of Visions is almost done, but my secondary project, Elven-Warlock, is currently at 16,000 words, so that gives everything a nice little speed boost. I suppose this is yet another example of the lesson that if you're going to work really, really hard on something, if possible, you should be working for yourself and not on spec for someone else. Anyway, the primary/secondary project system has been really helpful to me, especially after I went full-time, which we will discuss next. #7: Time for Full-time So that was the paradigm I followed for the next four years from 2012 to 2016. I aimed for 3,000 words a day and mostly kept to it. I usually ended up writing between 500,000 and 600,000 words a year. I finished Demonsouled and The Ghosts and started on Frostborn and Ghost Exile, and then on a whim started writing Cloak Games in 2015 as a secondary project. 27 books later, Cloak Games/Cloak Mage has likewise turned out to be much longer than I thought. Frostborn also really took off in 2016, which was nice. I would've been perfectly content to continue working full-time and writing as a side gig, especially since I no longer had that part-time job because the books were paying better. That said, I knew in the back of my mind I could go full-time if it became necessary, especially if my employer went under or had layoffs. I admit going full-time started to become tempting as I took on more work and responsibilities after the layoffs. From 2012 to 2016, I got up at 4:30 AM every workday so I'd have time to get everything done. Admittedly, that's not a big deal and lots of people have to do that, yet I admit to this day, I still find 4 in the morning the worst time to get up to use the bathroom or to wake up before a long road trip or whatever. Somehow waking up and seeing 4 on the clock just seems so hateful. Ironically, for all the time I spent thinking about layoffs and preparing contingency plans about what I do afterward, I never actually got laid off. In 2016, I ended up needing to move to a new US state for a combination of family and personal reasons, so I had to quit. I thought about finding a new job in the tech field, but decided the time had come to start writing full-time. Since this was now my full-time job, there was no reason not to write as much as possible. In fact, that was probably a good idea if I wanted to eat, and that's when I started to trying to hit a million words a year. #8: The Rest of the 2010s So from 2016 onward, I wrote full-time. I had a million new words in 2016, 2017, 2018, 2019, and 2020. I finished Ghost Exile and started Ghost Night, finished Frostborn and Sevenfold Sword and wrote most of Dragontiarna. I finished Cloak Games, started Cloak Mage, and I wrote, I think, the first nine books of Silent Order and also finished Malison. I also started doing self-published audiobooks in 2018 with Child of the Ghosts and Frostborn: The Dark Warden. 2017 was my absolute peak for word count since I hit 1.4 million words that year. Not surprisingly, that was probably my best year of sales ever since I finished Frostborn and started Sevenfold Sword in 2017, but I did hit a million words every year for the rest of the 2010s, including 2020. However, after 2020, there was trouble ahead, and you've probably guessed what it is. #9: Fun with COVID 2020 was a productive year for writing since I reached 1.2 million words and I took some Photoshop classes, which turned out to be really valuable in terms of cover design and creating marketing and ad images. It's pretty rare that I don't use Photoshop for something at least once a day now. However, as it would turn out, my big long-term problem was that the gyms in my local area closed for a long time during COVID, and I never found an adequate replacement for them. I ended up gaining a bunch of weight (with all the related health concerns that causes). In 2021, I only reached 974,000 words. Not a big deal. I thought. I'll hit a million next year. However, that didn't work as well because for a variety of personal health reasons in 2022, I only reached 814,000. I also tried a couple of new things during the early 2020s that really didn't work. In 2021, I published the two Cormac Rogan books, which people liked, but it really didn't have an audience. In 2022, I published the first book of what would become the Stealth & Spells Online trilogy, and that didn't sell very well because I misread the audience for LitRPG. Essentially, the LitRPG market wants Isekai/portal fantasy or system apocalypse type stuff, and I've written a science fiction thriller with LitRPG elements. Then in 2023, I actually got COVID, and that just laid me flat for six weeks. I barely got any work done in May and about half of June, and I realized I was going to have to make some changes. #10: Rivah Half-Elven to the Rescue First of all, I realized that I was doing too much by myself. I thought about stopping audiobooks and the podcast entirely, but instead I hired an audiobook proofer and a transcriptionist/researcher to help with that. Second, I still wanted to try something new. Cormac Rogan and Stealth & Spells hadn't worked all that well, but in April of 2023, I'd written about 8,000 words of what would become Half-Elven Thief. When I got sick over the summer, I stopped working on it to focus on finishing Dragonskull and the Silent Order series, but at the end of 2023, I dusted off the Word file, finished it, and published it in December of 2023. It had a substantially stronger first month than Stealth & Spells, so it was time to embark on the Half-Elven Thief series. #11: The Super Summer of Finishing Things I also realized that I gotten too scattered with five ongoing series at once. I decided to cut it down to three. So in the summer of 2025, I finished The Shield War, Stealth & Spells Online, and Ghost Armor. My ongoing series would be Blades of Ruin, Cloak Mage, and Half-Elven Thief. I wouldn't start on a new series until I finished one of these. From summer 2023 onward, things improved a good deal over 2021 through 2023. Audiobooks were a lot easier to do with an audiobook proofer to do the final listen, so I've done quite a bit more of those. From 2024 to 2026, I got my weight back down to a pre - COVID level with a lot of calorie counting and exercise (aided by...
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Episode 319: Summer 2026 Movie Roundup
09/07/2026
Episode 319: Summer 2026 Movie Roundup
In this week's episode, I take a look back at the movies and streaming shows I watched in Summer 2026 and rate them. This coupon code will get you 25% off the : FALLARMOR The coupon code is valid through September 21, 2026. 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 319 of The Pulp Writer Show. My name is Jonathan Moeller. Today is September the 4th, 2026, and today I'm looking back at the movies and streaming shows I watched over Summer 2026. We will also have Coupon of the Week and an 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 Ghost Armor series at my Payhip store. That coupon code is FALLARMOR. As always, you can get the coupon code and the links to my Payhip store available in the show notes for this episode. This coupon code will be valid through September 21st, 2026, so if you need a new ebook for this fall, we have got you covered. Now an update on my current writing, publishing, and audiobook projects. I'm pleased to report that the rough draft of Blade of Visions is done. It came to 99,000 words. It'd be kind of cool if it came to 100,000, but as I've learned in the 15 years I've been doing this, it's not a good idea to pad things for length. Editing is underway. I'm about 15% through the first pass of edits. I'm working on the cover design, so I'm on good track to have the book out before the end of the month. I also wrote a tie-in short story called Winter Crown and don't forget that [newsletter] subscribers will get a free ebook copy of that short story when Blade of Visions comes out later this month. So this makes a very excellent time to subscribe to my new release newsletter. I am also 12,000 words into Elven-Warlock, which will be the seventh book in the Half-Elven Thief series. Hopefully that will be out in October, if all goes well. In audiobook news, I think Blade of Thieves (as narrated by Brad Wills) and Cloak of Worlds (as narrated by Hollis McCarthy) are now finally available at all the usual audiobook stores, which includes Audible, Apple, Amazon, Kobo, Google Play, Chirp, and all the others. So if you want to listen to those if you are going on a Labor Day road trip, you can check those out. A reminder that Stealth and Spells Online: The Complete LitRPG trilogy (narrated by C.J. McAllister) is also available on Audible, so check that out. That's 32 hours long and that would also cover all your Labor Day travels. So that is where I'm at with my current writing, publishing and audiobook projects. 00:02:22 Main Topic of the Week: Summer 2026 Movie Roundup So let's move on to our main topic this week. Our main topic this week is the Summer 2026 Movie Roundup and I always enjoy doing those. These episodes are a little less serious than some of the other episodes and it's fun to talk about things I enjoyed and that you might enjoy as well. And I did see a lot of new movies this summer. In fact, I went to the actual theater four times for Masters of the Universe, The Odyssey, Spider-Man, and Coyote vs. Acme, which is probably more than I've gone in a single season since before COVID times. So as usual, here are the movies I saw this summer (rated from least favorite to most favorite). The grades are totally subjective and based on nothing but my own thoughts and opinions. First up is The Breadwinner, which came out in 2026. This is basically standup comedian Nate Bargatze’s act come to life as a movie. If you've seen Bargatze’s standup, his usual routine is to portray himself as the dumb husband and bumbling Girl Dad, which is actually quite clever from a comedic standpoint since you're unlikely to have outraged mobs calling for your head if all you're doing is making fun of yourself. Anyway, Bargatze portrays Nate Wilcox, the best Toyota salesman in Nashville. (Don't worry, this is the first of only many product placement moments.) He lets his wife Kate manage the household and do the bulk of the work with their three daughters. When Kate's invention takes off on Shark Tank, she has to go to South Korea for two weeks to oversee manufacturing, leaving Nate in charge of the kids. Comedic chaos ensues. On the positive side of this movie, I did approve how this movie showed a married couple trying to work through a rough patch and do what's right for their kids and each other in a semi-productive way rather than blowing up their lives over nonsensical trivialities in the style of Eat, Pray, Love. On the downside, there was a lot of product placement, to the point where it at times felt like an extended commercial with bits of plot jammed in between product endorsement. No doubt most of the production budget came from product placement money. Will Forte was funny as an eccentric roofing contractor and Martin Herlihy as a shifty DoorDash employee. Kumail Nanjiani was funny as Nate's rival salesman at the car dealership. So overall, I would say this was blandly amusing and inoffensive with some funny slapstick moments. Overall grade: C- Next up is Supergirl, which came out in 2026. This movie really was sort of a strange combination of John Wick and the human trafficking subplot from 2020's Black Widow. The end result wasn't quite as good as Superman from 2025, alas. I did like this movie's interpretation of Supergirl. Kara Zor-El’s departure from Krypton was way more traumatic than Superman's, so she's dealing with her unresolved emotional issues by traveling from planet to planet with red suns and getting hammered since the same yellow sun that gives Kryptonians their superpowers on Earth also keeps them from getting drunk because their bodies process alcohol too efficiently. However, Kara comes to a planet where a girl named Ruthye lives. Ruthye's family has been slaughtered by ruthless brigands yet led by Krem of the Yellow Hills and she's going on a quest for revenge. When Ruthye tries to recruit Kara for the quest, she's not interested, but then Krem steals Kara's spaceship and poisons her dog Krypto. Krem carries the antidote on his person, so now Kara and Ruthye team up to get vengeance on Krem and to heal Krypto. Krem is a nasty piece of work and he and his space gang travel from planet to planet abducting women to be their wives. I think the problem was that Krem was kind of a boring but nasty villain, but he was still boring. He was basically a space thug with too many piercings. Lex Luthor from 2025 Superman, by contrast, was a really interesting villain, this malignant narcissist who knows that his obsession with Superman is over the top, but he's going to act on it anyway. Additionally, I don't think this version of Supergirl is quite capable of being a lead character on her own. She'd make a superb secondary character, but I don't think she could quite carry a movie on her own. And Jason Momoa was pretty good as Lobo. Overall grade: C- Next up is Troy, which came out in 2004. I wanted to see this either before or after I watched The Odyssey this summer and ended up watching it the day before I went to see The Odyssey. I would say this movie was slow and ponderous, but I did enjoy watching it. This is an adaption of The Iliad and has the sort of slow stateliness of epic films from the '60s. It had good performances and good battle scenes. Brian Cox was enjoyable as a scenery chewing Agamemnon and Brad Pitt worked as Achilles. Interestingly, his version of Achilles reminded me of the interpretation of Feyd-Rautha Harkonnen from Dune 2 as sort of a violent psychopath with his own twisted sense of honor. Oddly, despite the fact that this was rather a long movie, the ending seems a bit rushed, like we needed to hurry up and get to the Trojan Horse. It was amusing how Achilles' relationship with Patroclus was changed to “cousin” for the modern audience, but Greek views on sexuality would definitely be unpalatable with both right-wing and left-wing versions of the modern mind, which is a good thing because while the Greeks contributed a great deal to the development of civilization, they were into a lot of unsavory stuff. So overall, I would say this was a fun, epic movie, but I think this walked so the 2026 version of The Odyssey could run. Amusing fact: Christopher Nolan was apparently supposed to direct this, but the deal fell through and he got Batman Begins as a consolation prize instead. Overall grade: B- Next up is The Dink, which came out in 2026. This is an Apple TV comedy movie about pickleball of all things. I feel like this was made because some Apple executive got made fun of by some tennis players for playing pickleball and then decided to take revenge through media. Jake Johnson plays Dustin Boyd, a washed up former child tennis star who now works at his father's tennis club. The club has difficulties because of a growing influx of pickleball players who the hardcore tennis players hate. Dustin's father decides to use the club's bylaws to force a duel match to decide the issue, in the grand tradition of wacky comedy stakes. Dustin really wants to play the duel match, but his wrist is injured in an accident. To get his wrist mobility back, the doctor suggested he play some pickleball and Dustin views this as beneath him, but he really wants to play again, so he signs up for pickleball. This ends up being a wacky sports company/buddy movie as Dustin gradually befriends an eccentric older pickleball player. Ed Harris should really do more comedic roles. He was great as Dustin's stern, yet unscrupulous father. I do admire Apple TV's dedication to making random stuff. Overall grade: B- Next up is Green and Gold, which came out in 2025, and this is a melodrama about a farmer and his granddaughter dealing with the grim economic realities of farming. This is set in 1992/1993 era Wisconsin. Buck refuses to modernize his dairy farm in Door County, Wisconsin. His granddaughter Jenny is a talented musician and also a skilled farmer, and Buck wants her to take over the farm one day, but Jenny's ambitions are looking elsewhere. Events come to a head when Jenny realizes that Buck is deeply in debt to the bank, which is about to foreclose on the farm. However, Buck and the chief banker have a personal animosity, so they settle on a bet. If the Green Bay Packers win a Super Bowl title in 1993, the banker will give Buck one more year to turn things around on the farm. Meanwhile, Jenny begins to wonder if her music ambitions might generate the money to save the farm. Of course, if you are familiar with the history of the Packers, you know that they won a Super Bowl in 1996, not 1993. The movie has carried on the back of the very strong performances of its actors. It also has an ambiguously happy ending, as is true with so many things in farming. I like this movie because I've spent a lot of my life in the American Midwest, [and] I did appreciate how it shows the difficulties of the farming life. Also, this is important: a fall from a ladder is a plot point. Ladder safety is important, people! If you are going up a ladder, for heaven's sake don't climb the ladder in high heels like the character in question does. Wear sensible, well-fitting shoes with good soles. A very long time ago, I used to work with a guy who would climb extension ladders in cowboy boots. It is nothing short of the mercy of God that he didn't fall off and shatter half the bones in his body. Overall grade: B Next up is Grumpy Old Men, which came out in 1993. Apparently this is set in Wabasha, Minnesota, which is amusing because filming actually took place in several areas in the Twin Cities in Eastern Minnesota, but not actually in Wabasha. I found that personally amusing because I'm quite familiar with the area and so I recognize several filming locations. Anyway, the movie is about two retirees, Max and John, who are enemies and have been enemies for years, but Max is lonely and wants to get married again, and John is about to lose his house to the IRS due to tax problems. Things come to a head when an attractive literature professor moves across the street and both Max and John take an interest in her and start competing for her affections. However, it turns out that Max and John are actually best friends whose love language happens to be hatred and practical jokes, kind of like Wile E. Coyote and Road Runner, but more on them below. This was a good character comedy/drama. It was interesting that the professor was an early version of the Manic Pixie Dream Girl trope, albeit several decades before someone came up with the term. This is worth watching both as a character and comedy drama and a time capsule of the 1990s. Sometimes a movie ages a bit badly (Airplane and the Thomas Crown Affair from the Spring Movie Roundup come to mind), but this didn't. The sequel Grumpier Old Men from 1995 is basically the same movie, but with the characters acting about 20% dumber so a sitcom style plot can happen. Still entertaining, but not as good as the first one, so Grumpier Old Men only gets a B-, but Grumpy Old Men gets a B+. Next up is Masters of the Universe, which came out in 2026. It was amusing to read reviews of this movie because people thought way too hard about a movie that is essentially about battling action figures. Anyway, this was pretty good. It was nice to see a movie about a science fiction property that doesn't actually hate the source material. Basically it’s a live action version of the cartoons from the ‘80s, albeit with somewhat more thoughtful moments. I heard someone suggest that it was close in tone to Thor: Ragnarok, and that seems accurate. The plot is that Skeletor conquers Eternia and 10-year-old Prince Adam is sent with the Sword of Power through a magical portal to Earth to keep him and the sword out of Skeletor's reach. However, Adam loses the sword while passing through the gate and 15 years later is working in human resources. He's still seeking for the sword despite his therapist trying to convince him that it was a trauma-induced fantasy. However, his persistence pays off and he does find the sword. Teela, who is one of the resistance leaders against Skeletor's rule, comes to Earth to find him and bring him back, but Skeletor's minions arrive to claim the sword as well. Adam and Teela escape back to Eternia and it's up to Adam to find a way to use the Sword of Power to become the hero that Eternia needs. Dolph Lundgren's cameo was great. Overall, I would say this is a fun movie to watch, especially if you're a Millennial or Gen Xer who saw the cartoons or the live action movie back in the '80s. Jared Leto has something of an increasingly questionable reputation these days, but he did a good job as Skeletor, played him halfway between the solemn gravitas of the 1987 version and the malevolent comedic cornball of the cartoons. Of course, in my opinion, the Frank Langella version from 1987 is the best version of Skeletor since he placed it with all the seriousness of a Shakespearean villain monologue at the Royal Shakespeare Company. In hindsight, it wasn't terribly surprising that this underperformed at the box office. It felt like it was made for guys my age, not for kids. I would've been comfortable bringing an eight-year-old to see The Mandalorian and Grogu or Super Mario Galaxy, but I would've been less certain bringing a kid that age to see Masters of the Universe. Additionally, it seemed very Marvel in tone, and I think the overall mood of the US these days is less “Marvel Cinematic Universe quips and banter” and more sort of the grimness of The Odyssey, which we'll talk about shortly. Overall grade: B+ Next up is Young Washington, which came out in 2026, a biopic of the early life of George Washington, covering how he more or less accidentally started the French and Indian War and how he recovered his reputation at the Battle of Braddock's Field. To be fair, the international situation at the time meant that someone was going to start the French and Indian War. It just happened to be Washington, who was in the wrong place at the wrong time. Overall, I liked this. It was reasonably historically accurate, though some of the emotional and family dialogue at times was a bit clunky. Additionally, Washington was portrayed as having revolutionary leanings much earlier in life than he actually did, since when he was a young man, he had no thoughts of being anything but a British subject and officer. That said, some of the most implausible stuff in the movie actually happened in real life. Like if I were to write in a novel that the future president of the United States personally rallied the army's rear guard to save as many men as possible from an ambush, and in the process had two horses shot out from under him and ended up with bullet holes in his hat and coat (all while fighting continuously), you would probably find that a bit implausible, but it actually happened that way. Washington's daring actions during that battle were one of the reasons he was appointed commander of the Continental Army during the Revolutionary War, that and there weren't many other colonials with as much experience of military command as Washington. In that vein, the battle scenes were the best part of the movie. They captured the brutality and messiness of 18th Century warfare without being especially graphic. Anyway, I'm glad this is getting a sequel. Maybe we'll end up with a Young Washington Cinematic Universe. Overall grade: B+ Next up is Meet the Parents, which came out in 2000, and this is probably one of the apex forms of cringe comedy. Ben Stiller plays Greg Focker, a nurse who's in love with schoolteacher Pam Burns. Greg wants to marry Pam, but overhears a phone call with her sister where she says her fiancé asked permission of her traditional father first. Greg decides that he's going to ask Pam's father's permission first to get off on the right foot, and so accompanies Pam to her sister's wedding and her parents' house to, as the title says, Meet the Parents. However, Pam's father is the former CIA counterintelligence officer Jack, and he and Greg immediately get on each other's nerves. To make things worse, the airline has lost Greg's luggage. From these two starting premises follow a cascading series of hilarious disasters that accumulate in a septic tank fire on the lawn. I'm not sure, but I think I saw this one in the theaters when it came out in 2000, and I thought it was funny then. With 26 years of additional life experience under the belt, I still think it's pretty funny, though you could still tell that this movie was filmed before 9/11 because if Greg had his airport meltdown seen today, the consequences would've been much worse. Overall grade: B+ Next up is O Brother Where Art Thou, which came out in 2000. This is a very, very, very specific adaptation of The Odyssey directed by the Coen brothers. George Clooney plays Everett, a convict who escapes from a chain gang in Mississippi during the Great Depression. He wants to find a treasure and he recruits fellow convicts Delmar and Peter to assist him. Along the way, Everett and his team encountered 1930s era versions of the Sirens, the cyclops, the blind prophet Tiresias, and other characters and foes from the original Odyssey myth. Everett and his friends end up running a scam where they pretend to be a Christian music group, but as it turns out, they're actually pretty good at singing, so this leads to unexpected hilarity and opportunities. This was also a very funny movie. Imagine The Odyssey is a comedy with a lot of singing set in the Deep South during the Depression, and you're there. If you're a fan of bluegrass music, this is worth watching. If you've seen Christopher Nolan's The Odyssey, it's worth watching this just to ponder how the same source material can produce such wildly divergent...
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Episode 318: Another Bonus Short Story!
08/31/2026
Episode 318: Another Bonus Short Story!
In this week's episode, I ran out of time to record a full-length episode, so instead I am sharing THE FINAL SHIELD, written by Jonathan Moeller and narrated by Brad Wills. Enjoy! This coupon code will get you 50% off the : SUMMERSTORM The coupon code is valid through September 14, 2026. So if you need a new audiobook this summer, we’ve got you covered!
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Episode 317: Advantages Of Ebook Box Sets
08/24/2026
Episode 317: Advantages Of Ebook Box Sets
In this week's episode, I take a look at ebook box sets and the advantages they offer both writers and readers. I also explain why I haven't done an ad update post in a while. Once again it is time for Coupon of the Week! This coupon code will get you 25% off the : SUMMERNIGHT The coupon code is valid through September 7, 2026. So if you need a new ebook this summer, we’ve got you covered! TRANSCRIPT 00:00:00 Introduction, Writing Updates, and a Reader Question Hello, everyone. Welcome to Episode 317 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 21st, 2026 and today we are going to talk about advantages to using box sets. We'll also have a brief discussion on why I haven't posted an ad update in a while, and we'll have an update on my current writing, publishing, and audiobook projects. Before we get to all that, let's start with Coupon of the Week. This coupon code will get you 25% off the ebooks in the Ghost Night series at my Payhip store. That coupon code is SUMMERNIGHT. 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 September the 7th, 2026. So if you need a new ebook for the summer, we have got you covered. Now let's have an update on my current writing, publishing, and audiobook projects. As of this recording, I am 56,000 words into Blade of Visions, which I think puts me roughly somewhere in the neighborhood of about halfway through. I think the rough draft is going to end up being about 105 to 110,000 words when I get there, but we will find out. I'm also 5,000 words into Elven-Warlock, the next book in the Rivah Half-Elven Thief series. In audiobook news, recording on Blade of Thieves and recording on Cloak of Worlds is finished. As of right now, you can get Cloak of Worlds at my Payhip store, but both Cloak of Worlds and Blade of Thieves should be available on Payhip and all the other audiobook stores before too much longer (once processing is done). So if you're looking for a new audiobook to listen to this summer, we will have ones for you very soon with Cloak of Worlds narrated by Hollis McCarthy and Blade of Thieves narrated by Brad Wills. So before we get to our main topic of box sets, let's answer a reader question, which is why I haven't done monthly ad post results for a while. The reason for that is it started in October of 2025 and [I] mostly stopped using Facebook ads. Facebook ads became drastically less effective as Meta added more and more badly designed AI targeting features to the ad platform. Now, why is this a bad thing? Am I refusing to use Facebook ads because of my frequently stated dislike of generative AI? No. The reason is that the AI targeting doesn't work nearly as well as the old system and ends up being a waste of money because the AI targeting is too broad and too random. This is bad because the key to successful online advertising is to narrow your audience as much as possible. What do I mean by this? Perhaps this example will help. Let's say, for example, you sell motorcycle parts online. Obviously when purchasing motorcycle parts, you need to match up with the exact model and year, otherwise you're going to run in trouble. Say you are selling a lot of parts for the Harley-Davidson V-Rod Muscle motorcycle model from 2009 and you want to sell them online to your customers. The best way to do that would be to target your ads as specifically as possible. In the US at least, motorcycle owners tend to be a bit older and wealthier and are more likely than not male. So you'd want to target your ads to men 60 and older who have expressed interest in Harley Davidson motorcycles and potentially in that specific model from 2009. Facebook used to let you target audiences to that level of granularity. However, in the last few years, Meta has jumped on the generative AI bandwagon along with nearly every other large technology corporation. It's followed the same trajectory as every other company that has used AI. The CEO gets a brainwave that AI is the inevitable future and doesn't want to be left behind. Employees are told to implement as many AI features as possible and to use AI for everything. That inevitably becomes part of the key performance indicators on their performance reviews, so the employees dutifully stuff badly designed AI features into everything in hopes of keeping their jobs the next time the stock price drops slightly. If you've wondered why AI nonsense seems to be stuffed into everything these days, that is why. Gradually, Facebook has eliminated the ability for granular targeting like I've discussed above in favor of their Advantage AI system, which does the targeting for you. There are two major problems with this. First, Advantage is a black box. You don't really see how it works and it isn't well documented anywhere online. Second, the targeting is way too broad. Advantage is really good at getting a lot of clicks on your ad, but this is the important part: the clicks on the ads don't usually convert to sales. Which is better: an ad that gets 10 clicks but results in five sales or an ad that gets 50 clicks and converts to one sale? From Facebook's point of view, the second is better, but it's not better for the advertiser. To return to the motorcycle parts example, say you're trying to sell those Harley-Davidson V-Rod Muscle 2009 parts and you try to run an ad with Advantage doing the targeting. You can't specifically target male or male motorcycle or Harley owners over the age of 60. No, you have to mention motorcycle and Harley parts in the ad text and hope that the system steers it correctly. What will happen is that the Advantage system will show the ad to a bunch of people who have no interest in Harley parts. Honda motorcycle owners will see it, as well Yamaha owners and probably people who own mopeds and e-bikes as well. Now, admittedly, in certain situations, this could work. Let's say you have a giant warehouse of motorcycle parts, which includes Honda and Yamaha parts, so there could be some overlap. If you have a big enough inventory of motorcycle parts, a broad targeting reach might work. The trouble is that books are very, very specific products and targeting ads outside of genre lines never works. Like if you're writing dark fantasy romance and the system shows your ad to someone who only reads World War II historical novels, it's not going to work at best and at worst, the reader will become annoyed and leave you a bad review. Even for someone like me who has 160 fantasy novels and a bunch of sci-fi novels, it wouldn't work. I could try advertising to fantasy novels, but Child of the Ghosts, Frostborn: The Gray Knight, Cloak of Dragons, and Stealth & Spells Online: Creation are all very different books in very different subgenres of fantasy. So I have in essence, a giant warehouse of books, but books are specific enough that trying to use Facebook Advantage to advertise them doesn't work. So now I don't really use Facebook ads. I did try again in June to boost Half-Elven Thief Omnibus One before its BookBub deal, and the results from the Facebook ads were in the bottom half of mediocre at best and outright useless at worst. The BookBub Feature Deal itself by contrast was excellent. When I have a new book out and I do the “I published a book” post on Facebook, I'll use the boost pull function, which shows it to more people based on my audience, which does increase engagement and isn't too expensive. But for the most part, I don't really use Facebook ads anywhere near as extensively as I used to. That said, I do a lot of BookBub and Amazon ads, way more than I did before Facebook ads became unusable. I'll typically run about 20 to 24 short BookBub campaigns a month advertising my permafree books on the non-Amazon stores. While I am not sure of the exact number, I think I have something like 550 Amazon ad campaigns running across about 35 different titles on Amazon. Fear not, this is less expensive than it sounds. I haven't posted much about it because it's a ton of data and I haven't figured out a way to do so in a concise and pithy way that isn't overwhelming or a giant wall of math and text. That said, there should be a way to do it, at least for the Amazon ads. Generally, Amazon ads are way more effective with Kindle Unlimited books and nonfiction, and BookBub ads are very effective for the non-Amazon stores, especially for permafree books like Frostborn: The Gray Knight and Child of the Ghosts. So that is why I haven't done an ad review roundup post in a while. Once I work out a good way to present the information with Amazon and BookBub ad data, I will probably start posting them again. 00:07:30 Main Topic: Ebook Box Sets [All prices referenced are in US Dollars] Now let's move on to our main topic this week, ebook box sets and why they're a good thing for both authors and readers. I will talk about four advantages of making an ebook box set, and then four things you should consider if you're interested in making them for your ebook series. An omnibus edition or a box set is a collection of several books in one series. They need to be books in the same series. It's not a sample of various books by one author or a collection of several books with a similar theme by different authors, which are common, especially in romance, but that's not what we're going to be talking about in this episode. For example, my Frostborn Omnibus One collection includes the first three books in my Frostborn series, and The Ghosts Omnibus One includes the first three books in The Ghosts series and a bonus short story as well. Before we get started, a note on the terminology. Although the term box set or ebook set means something much broader than omnibus edition, I will use ebook sets and omnibus editions interchangeably throughout this episode, mostly because omnibus is a bit of a mouthful to say that many times. So here are four reasons why you might want to consider making an omnibus edition for books in your series. #1: Series Starter If you don't want to go the perma-free route on your series, a competitively priced set of the first books in the series might be another option for you. The goal is always to make it easy and cheap to start a new series and a low-priced omnibus edition helps with drawing in new readers into a series. Having an omnibus of the first books in the series also means that you can periodically run sales on it. It's worth taking a short-term hit in the sales price if readers continue on to the next set or later books in the series. I've dealt with this with many of my omnibus editions, especially Frostborn Omnibus One, Cloak Mage Omnibus One, and The Ghosts Omnibus One many times, running deals to them when they were $0.99. That has inevitably resulted in good sales for the rest of the series and the audiobooks in the series. #2: Reader Convenience The main reason for creating ebook sets may be the cost savings for the book buyer, but another big reason is convenience for the reader. Many people struggle with knowing the correct order of books in a series, and omnibus editions act as guides through a series. Readers like the convenience of knowing they're reading them in the correct order, but only having to make one purchase to do that. Some people also don't like the way that their ebook libraries display series and prefer the omnibus editions for that reason. #3: Changes to Amazon's KDP royalty tier KDP bases its royalty rates for ebooks on the price. They just raised a ceiling of the 70% royalty tier from $9.99 to $12.99, which makes omnibus editions priced over $9.99 more profitable since they can now be priced as high as $12.99 and still be in the 70% royalty tier. Previously, ebooks over $9.99 were put in a lower royalty tier to encourage authors to price them under $10. If there are a significant number of books in your omnibus edition or your individual books are priced at over $6, this change to KDP's royalties benefits you the most. To give an example, if an ebook series were made into an omnibus edition priced at $12 before, it would've netted $3.60 in royalties. With the change in pricing tiers, that same omnibus edition would now make $8.40 for the author. That is a significant increase that makes omnibus editions more attractive to produce. #4: The Kindle Unlimited Advantage Omnibus editions are good for putting in Kindle Unlimited because readers are excited to get multiple books while only taking up one of the “spots” they have in their KU library. Since readers can currently only borrow 20 books at a time, some power readers try to maximize the perceived value of each book in that library and look for longer books and omnibus editions for that reason. Since KU subscribers have many options, providing them with an omnibus edition might help get them more invested in the series and interested in continuing it because if they finish the set, there are several books into it and have spent a significant amount of time with your characters. If you don't put the whole series into KU (which is not a great idea by the way), an omnibus edition of the first books in the series would be a better choice than just putting the first book in the series in KU. KU subscribers get very angry when only the first book in the series is in KU, especially if that book ends on a cliffhanger or if the book isn't clearly marked as being part of a series. An omnibus edition gives them a much deeper introduction to the series. It feels less like a bait and switch than just the first book would be. It's also advantageous for the writer because of the page reads. For example, right as of right now, Half-Elven Thief Omnibus One, which is in Kindle Unlimited, is set to only $0.99 an ebook, but I usually make a good deal more from that because of the page reads because people will check out the book in KU and then the amount of page reads for that book comes to approximately about $4 for a complete read. So if you have a popular box set in KU, you can make a good deal more from it from the page reads than you would from just pricing it at $0.99. When setting up a box set, here are four things to consider when making an ebook omnibus edition. #1: You need to learn about reader expectations about what an omnibus edition is. It is not a collection of short stories or some short stories attached to a single book. It is not a sample collection of books you have across different series. Those are separate things and there's nothing wrong with them, but they need to be handled differently. An omnibus edition should be at least three complete and consecutive books in a series. If there are things like short stories or bonus content beyond that, that's fine. But three full length books is what book buyers expect from an omnibus edition or a box set. #2: Book buyers expect an omnibus edition to be less expensive than buying the book separately. Even providing bonus content like short story or extra chapter does not change this cost expectation. There's also an expectation that the first omnibus edition will be less expensive than the later omnibus editions because this is a common promotional strategy. For myself, what I usually do is I make sure that the omnibus is a dollar or two cheaper than the combined books would be. For example, I just put out Cloak Mage Omnibus Four, which combines Cloak of Embers, Cloak of Titans, and Cloak of Illusion into one book. Those individual books are $5, and so together buying three of them together would be $15. The omnibus edition is $11.99, so that's a savings of $3 across the three books. For the first omnibus edition in the series, I usually price it a bit lower. The Ghosts Omnibus One and Half-Elven Thief Omnibus One are $0.99 right now, but that is so they can be loss leaders and even if they're not on sale, like Cloak Mage Omnibus One is I believe $5.99 right now and Frostborn Omnibus One is $4.99, so that is to act as kind of a loss leader to get people in the door to read the series. #3: Take the time to learn to make an omnibus edition correctly. You can't just throw the individual ebook files into a single one and have the readers be happy with that. You need to update the book’s front matter and metadata, and omnibus editions will need a new ISBN or ASIN, depending on where you publish them. For a long time for the covers, I used to do what I called a quartered cover where you'd have the three covers and a bonus short story arranged in a grid, kind of like a windowpane to advertise that it was clearly an omnibus edition. Lately, Amazon has been cracking down on that and some of the other ebook platforms don't like that as well. So what I've been doing is I've been making custom covers that very clearly say like Cloak Mage Omnibus Four on them and making sure that the cover is distinct enough from the individual covers in the series that won't be mistaken for an individual title in the series. #4: The omnibus edition needs to be treated as a separate book when creating ads. Their marketing works differently than individual books. Don't just hope that readers will find it on their own. Omnibus editions need new blurbs, separate ad campaigns, and their own marketing push. It's okay to list them separately on your website, but be sure to link them to the original books as well. On my website, I have links for the omnibus editions under each book in the series that is part of one so the readers are aware right away as an option for them. So hopefully these tips and tricks will help you to set up omnibus editions for yourself as well. 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've listened to all the back episodes athttps://thepulpwritershow.com. If you enjoyed the podcast, please leave review on your podcasting platform of choice. Stay safe and stay healthy and we'll see you all next week.
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Episode 316: Common Scams Targeting Indie Writers
08/17/2026
Episode 316: Common Scams Targeting Indie Writers
In this week's episode, we take a look at some of the common scams targeting indie authors and offer tips on how to detect and avoid them. This coupon code will get you 50% off the : CAINASUMMER The coupon code is valid through August 31, 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 316 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 14th, 2026, and today we are discussing common scams targeting indie writers. We also have a Coupon of the Week and a 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 Ghost in the Blood, Book #3 in The Ghosts series (as excellently narrated by Hollis McCarthy) at my Payhip store. That code is CAINASUMMER. 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 August the 31st, 2026, so if you need a new audiobook for this summer, we have got you covered. Now let's head on to a progress update. As I mentioned last week, Cloak of Frost is done and it's published and you get it at Amazon, Barnes & Noble, Kobo, Google Play, Apple Books, Smashwords, and my own Payhip Store. It is doing quite well. Thank you all for that, and people seem to be enjoying it. So if you haven't checked out Cloak of Frost yet, you can get it at your favorite ebook store. Now that Cloak of Frost is done, my next main project is Blade of Visions, which will be the sixth book in the Blades of Ruin epic fantasy series. I am 28,000 words into that. I think the rough draft will be about 100,000 words, but we will see. Might be a little more, a little less. I'm hoping to wrap it up early in September so that the book can be out to you sometime in the second half of September, if all goes well. In other news, my secondary project now is Elven-Warlock, the seventh Rivah book, and I am 1,500 words into that. If all goes well, I hope to have that out in October. In audiobook news, we have three things coming your way. The first one is Blade of Thieves, which Brad Wills is currently narrating and should be wrapped up before too much longer. Hollis McCarthy is narrating Cloak of Worlds, and I believe we'll be able to start proof listening to that soon, so that should be available before too much longer. I just finished uploading Stealth and Spells Online: The Complete LitRPG trilogy in audiobook form. So, the entire trilogy in one audiobook comes to about 32 hours long. So hopefully that will get through ACX processing before too much longer, and then you can listen to it. So that is where I'm at with current writing and publishing and audiobook projects. 00:02:22 Main Topic: Common Scams for Writers Now let's move on to our main topic, common scams to avoid for writers. Authors, especially new ones, but to be honest, all of us are hungry for praise, recognition, and professional opportunities. They also have a hunger to be the big new publishing phenomenon, ideally as fast as possible. Unfortunately, scammers are very aware of this and use it to prey upon authors. An example I use for this is if you've read the Heir to the Empire books by Timothy Zahn, the villain, Grand Admiral Thrawn, makes a habit of studying his opponent's artwork to discover their psychological blind spots. Then he tailors his strategies around those psychological blind spots. Now, the reason I mentioned this is that scamming or falling victim to a scam is not necessarily an indication of base intelligence or savviness. Everyone has their psychological weak spots. If a scam hits your psychological weak spot at the right time when you're in the right state of mind when you're tired or sick or have had some additional bad news recently, that might hit. For myself, the scams I've nearly fallen victim to have been ones based around bad news because I'm essentially a very pessimistic personality, so I always kind of half expect bad news. One example was I got a fake email allegedly from Spotify saying that my tax information was wrong for my Spotify audiobooks and that needed to be fixed immediately. This was one I could have fallen for because it arrived during tax time. As we know, tax time is often very onerous and unpleasant and involves a lot of work and digging through papers. So I was inclined to believe it, but still, fortunately, I didn't click on any links in the emails. I went directly to the portal, double checked, and then realized it was a scam. Another example was that recently I got a phone call purporting to be from my local police department. I was thinking, "Oh man, this is going to be a mess." I was listening to it and then thankfully before I gave out any information, I realized that it was in fact a scam and then hung up. Just to be thorough, I called the actual local police department and double checked that it was a scam. But again, that played out my psychological weak point of being a pessimist and expecting bad news. I mention this because if you're aware of your psychological weak spots, like many writers, as we mentioned, are hungry for praise or quick opportunities, then you're more likely to be aware of scams. The other thing I should mention in sort of the introduction here is that thanks to the rise of ChatGPT and Gemini and Claude and all the other LLM slop machines, it's become a lot easier to scam people than it used to be before. I heard it said that Web 1.0 was a static content. Web 2.0 was interactive content like social media. Web 3.0 is scams in the forms of NFTs, cryptos, and LLMs. For example, as I mentioned, I just recently published Cloak of Frost. Since I published Cloak of Frost, I've gotten like 20 scam emails that for the most part read like this: "Dear Jonathan, I'm Stephanie Davis and the thing that caught my attention about Cloak of Frost was how quickly an obligation Nadia would rather avoid turns into a situation where the fate of earth is suddenly on the line. She's supposed to be attending the Winter Frost Games. Then an old friend arrives being chased by clone soldiers with a mysterious magical artifact and suddenly this isn't just another duty for the Marshall of the High Queen of the Elves. The fact that losing the game can mean earth burns gives the whole premise a wonderfully sharp sense of consequence. I partner with Around the World in 80 books, a vibrant community of readers who enjoy discovering books from different authors.” It goes on and on in this vein. Since Cloak Frost came out six days ago, I've gotten 20 different emails along those lines, all of them clearly generated by LLMs. In fact, I didn't have to save that email. I just opened up my inbox, picked the most recent one, and that was it. Of course, if I responded, what would've happened would've been a few more emails and eventually they would ask for payment for attending their book festival and I would provide payment and then they would promptly disappear off the face of the earth and go on to target someone else. So you can see how that kind of scam would be dangerous. Imagine you're a brand new author who's just published your first book and doesn't know all that much about ChatGPT and the other LLM slop generators out there and you get an email like that, you'd think you'd won the lottery and you'd be very susceptible to giving payment to the scammer. So today, that's why we're going to go over a few of the more common scams out there and provide some general tips for spotting a scam. #1: Publishing Packages You will frequently be contacted by scamming companies offering to help you publish, market, and work on social media for your book. Some of them will even have official sounding names like Amazon Author Hub or Amazon Book Publisher, which are using the Amazon name but not affiliated with Amazon. It's very, very important to be skeptical of these types of publishing companies in general. At best, most of these publishing services companies greatly overcharge for basic services. At worst, they're outright thieves and scammers. David Gaughran has written about these types of publishers if you're interested in learning more. Writer's Weekly’s website keeps a running list of confirmed scam publishers and publishing services, but even if they're not on a list and you find reviews that seem to be good, it's best to be extremely skeptical. It's very easy to accumulate fake Google reviews. For example, without naming names, a local business that I used to frequent recently changed owners a couple months ago. And before that, the local business had two five-star reviews. Since the new owner came in, suddenly there's like 500 five-star reviews popping up, all of them having a variety of names that do not seem like they come from the geographic region in which I live. So what he probably did was use a ChatGPT type service to automatically write a bunch of fake reviews for his business. A lot of these scammy companies can do that as well, so it's best to be very skeptical about this kind of thing. #2 Fake conference/book festival/book club speaking invitation This scam is incredibly common, but comes in a variety of types. You will be contacted by a book club/conference/book festival coordinator saying that they love, love, love your book and offer some praise or comments about it and then invite you to their event. The scam part will also come in after you accept when they will want money for this privilege. It's bad to work for free, but it's also very foolish to pay money to show up for a professional event, especially one located outside your immediate area. The email I read earlier in the show is a good example of one of these. You notice the danger of these comes in because they're using ChatGPT for these. ChatGPT can ingest your book or the book description and then spit out some seemingly plausible praise that makes it seem like the scammer has read your book, but they actually haven't. So I'd be very, very, very wary of any unsolicited conference or book festival invitations, especially ones that are fulsome in their praise for your book. #3: Fake or scammy beta readers/editors/agents Many people will cold email you asking to be hired. They might cite actual typos they can fix in your book, specific connections they can make for you, and praise your book as the next big thing. In reality, reputable and established people in these positions usually have long wait lists for their services. They're not wandering the Internet for just-established authors to add to their client lists. It's far more effective to find reputable and established people in these areas and contact them yourself instead of taking up offers from whoever randomly emails you. One thing I've found both as a writer and as a homeowner is that really good contractors don't need to cold call people to look for business. Really good contractors are so busy that you have to call them and try and get on their schedule. The same thing can be said of beta readers, editors, and agents. #4: Impersonation of famous authors John Grisham, Brandon Sanderson, and your favorite romance writers are not actually randomly emailing random minor authors, telling them that their book shows real promise and might be the next big thing. Don't let praise from a famous name take down your guard. Anyone can pretend to be anyone on the internet and is increasingly easy for pretending to look very real. For example, earlier this year I received an email from British author Hilary Mantel praising one of my books. This is especially remarkable because I got the email, I believe in March of 2026, and Hilary Mantel died in 2022. So while my ego would like to believe that my book was so good that Hillary Mantel returned from death to praise it, I think it is more likely instead that a scammer was impersonating Hilary Mantel using a Gmail account. There have been frequent examples of this over the past year or so as ChatGPT and LLM usage becomes more widespread. People will occasionally receive emails purporting to be from Brandon Sanderson offering to work together on a project. However, if you watch Brandon Sanderson's social media, you'll know that he is busy writing the screenplay for the Mistborn movie from Apple. I think it is safe to say he probably does not have time to email random strangers on the Internet asking to work on their books. So if you get an email from a big name author purporting [to say] that they love [your] book and want to work on it with you, it is almost 100% certain that it is a scam. Since scams are constantly evolving and mutating and developing new forms, I'm going to focus the rest of the episode on some general principles of what to watch out for when people are contacting you as an author. #1: Cold emails or cold calls Legitimate editors, agents, cover designers, and even library event coordinators are absolutely inundated with unsolicited emails and most tend to dismiss or ignore what isn't submitted through proper channels (or depending on their position, might even be required to ignore it as part of their job). The hard truth is they're not going to spend their busy workdays hunting around the Internet for authors with 10 reviews or someone writing an obscure topic. Although it's flattering to think that you've been discovered at random, it really, really doesn't work this way, especially as staffing at publishing houses and libraries has been cut down quite a bit due to corporate consolidation and tax cuts. Reputable publishers are not crawling the Internet to find authors unless they have a jaw-dropping sales record (like Dungeon Crawler Carl level sale records). Publishers and agents want guarantees of success and so it doesn't make sense to turn away from their usual group of celebrities, influencers, and blockbuster authors to go out and spend countless hours actively recruiting unknown authors with only a handful of reviews and a sales rank so low that more than one comma is needed to display it. As your following grows, the number of cold emails or messages you get will grow. Like I mentioned before that when I published Cloak of Frost, I've gotten at least 20 of those scam emails so far, and I will probably get at least another dozen or so more before the initial sales spike of the release week dies off. These messages might be more sophisticated, but they'll use the same general tone of ChatGPT flattery to try and lure you into their schemes. Don't let your excitement at being praised or recognized as the next great American novelist or the next BookTok sensation cloud your judgment. #2: Urgency As with any internet scam, urgency is a major part of the strategy. There will probably be a short deadline to accept their offer, a limited number of available spots, or some alleged deep discount for acting quickly. In reality, if people are contacting you because they want something in good faith, they rarely make this type of demand in the initial request because that is a terrible way to get someone to do what you want. For example, in my previous example about the call from the fake local police department, I became increasingly aware that it was probably a scam once it sounded like they were going to offer me the opportunity to pay my fine over a payment portal they would provide for me, in which case it became obvious that it was a scam. Though just to be sure, I still did call the local police department to double check. Now that kind of urgency is used to force you into a decision. Take a step back, look for more information online, contact someone with more expertise than you, and don't respond just because of a time limit or the fear of missing out on a request or offer. And remember, as I said before too, actual contractors, whether you're a writer or a homeowner, are usually so booked up that they don't go around looking for clients. You have to contact them to get on their calendar. #3: Request for payment This is the big one. At no point should you be paying someone unless you have an established relationship with them and have signed a contract with them such as a cover designer or a social media manager. Do not pay random companies or individuals to do absolutely anything. The best defense against companies that offer publishing services is to get educated on what services you actually need and what a reputable person actually charges for them instead of paying for a package with all sorts of grandiose promises attached. In no universe should it cost tens of thousands of dollars to format your books, create a cover, and make a website from a generic template. It's better to pay reputable people individually for these services once they've been vetted than to trust a company to do it, especially if they're primarily using AI generic templates. You'll receive higher quality services this way and it should be cheaper as well. There are no, none whatsoever reputable book clubs, libraries, or conferences that ask for money for a writer to speak or present. A key exception is paying for vendor tables at events and conferences. A community group, library, or nonprofit organization might ask you to speak for free, but no reputable organization will ever ask to pay for the privilege of showing up and doing something for them. #4: Gmail/non-organization emails A big thing to watch out [for] with a lot of these LLM scams is if the email is coming from a Gmail account or not. For example, in the fake author ones I mentioned with Hillary Mantel or Brandon Sanderson, these emails are coming from a Gmail account. Even if Hillary Mantel hadn't died four years ago, I'm pretty sure she would not be emailing random people from a Gmail account. The same goes for Brandon Sanderson, John Grisham, Matt Dinneman, and the other well-known authors who've been targeted by this kind of scam. John Grisham's favorite editor or the hottest new literary agent are not conducting their business out of random Gmails or accounts that look like domains that are named after alphabet soup. Although accounts can easily be spoofed, a blatantly unprofessional looking account is an easy way to weed out scammers. The flip side of this is unfortunately, if you are a reputable cover designer, editor or so forth, you're probably going to need your own domain email the same way I have jonathanmoeller.com, given how it is increasingly common for scam emails to come from Gmail accounts. #5: Praise that could fit any book or has nothing to do with your book Authors love being praised and the scammers can feed into that easily by throwing your book or a bunch of your book reviews into an LLM to create some targeted compliments. Once you see an example of this type of writing, it becomes extremely easy to spot. For example, this isn't what I've saved. This is literally one that came in as I was recording this episode: “Dear Jonathan, I recently discovered Stealth and Spells Online: The Complete LitRPG trilogy and was immediately drawn to its exciting blend of epic fantasy, virtual reality, gaming, and mystery. The trilogy's fast-paced adventure and immersive world could strongly appeal to LitRPG and fantasy readers.” Now, I published the ebook of Stealth and Spells Online: The Complete Trilogy two days ago. It is 290,000 words long. There's absolutely no way anyone could read it that fast and have cogent opinions about it. But if you just throw the book description into a LLM, it can cough up some sincere sounding praise and flattery for you. Likewise, flowery comments that have nothing to do with your book are a great way to spot scammers. Your horror novel should probably not be making anyone think about an important and timely reminder about the importance of being organized during the holidays. So that kind of...
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Episode 315: Tips For Writing In A Coffee Shop Or Other Public Place
08/10/2026
Episode 315: Tips For Writing In A Coffee Shop Or Other Public Place
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 : 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.
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Episode 314: A Second Bonus Audiobook Short Story!
08/03/2026
Episode 314: A Second Bonus Audiobook Short Story!
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 : FLAMES50 The coupon code is valid through August 17, 2026. So if you need a new audiobook this summer, we’ve got you covered!
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Episode 313: Worldbuilding Questions From Andomhaim
07/27/2026
Episode 313: Worldbuilding Questions From Andomhaim
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 : 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....
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Episode 312: Bonus Audiobook Short Story!
07/20/2026
Episode 312: Bonus Audiobook Short Story!
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 : CAINAJULY The coupon code is valid through August 3, 2026. So if you need a new audiobook this summer, we’ve got you covered!
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Episode 311: File Management For Indie Authors
07/13/2026
Episode 311: File Management For Indie Authors
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 : 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...
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Episode 310: 5 Lessons Indie Authors Can Learn From Tradpub
07/06/2026
Episode 310: 5 Lessons Indie Authors Can Learn From Tradpub
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 : 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.
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Episode 309: Seven Tips For Audiobook Profitability For Indie Authors
06/29/2026
Episode 309: Seven Tips For Audiobook Profitability For Indie Authors
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 : 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.
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Episode 308: Advantages To Kindle Unlimited
06/22/2026
Episode 308: Advantages To Kindle Unlimited
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 : 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.
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Episode 307: Audiobook Sampler Platter, the Fifth Course!
06/15/2026
Episode 307: Audiobook Sampler Platter, the Fifth Course!
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 : SILENTJUNE The coupon code is valid through June 29, 2026. So if you need a new ebook this summer, we’ve got you covered!
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Episode 306: Beyond Amazon - Reasons to Diversify Your Sales Platforms
06/08/2026
Episode 306: Beyond Amazon - Reasons to Diversify Your Sales Platforms
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 : 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.
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Episode 305: Spring 2026 Movie Review Roundup
06/01/2026
Episode 305: Spring 2026 Movie Review Roundup
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 : 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...
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Episode 304: Writing Believable Ways For Characters To Miss The Obvious
05/25/2026
Episode 304: Writing Believable Ways For Characters To Miss The Obvious
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 : 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.
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Episode 303: Audiobook Sample Platter, The Fourth Course!
05/18/2026
Episode 303: Audiobook Sample Platter, The Fourth Course!
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 : SEVENFOLD2026 The coupon code is valid through June 1, 2026. So if you need a new ebook this summer, we’ve got you covered!
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Episode 302: Audiobook Sampler Platter, The Third Course!
05/11/2026
Episode 302: Audiobook Sampler Platter, The Third Course!
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 : FURY2026 The coupon code is valid through June 1, 2026. So if you need a new audiobook this spring, we’ve got you covered!
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Episode 301: Email Newsletters For Indie Authors
05/04/2026
Episode 301: Email Newsletters For Indie Authors
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 : 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.
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Episode 300: Fifteen Lessons In Fifteen Years Of Indie Publishing
04/27/2026
Episode 300: Fifteen Lessons In Fifteen Years Of Indie Publishing
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 . This coupon code will get you 50% off the audiobook of : 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...
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Episode 299: Draft2Digital Account Changes & Embracing The Grind For Writers
04/20/2026
Episode 299: Draft2Digital Account Changes & Embracing The Grind For Writers
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 : 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.
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Episode 298: STARFIELD - A Personal FAQ
04/13/2026
Episode 298: STARFIELD - A Personal FAQ
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 : 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...
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Episode 297: Audiobook Sampler Platter, the Second Course!
04/06/2026
Episode 297: Audiobook Sampler Platter, the Second Course!
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 : CLOAKBOOK25 The coupon code is valid through April 13, 2026. So if you need a new ebook this spring, we’ve got you covered!
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Episode 296: Eight Ebook Formatting Errors Readers Hate And How To Fix Them
03/30/2026
Episode 296: Eight Ebook Formatting Errors Readers Hate And How To Fix Them
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 : 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.
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Episode 295: Five Bookbub Tips For Indie Authors
03/23/2026
Episode 295: Five Bookbub Tips For Indie Authors
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 : 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.
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Episode 294: Winter 2025/2026 Movie Review Roundup
03/16/2026
Episode 294: Winter 2025/2026 Movie Review Roundup
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.
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Episode 293: Interconnected Series, Pros & Cons
03/09/2026
Episode 293: Interconnected Series, Pros & Cons
In this week we look at the advantages and disadvantages of writing interconnected series. This coupon code will get you 50% off the : 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...
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Episode 292: The Four Thomases Of The English Reformation (with one bonus Thomas!)
03/02/2026
Episode 292: The Four Thomases Of The English Reformation (with one bonus Thomas!)
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 : QUEST25 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...
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Episode 291: Generative AI Overhype, William Miller, and the Great Disappointment
02/23/2026
Episode 291: Generative AI Overhype, William Miller, and the Great Disappointment
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 : 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.
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